Journal articles: 'Dance action'

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Zhai, Xianfeng. "Dance Movement Recognition Based on Feature Expression and Attribute Mining." Complexity 2021 (April 30, 2021): 1–12. http://dx.doi.org/10.1155/2021/9935900.

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There are complex posture changes in dance movements, which lead to the low accuracy of dance movement recognition. And none of the current motion recognition uses the dancer’s attributes. The attribute feature of dancer is the important high-level semantic information in the action recognition. Therefore, a dance movement recognition algorithm based on feature expression and attribute mining is designed to learn the complicated and changeable dancer movements. Firstly, the original image information is compressed by the time-domain fusion module, and the information of action and attitude can be expressed completely. Then, a two-way feature extraction network is designed, which extracts the details of the actions along the way and takes the sequence image as the input of the network. Then, in order to enhance the expression ability of attribute features, a multibranch spatial channel attention integration module (MBSC) based on an attention mechanism is designed to extract the features of each attribute. Finally, using the semantic inference and information transfer function of the graph convolution network, the relationship between attribute features and dancer features can be mined and deduced, and more expressive action features can be obtained; thus, high-performance dance motion recognition is realized. The test and analysis results on the data set show that the algorithm can recognize the dance movement and improve the accuracy of the dance movement recognition effectively, thus realizing the movement correction function of the dancer.

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Ni, Shasha, and Dawei Yao. "Sports Dance Action Recognition System Oriented to Human Motion Monitoring and Sensing." Wireless Communications and Mobile Computing 2021 (June 12, 2021): 1–10. http://dx.doi.org/10.1155/2021/5515352.

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Because of its high research value, action recognition has become a very popular research direction in recent years. However, the research on the combination of motion recognition technology and dance movements is still in its infancy. At the same time, due to the high complexity of dance movements and the problems of human body self-occlusion when performing dances, research on dance video action recognition has been caused. Progress is relatively slow. This article mainly introduces the research of sports dance action recognition system oriented to human motion monitoring and sensing, fully considers the abovementioned problems, and makes in-depth research and analysis on the current excellent action recognition research content in this field. This paper proposes a research method of sports dance movement recognition for human movement monitoring and sensing, including sports dance movement classification algorithm and sports dance movement preprocessing algorithm, which is used to conduct research experiments on sports dance movement recognition for human movement monitoring and sensing. The experimental results of this article show that the average recognition accuracy of the sports dance action recognition system for human motion monitoring and sensing is 92%, which can be used in daily sports dance training and competition.

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Schwartz, Peggy. "Action Research: Dance Improvisation as Dance Technique." Journal of Physical Education, Recreation & Dance 71, no. 5 (May 2000): 42–46. http://dx.doi.org/10.1080/07303084.2000.10605145.

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Prevots, Naima. "Action Research and Dance Education." Journal of Dance Education 9, no. 2 (April 2009): 39–40. http://dx.doi.org/10.1080/15290824.2009.10387384.

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Jang, Seon Hee, and Frank E. Pollick. "Experience Influences Brain Mechanisms of Watching Dance." Dance Research 29, supplement (November 2011): 352–77. http://dx.doi.org/10.3366/drs.2011.0024.

