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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (March 29, 2021): 218–26. http://dx.doi.org/10.46872/pj.258.
Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.
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Gailīte, Elīna. "Tautas deju definēšanas problemātika mūsdienās Latvijā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 94–104. http://dx.doi.org/10.37384/aplkp.2021.26-2.094.
The article “Problems of defining folk dance in Latvia today” examines the aspects that affect the current situation in Latvia, where folk dances are understood as both folk dances that have not been modified by choreographers, dances passed down through generations that can be danced every day, and stage folk dances, which are a type of art performed by folk dance ensembles, created by choreographers and dances adapted to the stage performance. The research aim is to identify and describe the problems that currently exist in the Latvian cultural space, where the definition of folk dances creates tension in the public space and ambiguous opinions among dancers. Nowadays, it is possible to identify such concepts as, for example, folk dance, ethnographic dance, authentic dance, traditional dance, folklore dance, folk dance, folk dance adaptation, field dance, folk ballet, etc. Consistent use of concepts is rarely seen in the documents and research of cultural policymakers and the historical and contemporary works of choreographers and researchers. Often they are only described in general terms. A survey conducted in 2019 shows that dancers consider stage folk dances to be folk dances, and often this separation of dances is not important for them. Another problem is the designation of folk dance ensembles where stage folk dance dancers are dancing. The term misleads; it suggests that folk dances are danced there. However, this designation is linked to its historical time of origin. It is not insignificant that the stage folk dance is more popular, more visible, and massively represented at the Song and Dance Festival. Thus, a part of the society associates it with our folk dances.
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Surya, Windi Kartika, and Nerosti Nerosti. "Eksistensi Tari Andun Dalam Upacara Adat Perkawinan Di Kecamatan Seluma Kabupaten Seluma Provinsi Bengkulu." Jurnal Sendratasik 10, no. 4 (December 15, 2021): 51. http://dx.doi.org/10.24036/js.v10i4.114175.
This research has a problem regarding the formulation of "The Existence of Andun Dance in Seluma Marriage, Seluma Regency, Bengkulu Province". The purpose of this research is to describe and analyze the existence of Andun Dance in traditional wedding ceremonies in Seluma District, Seluma Regency, Bengkulu Province. This research uses descriptive qualitative analysis. Data collection techniques or through literature study, observation, interviews and documentation. The research found that the Andun Dance consists of two types, namely: (1) the Andun lelawanan dance which is danced in pairs and women by bachelors; (2) and most of the Andun Dance by many dancers have been married. Andun dancers are mostly men and women performing separately. There is a periodization of Andun dance through 2 periods, namely: (1) periodization of 2003-2015, Andun Lelawanan Dance exists more than most Andun Dances, according to the purpose of the dance presented is to seek love; (2) Periodically from 2015 to present, Andun Dance is the most widely available. In 2019, the choreography in the Andun Dance was developed which was contested. Dancers in costume from the perspective of the Andun Dance competition, where the female dancers use modern borkat kebaya, songket cloth as a skirt, and a scarf. While the clothes are boy dancer/koko, coat, trousers, gloves, and a skullcap.
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Supeni, Siti. "JAVANESE TRADITIONAL ART-DANCE AS THE IMPLEMENTATION OF CHARACTER EDUCATION OF CHILDREN TO SUPPORT CHILD FRIENDLY SCHOOL." RESEARCH FAIR UNISRI 4, no. 2 (August 15, 2020): 48. http://dx.doi.org/10.33061/rsfu.v4i2.4517.
The purpose of the research is to: ( I) identify character education of children in various Javanese traditional dances, (2) to analyze the needs, output, problems. and learning objectives of child-friendly schools (CFS) in applying character education based on regional dance by interviewing a dancer trainer and a professional dancer who have experiences in creating and practicing the dances, and (3) to identify types of Javanese traditional dance values inside the dances. the types of research is through literary studies, interviews, surveys, observations, and documentation. To analyze the data, the researchers useResearch & Development. The findings show that (1) identification of charactereducation in various Javanese traditional dance, (2) there are the needs, output, problems, and learning objectives of child-friendly schools (CFS) in implementing character education based on regional dance, and (3) types of Javanese traditional dance values from.
