Semiotics and performing arts: contemporary issues

Helbo, André

doi:10.1080/10350330.2016.1189727

Cited by 9 publications

(3 citation statements)

References 11 publications

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“…This also paved way for another validation through triangulation analysis of the contents from both textual sources and the music videos (Peshkin, 1993 as cited in Adom, 2016) to vouch for their credibility. The content analytic tool underpinned by the aesthetic and semiotic theories (Helbo, 2016) was utilized to ascertain the themes or concepts and meanings of the stylistic body movements in the dance forms. This study relied heavily on secondary data from recorded communication including music videos, books, transcripts, websites, newspaper articles, journal articles and the like to make objective inferences (Holsti, 1969 as cited in Terrell, 2016).…”

Section: Methodsmentioning

confidence: 99%

Conceptualizing the stylistic body movements in contemporary Ghanaian dances as performance art form

Azaglo

Ebeheakey

Quarshie³

et al. 2022

JAHCA

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This paper attempts to conceptualize the stylistic body movements in contemporary Ghanaian dances through the aesthetic lenses of performance art. The expressiveness of performance art forms is frequently praised for the emotions we have toward them. These feelings are derived from the symbolic connotations and functionalities of the arts in life. Through an exploratory design of qualitative inquiry, the researchers focus on a contextual dialogue on the aesthetic visual presentations of selected contemporary Ghanaian dances as performance art forms. The critical content analysis of music videos was espoused to examine the stylistic body movements and gestures coded in some contemporary Ghanaian dances such as Azonto, Twerking, Kupe, Pilolo and Shoo as part of an empirical artistic study. Instruments for data collection were observation, document analysis and photography for the contextual visual content analyses grounded in semiotic and aesthetic theoretical discourse. This study again relied heavily on secondary data from recorded communication including music videos, books, transcripts, websites, newspaper articles, journal articles and the like to make objective inferences. The findings indicate that dance is the communication that occurs via the conduit of the dancer's body that ruptures individuals' independent existence and generates a sense of finitude. Whereas some of the dances make aggressively erotic visual statements, others are mere expressive gestural and body movements to simply entertain a targeted audience. The result further shows that, the contemporary Ghanaian dance performances transcend beyond mere entertainment but rather are an embodiment of body language emerging from the indigenous dance symbolisms. Teaching learners to perceive visual aesthetic qualities and symbolic interpretations in dance performances will deepen the appreciation of Ghanaian dance performances not just as entertainment but as another medium for expression to transmit their inherent messages. It is suggested that, these dance forms should be formalized as indigenous knowledge in a quest to blend tradition with modernity in our creative endeavours. This knowledge should be propagated through creative arts education in Ghanaian schools. Other performance art components displayed in contemporary Ghanaian dances including body painting, facial expressions, costumology and fashion accessories present another lacuna for further research by future researchers. Key words: aesthetics, dance, therapy, performance art, body, movement

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Section: Methodsmentioning

confidence: 99%

Conceptualizing the stylistic body movements in contemporary Ghanaian dances as performance art form

Azaglo

Ebeheakey

Quarshie³

et al. 2022

JAHCA

View full text Add to dashboard Cite

show abstract

“…The artists created social class and party symbols without a certain relation and distinction in gender (Roberts 2006). Semiotic perspectives and theoretical approaches to theater art were influenced by post-modern and post-revolutionary changes (Helbo 2016).…”

Section: Literature Reviewmentioning

confidence: 99%

Culture of the Chinese revolution: symbolic and semiotic differences from the world culture of revolution

Dong

2023

International Journal of Asian Studies

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This article examines images of revolution in Chinese artworks within a global context. It argues that the theme of revolution in Chinese art can be divided into three movements: (1) Art of Scars, (2) New Wave ’85, from which political pop art and cynical realism took their roots, and (3) the modern twenty-first century trend of Mao and the Cultural Revolution. An analysis of political pop art identified a synthesis of academic and iconographic features and Western philosophical concepts, which can be found in the semiotic elements of the painting Maozedong: AO. Its cynical realism is similar to the satire of the American painter in his Daughters of Revolution. Both artworks depict images of the "citizen" in an era of historical change. This analysis of the painting in the style of Mao and the Cultural Revolution offers a rethinking of traditional Chinese canons as a response to the Western religious traditions influenced by a multicultural environment. The data can be used as an additional source to examine symbolism and semiotics in the artistic language of Chinese artists representing the culture of revolution.

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“…Such instances of memorizing brand signs and inscribing them a new in intersubjective communicative trajectories, again, constitute a pre-reflective mode of creating rapport with a brand’s expressive inventory, not accessible through direct or indirect elicitation methods. This is why the participatory mode whereby the spectacle involves mutually in its structure actors/dancers and audience, as a collective system of enunciation, does not abide by the sender/receiver model and does not concern primarily communication, but stimulation, as argued by Helbo (1987, 2016).…”

Section: Artist Brands As Multimodal Semiotic Structures: Opportunities and Challengesmentioning

confidence: 99%

What’s in a thang? Dancing to brand image with Miley Cyrus’ multimodal dance spectacle

Rossolatos

2017

AAM

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Purpose The purpose of this paper is to scrutinize how Miley Cyrus’ brand values are projected through the multimodal semiotic structure of the live performance of the song Do my thang (from the Bangerz album (2013)). Design/methodology/approach Sociosemiotic conceptual framework in conjunction with an interpretive videographic method of analysis, facilitated by the multimodal qualitative discourse analytic software ATLAS.ti. Findings Four major territories were identified as regards the spectacle’s latent axiology, namely, freeplay, polymorphous sexuality, neo-burlesque, and hyperdifferentiation. Practical implications Attending to structural couplings between signs and modes in the context of bespoke artists’ brand languages constitutes a priority for managing an artist as brand, and, concomitantly, for safeguarding relevance for a fandom. A multimodal reading grid is offered to this end. Originality/value From a branding point of view, this study constitutes the first one that theorizes the live show spectacle as the manifest discourse whereupon brand image and brand values are edified, with an emphasis on the dance mode, over and above the verbal/visual modes that dominate the advertising/branding literatures.

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Semiotics and performing arts: contemporary issues

Cited by 9 publications

References 11 publications

Conceptualizing the stylistic body movements in contemporary Ghanaian dances as performance art form

Conceptualizing the stylistic body movements in contemporary Ghanaian dances as performance art form

Culture of the Chinese revolution: symbolic and semiotic differences from the world culture of revolution

What’s in a thang? Dancing to brand image with Miley Cyrus’ multimodal dance spectacle

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