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The study of dance has been helpful to advance our understanding of how human brain networks of action observation are influenced by experience. However previous studies have not examined the effect of extensive visual experience alone: for example, an art critic or dance fan who has a rich experience of watching dance but negligible experience performing dance. To explore the effect of pure visual experience we performed a single experiment using functional Magnetic Resonance Imaging (fMRI) to compare the neural processing of dance actions in 3 groups: a) 14 ballet dancers, b) 10 experienced viewers, c) 12 novices without any extensive dance or viewing experience. Each of the 36 participants viewed short 2-second displays of ballet derived from motion capture of a professional ballerina. These displays represented the ballerina as only points of light at the major joints. We wished to study the action observation network broadly and thus included two different types of display and two different tasks for participants to perform. The two different displays were: a) brief movies of a ballet action and b) frames from the ballet movies with the points of lights connected by lines to show a ballet posture. The two different tasks were: a) passively observe the display and b) imagine performing the action depicted in the display. The two levels of display and task were combined factorially to produce four experimental conditions (observe movie, observe posture, motor imagery of movie, motor imagery of posture). The set of stimuli used in the experiment are available for download after this paper. A random effects ANOVA was performed on brain activity and an effect of experience was obtained in seven different brain areas including: right Temporoparietal Junction (TPJ), left Retrosplenial Cortex (RSC), right Primary Somatosensory Cortex (S1), bilateral Primary Motor Cortex (M1), right Orbitofrontal Cortex (OFC), right Temporal Pole (TP). The patterns of activation were plotted in each of these areas (TPJ, RSC, S1, M1, OFC, TP) to investigate more closely how the effect of experience changed across these areas. For this analysis, novices were treated as baseline and the relative effect of experience examined in the dancer and experienced viewer groups. Interpretation of these results suggests that both visual and motor experience appear equivalent in producing more extensive early processing of dance actions in early stages of representation (TPJ and RSC) and we hypothesise that this could be due to the involvement of autobiographical memory processes. The pattern of results found for dancers in S1 and M1 suggest that their perception of dance actions are enhanced by embodied processes. For example, the S1 results are consistent with claims that this brain area shows mirror properties. The pattern of results found for the experienced viewers in OFC and TP suggests that their perception of dance actions are enhanced by cognitive processes. For example, involving aspects of social cognition and hedonic processing – the experienced viewers find the motor imagery task more pleasant and have richer connections of dance to social memory. While aspects of our interpretation are speculative the core results clearly show common and distinct aspects of how viewing experience and physical experience shape brain responses to watching dance.

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Zhu, Fengling, and Ruichao Zhu. "Dance Action Recognition and Pose Estimation Based on Deep Convolutional Neural Network." Traitement du Signal 38, no. 2 (April 30, 2021): 529–38. http://dx.doi.org/10.18280/ts.380233.

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Sports action recognition helps athletes correct their action range and standardize their poses. But it is not an easy task to recognize sports actions, due to the individual difference in action execution. Besides, the difficulty of action recognition increases with the diversity of actions and the complexity of background. The previous studies have not fully considered temporal changes, and failed to determine the exact staring point of actions. To solve the problem, this paper proposes a new method to recognize dance actions and estimate poses based on deep convolutional neural network (DCNN). Firstly, the authors presented full-effect expression of global and local features of dance actions, and derived an optimal model based on DeepPose. Next, a dance pose evaluation model was established based on time sequence segmentation network, and the sparse time sampling strategy was introduced to realize efficient and effective learning of the frame sequence of the whole video. Experimental results confirm the superiority of the full-effect expression of global and local features, and the effectiveness of the proposed model. The research results provide a reference for the application of deep learning (DL) in other scenarios of action recognition and pose estimation.

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He, Suli, Min Liu, and Liguo Dong. "Research on Music Adaptive Method Based on Dance Robots." E3S Web of Conferences 233 (2021): 01066. http://dx.doi.org/10.1051/e3sconf/202123301066.

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Music adaptive method, one of the important directions of dance robot research, will improve the robot's intelligence and adaptive ability, thereby greatly enriching people's growing spiritual and cultural life. From the current point of view, an overly complex adaptive method used, a large amount of computer resources will be encroached on, and the dance robot system will freeze or even crash. The dance robot is a kind of embedded device. Under the premise of saving system resources, how to make the robot do different actions according to different music and how to make it produce movements in step with the music will become a hot topic in the research of robot adaptive methods. This paper proposes a dance robot adaptive method based on music analysis. After the music signal is preprocessed, a reasonable threshold range is set to obtain music features. Through the feature and coordinate transformation, the action duration is obtained, alternative actions are selected, and action frequency is set to achieve the coordination of amplitude change and action switching. Experiments have shown that with this method used on a dance robot, the system runs smoothly featuring coordinated movement, hence a better adaptive effect.

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Mabingo, Alfdaniels. "Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda." Research Studies in Music Education 42, no. 2 (June 28, 2019): 231–47. http://dx.doi.org/10.1177/1321103x19843202.