Keywords: Javanese Traditional Dance, Character Education, Child-Friendly School
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Kariasa Putra, I. Komang, Tjokorda Udiana Nindhia Pemayun, and Gede Yosef Tjokropramono. "Sanghyang Dedari Dance as a Painting Creation Idea." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 2 (October 24, 2022): 87–91. http://dx.doi.org/10.59997/citakara.v2i2.1849.
Balinese dance is a variety of dances originating from the island of Bali. Balinese dance does not always depend on the storyline. The main goal of Balinese dancers is to dance each stage of movement and sequence with full expression. Sang Hyang Dedari dance is a Balinese dance that is used as a religious tool. Balinese people still believe that when girls aged 9-12 years dance this dance, they will be possessed by the holy spirit of an angel. Usually, the Sang Hyang Dedari Dance is played or danced before the rice harvest around April to resist disease outbreaks, and this dance has been designated as an endangered cultural heritage. By taking the theme of Sanghyang Dedari Dance, it is hoped that it can represent ideas in the creation of painting. The writer's interest in this dance is because this dance is very sacred and unique because starting from the headdress and the clothes used are very simple, and the flowers used are also colorful and easy to get and so that the younger generation in particular to know and preserve Balinese culture, that in some areas still do this tradition. At the visualization stage, the author emphasizes the decorative flow. In addition, it also uses the method of creation, namely Exploration, Improvisation, Formation, and Final Completion. And through these stages, 6 works were created entitled: 1) "Sanghyang Dedari Dance", 2) "Ngukup", 3) "Dancer Possessed by Sanghyang Dedari", 4) "Sanghyang Dedari Dancer", 5) "Aci Bethara Sri", 6 )"Rolling". In the end, a work was created which was appointed to the title "Sanghyang Dedari Dance as an Idea for Painting Creation". The author hopes that the Balinese people are more familiar with the Sanghyang Dedari Dance.
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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (May 2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.
This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.
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Turabian, Jose Luis. "Doctor-Patient Relationship as Dancing a Dance." Journal of Family Medicine 1, no. 2 (November 29, 2018): 1–6. http://dx.doi.org/10.14302/issn.2640-690x.jfm-18-2485.
The transcendence of the doctor-patient relationship is given by the confirmed fact of its influence on the results of health care. Several models of doctor-patient relationship can be described, but evidence of improved compliance, satisfaction and recall of physician information has been found in patient-centered consultations. Since these concepts of doctor-patient relationship and patient-centered consultation have multiple facets, they are complex to understand and teach. Using a metaphor is a tool that can be useful in these situations. We could say that the "good" doctor-patient relationship is a process where an "alliance" is created: a process in which the doctor adapts to the rhythm of the patient and little by little can help him move towards healthier scenarios; that is, detect "what dance the patient dances and like a good dancer, take a step back, another forward, dancing and pacing with the patient. But there is not a single type of "good" or "adequate" doctor-patient relationship; there is not "a single dance that the patient dances". If "the doctor has to dance with the patient", he has to know that there are many types of dance! The doctor will have to dance dances such as Cha-Cha (which has to be slow or very fast to dance), the Mambo (where the music is faster and the rhythm more complicated - the relationship with an urgent patient); the Merengue (which is danced like walking - informal doctor-patient relationship); el Pasodoble (that you have to dance with a haughty air, but not with rigidity -synchronizing assertiveness and empathy); The Salsa (where you have to learn the basic step separately - discontinuity of the doctor-patient relationship), among others.
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Berdnik, M. "The Impact of Historical Choreographic Origins on Forming Emotional Content in Latin American Ballroom Dance." Culture of Ukraine, no. 80 (June 30, 2023): 76–81. http://dx.doi.org/10.31516/2410-5325.080.09.
Modern ballroom dance is actively developed as a sport whereas the art of dancing, which is characterized by emotions, is disappearing now. The causes are dealt with the low level of performing Latin American ballroom dance as an art and the necessity to develop the origins of this dance. It is also important to perform a particular Ballroom dance emotionally considering its historical roots.
