Triadisches Ballet- Oskar Schlemmer

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Oskar Schlemmer und das ‘Triadische Ballett’

https://p-j-r.de/publicationes/verschiedenes/holzwelten/139-triadisches-ballett.html

With his geometric costumes and revolutionary spirit, Schlemmer hauled ballet into the age of modernism. A new exhibition celebrates his wild designs

https://www.theguardian.com/artanddesign/gallery/2016/nov/24/oskar-schlemmers-ballet-of-geometry-in-pictures

Le Ballet triadique ou quand l’interprète devient décor

https://www.dansesaveclaplume.com/en-scene/37930-le-ballet-triadique-ou-quand-linterprete-devient-decor/

Introducción al Ballet Triádico de Oskar Schlemmer
Por Rosario María Moreno Fuentes

https://www.feandalucia.ccoo.es/docu/p5sd11907.pdf

 

 

¿Bailamos Kizomba?

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La Kizomba es un baile cuyo origen lo encontramos en Angola, ex-colonia portuguesa. Por ello, primeramente se extendió a países lusófonos de África pero rápidamente llegó a Europa por Portugal y Francia.

Actualmente descubrimos encuentros de Kizomba en cualquier lugar del mundo. Esta disciplina artística tiene la capacidad de proporcionar un puente entre la mente y el cuerpo, conectando lo físico con lo mental y emocional aportando estados emocionales positivos y reparadores.

Participan: Juan Antonio Moriano León profesor Departamento de Psicología Social y de las Organizaciones, UNED Albir Rojas, bailarín Carola Tauler Calvo, bailarina

Rumba rules: the politics of dance music in Mobutu’s Zaire/ Bob W. White (by vintagecongo)

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Mobutu Sese Seko, who ruled Zaire (now the Democratic Republic of Congo) from 1965 until 1997, was fond of saying “happy are those who sing and dance,” and his regime energetically promoted the notion of culture as a national resource.

During this period Zairian popular dance music (often referred to as la rumba zaïroise) became a sort of musica franca in many parts of sub-Saharan Africa. But how did this privileged form of cultural expression, one primarily known for a sound of sweetness and joy, flourish under one of the continent’s most brutal authoritarian regimes?

In Rumba Rules, the first ethnography of popular music in the Democratic Republic of Congo, Bob W. White examines not only the economic and political conditions that brought this powerful music industry to its knees, but also the ways that popular musicians sought to remain socially relevant in a time of increasing insecurity.

Drawing partly on his experiences as a member of a local dance band in the country’s capital city Kinshasa, White offers extraordinarily vivid accounts of the live music scene, including the relatively recent phenomenon of libanga, which involves shouting the names of wealthy or powerful people during performances in exchange for financial support or protection.

With dynamic descriptions of how bands practiced, performed, and splintered, White highlights how the ways that power was sought and understood in Kinshasa’s popular music scene mirrored the charismatic authoritarianism of Mobutu’s rule.

In Rumba Rules, Congolese speak candidly about political leadership, social mobility, and what it meant to be a bon chef (good leader) in Mobutu’s Zaire.

Chapter 1: Popular Culture’s Politics 

Chapter 2: The Zairian Sound 

Chapter 3: Made in Zaire

Chapter 4: Live Time

Chapter 5: Musicians and Mobility

Chapter 6: Live Texts

Chapter 7: The Political Life of Dance Bands 

Chapter 8: In the Skin of a Chief 

ZIEGFELD FOLLIES – Vincente Minnelli (1945)

mon cinéma à moi

ziegfeld_follies_16 ZIEGFELD FOLLIES – Vincente Minnelli (1945) – William Powell dans la séquence d’ouverture

Dans un paradis de coton et de marbre, Florenz Ziegfeld se remémore ses souvenirs terrestres. Il fut un très célèbre directeur de revue à Broadway. Un à un, ses numéros défilent dans sa mémoire. Ne vous laissez pas effrayer par les automates mal dégrossis qui ouvrent le film. Dans un Broadway cartonné façon école maternelle, Vincente Minnelli commence par évoquer la pré-histoire de la comédie musicale, avec toute sa mièvrerie archaïque. Au fil du temps, il nous laisse contempler l’éclosion de ce genre féerique, pour accéder à l’apothéose, avec des numéros étincelants, peut-être parmi les plus beaux que Hollywood nous ait offerts. A la manière d’un reportage foutraque et raffiné, il laisse les étoiles du genre (Fred Astaire, Judy Garland…) jouer leur propre rôle, et se gausse des futures hagiographies documentaires que la télévision leur consacrera. Une…

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