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The subject of the inseparability of music and dance in African artistic experiences has preoccupied scholars and researchers in the field of ethnomusicology, ethnochoreology, and musicology. Commonly, music is conceptualized as an accompaniment to dance. Moreover, the existing literary perspectives frame the inseparability of music and dance in African communities in aesthetical, structural, functional, and semiotic terms. This article provides an intellectual excursion that locates music as pedagogy of dances in African practices. It offers a critical examination of how teachers of cultural heritage dances in nonacademic environments in central Uganda engage music as a pedagogic aid. I draw on the idea of choreomusicology and social learning theories to locate the place of music in dance not just as an accompaniment, but also as a teaching and learning aid. A total of eight dance teachers were engaged through storytelling, interviews, and inquisitorial observation for a period of nine months to elicit their reflections on and interpretations of application of music as a pedagogic stimulus in teaching cultural heritage dances. The findings revealed that elements of music such as songs, mnemonics, instrumental sounds, body percussion, and drum rhythms are key drivers in guiding and framing the teaching and learning processes of the dances. Through music, the dance teachers provoke learners to individually and communally embody, experience, question, abstract, experiment with, concretize, and conceptualize kinesthetic and historicized movement knowledge and skills of the dances. Music scaffolds and staircases learners into kinesthetic journeys of embodied knowing, experiential agency, constructive thinking, creative and reflective imagination, socialized connectivity, and corporeal action. The article provides insights into how music and dance practitioners in Western and non-Western traditions can leverage music to facilitate holistic pedagogic and creative processes of dance.

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Warburton, Edward C. "Metonymy in Dance: Ballet Bunheads Take a Cognitive Turn." Dance Research 37, no. 1 (May 2019): 18–34. http://dx.doi.org/10.3366/drs.2019.0251.

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This essay considers metonymy in dance from the perspective of cognitive science. My goal is to unpack the roles of metaphor and metonymy in dance thought and action: how do they arise, how are they understood, how are they to be explained, and in what ways do they determine a person's doing of dance? The premise of this essay is that language matters at the cultural level and can be determinative at the individual level. I contend that some figures of speech, especially metonymic labels like ‘bunhead’, can not only discourage but dehumanize young dancers, treating them not as subjects who dance but as objects to be danced. The use of metonymy to sort young dancers may undermine the development of healthy self-image, impede strong identity formation, and retard creative-artistic development. The paper concludes with a discussion of the influence of metonymy in dance and implications for dance educators.

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Qin, Ruilin, Changle Zhou, He Zhu, Minghui Shi, Fei Chao, and Na Li. "A Music-Driven Dance System of Humanoid Robots." International Journal of Humanoid Robotics 15, no. 05 (September 27, 2018): 1850023. http://dx.doi.org/10.1142/s0219843618500238.

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Robot dance is an important topic in robotics. Conventional robot dance systems mainly rely on beats or rhythms of music; however, these conventional systems suffer from limited dance styles and less action novelty. In this paper, we instead develop a humanoid robot dance system driven by musical structures and emotions. In the proposed system, a musical phrase and a dance phrase are considered as the basic structural units of music and dance, respectively. A musical phrasing algorithm based on music theories is created to divide a piece of music into a sequence of phrases. When the emotion of each phrase has been recognized, an emotion sequence can be established. Meanwhile, a hidden Markov model (HMM) matches a dance phrase sequence to the emotion sequence. In particular, several concepts of the “chance method” created by choreographer Merce Cunningham are adopted to guide our robot dance system; thus, a dance phrase is choreographed by randomly selecting and combining a number of actions from a predesigned action library. Based on the approach, one music can generate diverse robotic dance motions, showing the novelty and diversity of robot dance. The experiments on our humanoid robot “Alpha1 Pro” show that our robot can do a good job dancing to music according to musical structures and emotions and can be well accepted by various people.

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Foster, Raisa. "The Presence of Real Reality: Six Theses on Dance Animateuring." Nordic Journal of Dance 5, no. 2 (December 1, 2014): 36–43. http://dx.doi.org/10.2478/njd-2014-0009.

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Abstract Tanssi-innostaminen® (‘dance animateuring’ in English) is an artistic and pedagogical method, which I have developed in order to empower both individuals and communities. By dance animateuring I refer to dance/ movement based activity, in which everyone can find their own way of moving and expressing by movement, but also reflecting the self and its connections to the other and the whole world. In this paper I will argue the six theses that define my approach to contemporary art making in dance animateuring practice: 1) The dancer should never aim to produce something specific but only to be present. 2) The performance shows that everyone can dance. 3) The performance is born from action, not from an idea. 4) The performance is multisensory and multidisciplinary artwork. 5) The performance is incomplete and ambiguous. 6) The performance challenges the conventional ways of seeing the world and people.

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Kishore, P. V. V., K. V. V. Kumar, E. Kiran Kumar, A. S. C. S. Sastry, M. Teja Kiran, D. Anil Kumar, and M. V. D. Prasad. "Indian Classical Dance Action Identification and Classification with Convolutional Neural Networks." Advances in Multimedia 2018 (2018): 1–10. http://dx.doi.org/10.1155/2018/5141402.