It is fact that now the great number of competitive dance couples give a lot of attention to the physical training of choreographic compositions with a large number of acrobatic tricks and little respect to the aesthetic aspects of dance. Otherwise, they simply do not know how to express the depth of the emotional content of the dance. Dance couples are lack of understanding how to perform a particular ballroom dance. The issue of this study is relevant in Latin American ballroom dance studies as well as should be solved by experienced instructors and their desire to show dancers the importance of aesthetically emotional aspects of dance.
The purpose of this study is to explore the historical origins and stylistic features of Latin American ballroom dance which became the basis of modern Latin American ballroom dance.
The methodology. The author provides an analysis of specific features of the Latin American ballroom dance.
The results. It is shown that according to the history of the origin and standardization of ballroom dance each dance has its own unique style and characteristics as well as its individual emotional features. Cha-cha-cha is characterized by easy flirtation and pleasure. Samba is a dance of celebration, ardour and expression. Rumba is full of passion, impressing and love. Pasodoble is emotional and dramatic-theatrical dance. Jive is light, cheerful and carefree. And these are general features of the emotional and aesthetic component of dance that are very desirable to see in dance and experience them together with the performers.
The scientific novelty. An attempt is made in this paper to show the presence of historical stylistic and emotional features of the Latin American ballroom dances, which are danced as a competition all over the world, are not sufficiently developed in the performance skills of the dancer. Ballroom dances have diverse origins, rhythms, tempos and aesthetics, but have one thing in common: they are all danced emotionally.
A recommendation for further research is the perspective of improving the methodology of teaching the emotional component of Latin American ballroom dance by suggesting the development of aspects such as: active ways of spreading information about the importance of the creative, emotional component of dance (e.g. seminars, master classes), teaching acting skills, developing training exercises for performing the emotional part of the dance, and conducting research in sports psychology.
The practical significance. The material of this article can be used in the practical activities of choreographers, ballroom dance performers and Latin American ballroom dance competition dancers.
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Pype, Katrien. "Dancing for God or the Devil: Pentecostal Discourse on Popular Dance in Kinshasa." Journal of Religion in Africa 36, no. 3-4 (2006): 296–318. http://dx.doi.org/10.1163/157006606778941968.
AbstractThis article studies the dance poetics and politics of Christians in contemporary Kinshasa. For Kinois (inhabitants of Kinshasa), dance is one of the most important technologies to get in touch with an invisible Other, the divine or the occult. In sermons, and other modes of instruction, spiritual leaders inform their followers about the morality of songs and dances. These discourses reflect pentecostal thought, and trace back the purity of specific body movements to the choreography's source of inspiration. As the specific movements of so-called sacred dances borrow from a wide array of cultural worlds, ranging from traditional ritual dances and popular urban dance to biblical tales, the religious leaders state that not just the body movements, but also the space where people dance and the accompanying songs, define the Christian or pagan identity of the dancer. Therefore, both the reflections upon dance movements and the dance events within these churches will be discussed as moments in the construction of a Christian community.
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Wang, Ziqiao. "Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example." Journal of Educational Theory and Management 2, no. 3 (October 8, 2018): 84. http://dx.doi.org/10.26549/jetm.v2i3.992.
Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that the eyes are the windows of the soul, and the folk dance is more about expressing a feeling to the audience. If the dancer don’t have a good performance and face expression, he or she can’t express the dance work at all. Therefore, this article takes the training of national folk dance as the starting point, combining technical training, stage performance, professional dancers and amateur dancers, taking the Uygur as an example.
King-Cavin, Karen. "The black dancer" coping with the politics of dance." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1332947354.
Green, Amy Catherine. ""Dance, Dance Revolution": The Function of Dance in American Politics, 1763-1800." W&M ScholarWorks, 2009. https://scholarworks.wm.edu/etd/1539626597.
Kraus, Samuel Steven, and Samuel Steven Kraus. "An Investigation of Dance, Dance Injuries, and Dance Medicine within the Tucson Community." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625026.