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Extracting and recognizing complex human movements from unconstrained online/offline video sequence is a challenging task in computer vision. This paper proposes the classification of Indian classical dance actions using a powerful artificial intelligence tool: convolutional neural networks (CNN). In this work, human action recognition on Indian classical dance videos is performed on recordings from both offline (controlled recording) and online (live performances, YouTube) data. The offline data is created with ten different subjects performing 200 familiar dance mudras/poses from different Indian classical dance forms under various background environments. The online dance data is collected from YouTube for ten different subjects. Each dance pose is occupied for 60 frames or images in a video in both the cases. CNN training is performed with 8 different sample sizes, each consisting of multiple sets of subjects. The remaining 2 samples are used for testing the trained CNN. Different CNN architectures were designed and tested with our data to obtain a better accuracy in recognition. We achieved a 93.33% recognition rate compared to other classifier models reported on the same dataset.

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Yun, Jieun. "Effective Approaches to a General Dance Education for Activating Dance as Art : A Focus on Action Research." Journal of Dance Society for Documentation & History 40 (March 31, 2016): 247–69. http://dx.doi.org/10.26861/sddh.2016.40.247.

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Gingrasso, Susan. "Practical Resources for Dance Educators! NDEO's Priorities for Dance Education in Action." Dance Education in Practice 4, no. 2 (April 3, 2018): 33–36. http://dx.doi.org/10.1080/23734833.2018.1457375.

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Ailamazjan, Aida M. "Free dance as a cultural-historical practice of improvisation." National Psychological Journal 41, no. 1 (2021): 175–92. http://dx.doi.org/10.11621/npj.2021.0114.

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Background. Plastic, expressive aspects of human behaviour remain underresearched by psychologists. The focus on practices of improvisation is determined by the fact that they show most vividly how expressive movement comes into being. Objective. The aim of the study is to provide psychological analysis of improvised dance action, to identify the conditions of its generation. The hypothesis put forward concerns the formation of overall personal attitude that makes one ready to perform expressive movement in the context of musical-motional improvisation. It seems probable that the principles of movement organisation within free dance practices concern the formation of attitude that lets one perceive spontaneous, involuntary impulses to movement, changes of tonus and breath. Design. The study is a piece of theoretic-psychological analysis of improvisation dance practice. In terms of methodological and theoretical basis the study relies on cultural-historical psychology and theory of action, as well as on N.A. Bernstein’s conception of movement building. There theories allow to reconstruct the conditions of expressive movement generation in the context of musical-motional improvisation. Results. The analysis performed has shown that the principles of movement organisation, the technical aspects of the practices studied are aimed at increasing the degree of freedom of movement. It allows to enhance the receptivity to spontaneous reactions and impulses and to widen the orientation within the context of musical-motional improvisation. It makes one move in a more meaningful way and to integrate the personality into improvisation. Conclusions. Alongside with the practices of structured dances and reproductive approaches to mastering expressive movement, there are cultural-historical practices of improvisation dances. The analysis of such practices allows to single out psychological conditions and and peculiarities of movement organisation that make one generate spontaneous actions, find and try new objectives, plastic forms. Generation of spontaneous movement and musical-plastic improvisation are possible due to tuning up the whole human personality. Openness as personal attitude has its meaningful as well as motional component.

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Giguere, Miriam. "Dance education action research: a twin study." Research in Dance Education 16, no. 1 (December 13, 2014): 16–32. http://dx.doi.org/10.1080/14647893.2014.971231.

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Sustiawati, Ni Luh, and I. Ketut Sariada. "Inventory And Documentation For Bebali Mask Dance." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 3, no. 1 (August 26, 2020): 25–30. http://dx.doi.org/10.31091/lekesan.v3i1.1100.

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The objective of this research is to describe the kinds and the function of Bebali mask dances in each regency or municipality in Bali province and the perception of the public about them. This research was conducted in 9 districts / cities in Bali, namely Jembrana, Buleleng, Tabanan, Badung, Denpasar, Gianyar, Klungkung, Bangli and Karangasem, each represented by the two villages that develop the Bebali Mask dance. This research intended to expose a phenomenon, therefore it applies the phenomenological qualitative approach. It was chosen due to the consideration that this research is focused upon action or activity by one or more people related to the making of inventory and documenting the Bebali mask dance in Bali province, by classifying the kinds and functions of Bebali mask dances and by uncovering the perception of the public concerning the Bebali mask dance in the regencies/municipalities in Bali. The result shows that almost all instances of Bebali mask dance, especially the Pajegan variety, is connected with religious rituals, such as the Dewa Yadnya, Resi Yadnya, Pitra Yadnya, Manusa Yadnya, and Bhuta Yadnya. The Bebali mask dance in the province of Bali symbolizes the cycle of human life which can be described as a circle where life rotates naturally. The mask dance contains an ideal of how to live a life, that is to strike a balance between the adoration of the Divine and compassion and duty to fellow men and love of nature, which in Hindu philosophy is called “Tri Hita Karana”.

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Turner, Alasdair. "Partners in the street ballet: An embodied process of person-space coupling in the built environment." Environment and Planning B: Urban Analytics and City Science 44, no. 2 (July 27, 2016): 294–307. http://dx.doi.org/10.1177/0265813516638185.

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The diurnal movements of pedestrians in the built environment are sometimes typified as a ‘street ballet’, where each actor or dancer has their own set role within a larger complex. Every individual in the ballet may have many influences on their behaviour including the physical layout of the environment, cognitive strategies to navigate it, experiential or affective preferences as well as social, economic and political factors, but ultimately each one seems to obey apparently choreographed actions. The aim of this article is to understand whether or not there is in fact an underlying choreography to the ballet, in that certain steps or moves are more likely than others, such that a ‘dance’ through daily life is constructed. To do so, simple automata that use active perception to inhabit the world are evolved against different tasks within the environment, representing different sets of moves that may be taken. It is shown that any evolved automaton appears to embody a mathematical person–space relationship that joins visual affordance with motor action: the convergence of a simple Markov model of visual movement. From the Markov model, a general model of embodied action in the environment is proposed, whereby memory of the dance is ingrained over evolutionary history, such that it forms building blocks for non-discursive action within the built environment and comprises a possible common phenomenological framework.

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Van Camp, Julie C. "Dance and the Philosophy of Action: A Framework for the Aesthetics of Dance." British Journal of Aesthetics 59, no. 3 (February 17, 2019): 348–51. http://dx.doi.org/10.1093/aesthj/ayy049.

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V.V. Kumar, K., and P. V.V. Kishore. "Indian classical dance action identification using adaptive graph matching from unconstrained videos." International Journal of Engineering & Technology 7, no. 1.1 (December 21, 2017): 500. http://dx.doi.org/10.14419/ijet.v7i1.1.10156.

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Extracting and recognizing complex human movements from unconstraint online video sequence is a challenging task. In this work the problem becomes complicated by the use of unconstraint video sequences belonging to Indian classical dance forms. A new segmentation model is developed using discrete wavelet transform and local binary pattern features for segmentation. We also explore multiple feature fusion models with early fusion and late fusion techniques for improving the classification process. The extracted features were represented as a graph and a novel adaptive graph matching algorithm is proposed. We test the algorithms on online dance videos and on an Indian classical dance dataset prepared in our lab. The algorithms were tested for accuracy and correctness in identifying the dance postures.

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Hawkins, Maureen S. G. "‘For all the outcasts of this world’: Song and Dance in Brendan Behan's An Giall and The Hostage." Irish University Review 44, no. 1 (May 2014): 116–28. http://dx.doi.org/10.3366/iur.2014.0106.

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In Brendan Behan's An Giall and The Hostage, song and dance establish atmosphere and character, comment ironically on the action, relate the characters to one another in a union of society's outcasts, and valorize life, love, healthy and open sexuality, and mutual comfort over the rules and regulations (and those who live by them) of a repressive, hypocritical, moribund, even murderous society. Thus, they provide a thematic structural underpinning, supporting and, at the same time, commenting on the essential unity of the plays' actions as they guide the audience's response to their themes. In An Giall, the counterpoise of religion, destructive nationalism, and life-celebrating songs and dances subtly establishes and develops its central theme: the doomed struggle of youth, love, and joy to survive in a death-oriented society. In The Hostage, the increased reliance on song and dance to convey more diverse and subtle political concerns leads to greater complexity in their use. Not only do they establish atmosphere, theme, and character; link and divide characters; undercut sentimentality and hypocrisy; satirise society; and celebrate love, sexuality, youth, and fun; but, in doing so, they provide a unity of purpose and theme for the play which replaces the more traditional unity of action.