This paper is an investigation of dance, dance medicine, and dance injuries in the local
community. Tucson is uniquely rich with dance culture and has been for many decades. Interviews
conducted with local professionals Ashley Bowman and Claire Hancock capture authentic standpoints
on dance in Tucson and provide insight into the rough, demanding nature of professional dance. To
this day, the national dance community struggles as underserved artist-athletes, socioeconomically and
medically. Fortunately, recent years have shown progress in closing the gap between the worlds of
dance and medicine. Dance medicine is a developing practice that aims to study dance epidemiology
and protect the dancer's body. Dr. Daniel Latt and Professor Amy Ernst at the University of Arizona
currently foster dance medicine research at the UA School of Dance through its dance medicine clinic.
In March 2017, the clinic launched a long-term dance injury project that captures general and injury-specific
demographics of UA Dance students. By presenting and discussing journalistic and scientific
entries of dance and dance medicine within the Tucson community, I hope to inspire genuine interest
in Tucson’s vast involvement in dance as well as an appreciation for the dance profession itself.
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Faulds, Katrina. ""Invitation pour la danse" : social dance, dance music and feminine identity in the English country house c.1770-1860." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/378156/.
The engagement of landed elite women with dance music in the early nineteenth century and the contribution that such music made to the formation of female identity has received limited scholarly attention. While research on social dance has brought to life the cultural complexities of the ballroom, and investigations into the influence of dance on principally canonical repertoire have enriched our understanding of the intersections that occurred between music and dance, the actual collection and domestic performance of dance music itself has largely lain forgotten. The English country house provides a locus through which elite women’s participation in dance and domestic music-making can be conceptualised and reconstructed. Tatton Park, the Cheshire estate of the Egerton family, contains a significant body of music ranging across several generations of women. The dance music belonging to Elizabeth Egerton (1777-1853), her daughter-inlaw, Lady Charlotte Egerton (1811-1878), and Elizabeth’s daughter, Charlotte Egerton (1824-1845), provides the basis for a series of case studies that examine links between the music they collected and the social dance activities with which they were engaged. The conception of elite women’s participation in dance as expressed by contemporary authors, and the performance of dance in other country houses as documented in newspaper and archival sources, proffer a framework through which the case studies can be interpreted and thus how concepts of elite femininity were negotiated through dance music. This study forms part of a burgeoning scholarly interest in domestic music-making in the English country house and complements two recent theses on the Tatton Park collection. What emerges is a sense of the myriad ways in which early nineteenth-century dance music was embedded in the fabric of cultural life for elite women, and how it both affirmed and negated contemporary discourses on appropriate feminine comportment.
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Barry, Julia. "Adapting and integrating elements of best practice in dancer wellness in elite adolescent pre-professional dance programmes into private dance studio contexts." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/214099/1/Julia_Barry_Thesis.pdf.
Awareness of the well-being of adolescent dance students is important for their health, safety, performance ability and longevity of participation in dance. This research project investigated current strategies for supporting adolescent dance student physical, psychological, and social well-being (i.e., dancer wellness) within elite pre-professional dance training programmes and private dance studios in Australia, identifying strengths and challenges in the implementation of dancer wellness programmes. The findings offer considerations for private dance studio teachers on potential strategies for integrating dancer wellness elements within private dance studio contexts, and may inform future research on adolescent dancer wellness.
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Meegan, Wendy. "Dance beyond performance space : Jacob's Pillow Dance Festival and the National Museum of Dance." ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/86.
The administrative skills acquired through this internship include time management, organizational, preservation, presentation, and documentation skills. This internship is a wonderful opportunity to experience the methods different dance organizations use to preserve their past, and promote their organizations through a historical perspective. Preserving the history of an organization is an important task that many of arts administration courses fail to acknowledge. However, since many other aspects of arts administration can be more easily accomplished if this task is performed efficiently, it is a valuable subject to understand.
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Fleischle-Braun, Claudia. "Der Moderne Tanz : Geschichte und Vermittlungskonzepte /." Butzbach-Griedel : Afra, 2001. http://catalogue.bnf.fr/ark:/12148/cb389105358.
This thesis is an exploration of the transformation of body and mind through Haitian dance from depth and liberation psychological perspectives. More personally, it focuses on the author’s transformational experience while being part of a Haitian dance community in Brooklyn, New York. Haitian dance is ingrained in Haitian culture, which embodies the history of Haitian people, mythology, gods, music, rituals, and ceremonies. This hermeneutic research examines Haitian dance as a way to access the somatic unconscious and support psychological healing and individuation. The research describes the somatic experience of archetypal energies, embodied consciousness, and myths through Haitian dance and how this enhances healing. In addition, this thesis explains how the author’s Haitian dance class provides healing for both individuals and a community from a liberation psychology perspective. Through dance, dialogue, and activism, participants gain deeper understandings of themselves and each other’s history and experiences.
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Williamson, Emilie Renne Champagne. "Physiology in Dance: Instructional Presentation for Dance Students." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/297805.
The purpose of the following document and supplemental presentations and questionnaire is to provide an overview of physiology as it relates to dance and introduce students of dance to physiology and nutrition and so begin to encourage them to think more about how the body works and how best to sustain it. The audience chosen for the original presentation of information are the University of Arizona School of Dance freshman students, who were chosen for their dedication to dance and with the hope that the provision of this information during their freshman year, will aid them in sustaining their dance for years to come. The resulting survey analysis provided information from which to base further physiological and nutritional emphasis in their education. At the conclusion of the survey it is clear that there is a focus among dancers in their crosstraining and nutritional practices, though larger populations of students would also reveal more accurate survey results as well as guidance for future instruction. It is my hope that through providing information we may prevent young dancers from suffering under common misconceptions that may limit their performance and in turn, their career.
Gottlieb-Eliaz, Einav. "The Dance Not Danced." In Dance/Movement Therapy and Sexual Abuse, 96–103. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003309048-10.
Schoene, Lisa M. "Dance." In Athletic Footwear and Orthoses in Sports Medicine, 291–301. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-0-387-76416-0_26.
Behnke, Elizabeth A., and Maureen Connolly. "Dance." In Contributions to Phenomenology, 129–33. Dordrecht: Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-017-5344-9_29.
Levesque, Roger J. R. "Dance." In Encyclopedia of Adolescence, 599–600. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-1695-2_465.
Deu, Rajwinder S. "Dance." In Sports-related Fractures, Dislocations and Trauma, 853–56. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36790-9_53.
Naerebout, Frederick. "Dance." In A Companion to the Archaeology of Religion in the Ancient World, 107–19. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886809.ch8.
Giambrone, Roberto. "Dance." In Lecture Notes in Morphogenesis, 97–100. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51324-5_19.
Talpa, Svetlana. "Stage folk dance versus character dance." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.09.
In the article, the author’s main objective is to argue the need to study and capitalize on folk stage dance and character dance by comparatively assigning their methodological and aspectual features. For this purpose, the analytical method of approaching the problem is used, as well as the pedagogical aspect. Performing folk dance and character dance exploits the capacity of the mind of both a professional dancer (ballet artists) and of an amateur dancer, by educating the body in order to be aware of each movement performed. From a methodological point of view, the stage folk dance and the character dance are analogous, and from the aspectual point of view they are varied, differing depending on the performers/artists/dancers, the place of manifestation and the specific music. These forms of dance are analyzed by specific artistic means, and finally they are reproduced in choreographic works (choreographic suites) or in ballet performances.
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Chandnasaro, Dharakorn. "The Series of Archaeological Dance: A Historical Study and Dance Move Recording with Labanotation | ระบำชุดโบรณคดี: กรศึกษเชิงประวัติศสตร์ และกรบันทึกท่ร ด้วยลบนโนเทชัน." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-26.
The Series of Archaeological Dances is a creative work of Thai dance inspired by information and evidence of ancient antiquities and sites discovered in Thailand to make the archaeological evidence found to be alive again in the form of Thai theatre and dance. The name of the historical period of art identified by the scholars are used to define the names of five performance of the Archaeological Dances, namely, Dvāravatī Dance, Srīvijaya Dance, Lopburi Dance, Chiang Saen Dance, and Sukhothai Dance. Each performance has its own unique style with no related content to each other. This series of dances were premiered on 25 May 1967, in front of King Rama IX and Queen Sirikit. Regarding to the movement of the body, there is unique identity that reflects the ethnicity of the area and the civilization from the land where the archaeological evidence of each era was discovered. They were created according to the imagination of the choreographers of the dance posture. In addition, The Series of Archaeological Dances are popularly performed on various occasions continuously until present day. ระบำชุดโบรำณคดี เป็นผลงำนสร้ำงสรรค์ด้ำนนำฏศิลป์ของประเทศไทยที่ได้รับแรงบันดำลใจจำกข้อมูลและหลัก ฐำนด้ำนศิลปะโบรำณวัตถุสถำนที่ถูกค้นพบได้ในพื้นที่ประเทศไทย เพื่อต้องกำรให้หลักฐำนโบรำณคดีที่ค้นพบได้ กลับมำมีชีวิตชีวำอีกครั้งในรูปแบบของนำฏศิลป์ โดยใช้ชื่อยุคสมัยทำงศิลปะที่นักวิชำกำรประวัติศำสตร์ระบุไว้ มำ กำหนดเป็นชื่อของกำรแสดงจำนวน 5 ชุด คือ ระบำทวำรวดี ระบำศรีวิชัย ระบำลพบุรี ระบำเชียงแสน และระบำ สุโขทัย กำรแสดงแต่ละชุดเป็นลักษณะแบบเอกเทศ ไม่มีเนื้อหำเกี่ยวข้องกัน จัดแสดงรอบปฐมทัศน์เมื่อวันที่ 25 พฤษภำคม พ.ศ. 2510 ต่อหน้ำพระที่นั่งของในหลวงรัชกำลที่ 9 และพระรำชินีในรัชกำลที่ 9 ในด้ำนกำรเคลื่อนไหว ร่ำงกำยมีเอกลักษณ์ที่สะท้อนควำมเป็นชำติพันธุ์ของพื้นที่และอำรยธรรมดินแดนที่ค้นพบหลักฐำนโบรำณคดีแต่ละ ยุคสมัย ซึ่งใช้รูปแบบกำรสร้ำงสรรค์ของนำฏศิลป์ไทยตำมจินตนำกำรของผู้ประดิษฐ์ท่ำรำ นอกจำกนี้ระบำชุด โบรำณคดีได้รับควำมนิยมในกำรจัดแสดงอย่ำงต่อเนื่องในวำระต่ำง ๆ มำจนถึงปัจจุบัน
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Uspuriene, Aiste Barbora. "COMMUNICATION PECULIARITIES OF ADOLESCENTS ATTENDING IN DANCE ACTIVITIES." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2019. http://dx.doi.org/10.21661/r-508527.
Dance is related to the peculiarities of communication between teenagers, because the essence of these dances is the performance of dance in a couple, During dance classes, adolescents have the opportunity to acquire excellent communication skills, to consciously discover and improve their weak points, to raise their communication level to a higher, more enjoyable level, There is lack of literature on communication between dancers of all ages and skill levels, There is a significant lack of scientific data on the impact of dance on adolescent communication.
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Takeda, T., K. Kosuge, and Y. Hirata. "HMM-based dance step estimation for dance partner robot -MS DanceR$." In 2005 IEEE/RSJ International Conference on Intelligent Robots and Systems. IEEE, 2005. http://dx.doi.org/10.1109/iros.2005.1545207.
TALPĂ, Svetlana. "The importance of noting dance on paper as a particular method of teaching-learning-evaluation of dance disciplines." In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v2.25-03-2022.p155-159.
This article discusses practitioners who have contributed to the development of the process of capturing dance or dance movements on paper, through: notation, photography and film. The reflections of these personalities, such as Ann Hutchinson, Rudolf Von Laban, Eadweard Muybridge, Lois Greenfield, Ted Shawn, Norman McLaren and Sue Healey, included the definition of direct research on how these three documentary media interact to describe a dancing in various choreographic genres. The aim of this research is to highlight the importance of noting and capturing the body in motion, to see if it is possible to make an evolution in the process of teaching-learning-assessment of dance disciplines, by analyzing and "reading" a document, being able to communicate dance to the dancer / student when a living body is absent.
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Wu, Shuang, Shijian Lu, and Li Cheng. "Music-to-Dance Generation with Optimal Transport." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/691.
Dance choreography for a piece of music is a challenging task, having to be creative in presenting distinctive stylistic dance elements while taking into account the musical theme and rhythm. It has been tackled by different approaches such as similarity retrieval, sequence-to-sequence modeling and generative adversarial networks, but their generated dance sequences are often short of motion realism, diversity and music consistency. In this paper, we propose a Music-to-Dance with Optimal Transport Network (MDOT-Net) for learning to generate 3D dance choreographies from music. We introduce an optimal transport distance for evaluating the authenticity of the generated dance distribution and a Gromov-Wasserstein distance to measure the correspondence between the dance distribution and the input music. This gives a well defined and non-divergent training objective that mitigates the limitation of standard GAN training which is frequently plagued with instability and divergent generator loss issues. Extensive experiments demonstrate that our MDOT-Net can synthesize realistic and diverse dances which achieve an organic unity with the input music, reflecting the shared intentionality and matching the rhythmic articulation. Sample results are found at https://www.youtube.com/watch?v=dErfBkrlUO8.
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Curtis, Aaron, Jaeeun Shim, Eugene Gargas, Adhityan Srinivasan, and Ayanna M. Howard. "Dance dance Pleo." In the 10th International Conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1999030.1999048.
Ding, Yuanyuan, and Shuyu Wang. "AIDanceFriend: An Intelligent Mobile Application to Automate the Dance Rating using Artificial Intelligence and Computer Vision." In 13th International Conference on Computer Science, Engineering and Applications (CCSEA 2023). Academy and Industry Research Collaboration Center (AIRCC), 2023. http://dx.doi.org/10.5121/csit.2023.130505.
In recent years, dance has become a popular entertainment for many people and also an occupation. As a dancer, sometimes it is hard to check how close your cover is vs. the choreographer's because our eyes are not always accurate when we are judging dynamic movement of people, so can artificial intelligence help us to do the work? This paper develops an application which utilizes artificial intelligence, and data analysis skills to develop an application which works on dance scoring [4]. In the application, users can upload two videos, one is their own cover while another one is the original choreography. Then, the application will use MediaPipe to catch the angles of dancers’ bodies in frames then store them in a data abstraction [5]. After all data are collected, the application will use clustering to line up the frames and angles information that are stored. The steps above will be applied to both videos. Next, the application will use an algorithm to compare two videos’ data and calculate a percentage of error of the covering video to the original choreograph and report a grade to the user. We applied our application to users who want to check how similar their covering dances are compared to the original choreographs in order to improve their covering quality [6]. The results show that when users are improving the quality of their covers, they improve their skills of focusing and optimizing details in dance.
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Takeda, Takahiro, Yasuhisa Hirata, Zhidong Wang, and Kazuhiro Kosuge. "HMM-based Error Detection of Dance Step Selection for Dance Partner Robot -MS DanceR-." In 2006 IEEE/RSJ International Conference on Intelligent Robots and Systems. IEEE, 2006. http://dx.doi.org/10.1109/iros.2006.282285.
Correia, Nuno N., Debora Souza, Inês Nêves, and Jaime Lobato. "Bio Elektron - A Multisensory Approach to Augmenting Dance, Combining: Biosignals, Drawing, Sound and Electrical Feedback." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-49-full-correia-et-al-bio-elektron.
In this paper, we investigate how to augment a dance performance using a multisensory approach in a way that communicates the dancing process as an embodied experience. We collaborated with a dancer and a media artist over an 8-week residency to prepare and present a multisensory dance performance and a spin-off installation. We present related work regarding key areas for this research: dance and technology in general; biosignal sensors; multisensory media (sound, drawing and haptics); and the relation between dance and installation. We also report on the artistic process, which was documented through seven interviews with the artists. Finally, we discuss strategies for drawing and sonification leading to heightened embodiment; approaches for drawing and haptics triggering impressions from the performance; while highlighting the importance of space as a unifying concept in embodied multisensory work. These strategies and approaches can be useful for artists interested in conducting related embodied multisensory work.
Reports on the topic "Dance":
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Enoch, Elizabeth. Mosaic Dance. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-561.
Mosby, Shea Morgan, and Aaron Joseph Couture. Digital acquisition with DANCE. Office of Scientific and Technical Information (OSTI), July 2015. http://dx.doi.org/10.2172/1207745.
Stuart, Joshua, and Elizabeth Bradley. Learning the Grammar of Dance. Fort Belvoir, VA: Defense Technical Information Center, January 1998. http://dx.doi.org/10.21236/ada452050.
Wu, C., A. Chyzh, E. Kwan, R. Henderson, J. Gostic, D. Carter, T. Bredeweg, A. Couture, M. Jandel, and J. Ullmann. Compact fission counter for DANCE. Office of Scientific and Technical Information (OSTI), November 2010. http://dx.doi.org/10.2172/1018751.
McGill, Lawrence T. McGill, and Grace Sato Sato. Mapping the Dance Landscape in Chicagoland. New York, NY United States: Foundation Center, June 2019. http://dx.doi.org/10.15868/socialsector.34160.
Cvijić, Srdjan, Maja Bjeloš, Luka Šterić, Marko Drajić, and Ivana Ranković. Balkan Csárdás: Hungarian Foreign Policy Dance. Belgrade Centre for Security Policy, May 2023. http://dx.doi.org/10.55042/gzwk7404.
As part of the overall focus on the democratic backsliding in Hungary since Viktor Orbán’s Fidesz reassumed power in 2010, numerous international observers have expressed concern regarding increasing Hungarian influence in the Western Balkans. Specifically, many fear that through intensified meddling in Western Balkan affairs, Orbán’s Hungary would spread its illiberal influence throughout the region and subsequently undermine broader EU policy. In 2019, the process leading to the appointment of Olivér Várhelyi (a Hungarian diplomat close to Orbán) to the position of the European Commissioner for Neighbourhood and Enlargement garnered a salvo of criticism. While this incident briefly attracted the European media floodlights to the topic, the issue of Hungarian influence in the region of the Western Balkans quickly faded into a relative obscurity. Apart from few exceptions and a handful of journalistic accounts (which will be quoted extensively throughout the study), there are little to no attempts to analyse and explain Hungarian foreign and trade policy in the Western Balkans. What interests and strategic considerations drive Hungarian foreign and trade policy in the region? What are Hungarian foreign policy priorities and what instruments does Hungarian foreign policy have at its disposal in the region? Is Orbán’s Western Balkan policy marked by a total discontinuity with regards to previous Hungarian foreign policy towards the region? Who formulates foreign policy priorities in Hungary and what is the interplay between formal and informal actors? What economic interests shape Hungarian foreign policy in the region? How much has Hungarian foreign policy in the region changed as a result of war in Ukraine? To answer these questions, this paper is divided into four main sections. The first focuses on Hungary’s foreign policy strategy in the region. The second, as a special case study, investigates the effects of Orbán’s minority politics in Serbia’s Autonomous Province of Vojvodina (Vajdaság in Hungarian). The third, researching Hungarian media empire in the region, and finally the fourth focusing on the economic drivers of Hungary’s approach in the region.
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Cvijic, Srdjan, Maja Bjelos, Ivana Rankovic, Luka Steric, and Marko Drajic. Balkan Csárdás: Hungarian Foreign Policy Dance. Belgrade Centre for Security Policy, May 2023. http://dx.doi.org/10.55042/wkpz9702.
U sklopu sveukupnog bavljenja demokratskim nazadovanjem u Mađarskoj otkako je stranka Viktora Orbana, Fides, ponovo preuzela vlast 2010. godine, brojni međunarodni posmatrači izrazili su zabrinutost zbog povećanja uticaja Mađarske na Zapadnom Balkanu. Ovaj rad je jedan od tek nekoliko sveobuhvatnih pokušaja da se objasne mađarska politika i njena uključenost u Zapadni Balkan.