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Werther, Janet. "Queer As a Verb: Critical Reflections on the Explode! queer dance festival." TDR/The Drama Review 63, no. 1 (March 2019): 151–58. http://dx.doi.org/10.1162/dram_a_00822.

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The Explode! queer dance festival was a continuation of the ongoing multimedia project that is Queer Dance, comprising a 2012 conference, the 2015 Confetti Sunrise dance series in Ann Arbor, MI, and the 2017 volume Queer Dance: Meanings and Makings with its associated video archive. The festival of 12 performances by 9 artists or groups revealed queer dance as embodied action, at once opaque, evocative, and deeply imbricated in the social.

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Carr, David. "THOUGHT AND ACTION IN THE ART OF DANCE." British Journal of Aesthetics 27, no. 4 (1987): 345–57. http://dx.doi.org/10.1093/bjaesthetics/27.4.345.

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Gingrasso, Susan. "Practical Resources for Dance Educators! NDEO Priorities for Dance Education: Our Call to Action." Dance Education in Practice 3, no. 1 (January 2, 2017): 6–11. http://dx.doi.org/10.1080/23734833.2017.1269556.

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Obeng, Pashington. "Siddi Street Theatre and Dance in North Karnataka, South India." African Diaspora 4, no. 1 (2011): 1–26. http://dx.doi.org/10.1163/187254611x566080.

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Abstract The Karnataka African Indians (Siddis, Habshis and Cafrees), drawing on both Indian performing arts and their African heritage, use dance and street theatre for political action, entertainment, social critique and self-expression. This paper focuses on Siddi dance and theatre in Uttara Kannada (North Karnataka), South India. Karnataka Siddis number about twenty thousand (Prasad, 2005). Using dramatic aesthetics, performers portray farming, hunting, child labour, violence against women and domestic work motifs to articulate Siddi grundnorms (foundational norms). I address how some Siddi dances and street theatre parallel and yet may differ from other performing arts in South India. Further, the paper complicates the current discourse on how diasporic African communities use the performing arts. My paper goes beyond the Atlantic Diaspora model. It examines ways in which Siddis of South Asia use their dance and theatre to express multiple domains of cultural art forms alongside the everyday use of such performances including a counter-hegemonic stance.

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Hartawan, I. Wayan, I. Nyoman Dhana, and I. Nyoman Sama. "Tari Baris Babuang pada Upacara Pegingsiran Jro Pingit di Desa Pengotan." Humanis 25, no. 1 (February 27, 2021): 111. http://dx.doi.org/10.24843/jh.2021.v25.i01.p14.

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Bali is one of the islands that is very well known to foreign countries. Besides being famous for its natural beauty it is also known by the nickname of the Thousand Temples. It is known that the Balinese are usually inseparable from the sacred arts which are believed to complement the ceremony. Meanwhile in the village of Pengotan has a sacred dance that is the Baris Babuang dance. Baris Babuang is one element of universal culture that is part of the arts. Baris Babuang dance is danced by carrying banana fronds which can also be called the papah biu war. This research focuses on two things, namely the Babuang Baris Dance Function at the Pegingsiran Jro Pingit ceremony in Pengotan Village and the Meaning of the Babuang Baris Dance at the Pegingsiran Jro Pingit ceremony in Pengotan Village. The purpose and objective of this research is to find out the function and meaning of the implementation of the Babuang Baris Dance at the Jro Pingit ceremony. Then the authors use the Functional Theory of B. Malinowski and the ceremonial theory of William Robertson Smith to help strip the results of the research. This study uses qualitative methods to describe an event or phenomenon that occurs in a research subject such as behavior, perception, motivational action holistically and analyzed by collecting data that has previously been recorded besides audio visual recording, then recorded again in the recapitulation sheet then processed in the form of scientific writing. The results of this study state that, the function of Babuang Row Dance in relation to public trust, functions as a reinforcement of solidarity between citizens and the meaning of Babuang Row Dance to invoke safety, the meaning of kinship meaning the symbol of harmonization.

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Destrinelli, D., and L. Leony. "Meningkatkan Keterampilan Gerak Tari Melalui Strategi Praktik Berpasangan Kelas IV SD Negeri 66/IV Kota Jambi." Jurnal Gentala Pendidikan Dasar 4, no. 1 (June 13, 2019): 41–63. http://dx.doi.org/10.22437/gentala.v4i1.6850.

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Abstract. This study aims to describe the application of paired practice strategies (Practice Rehearsal Pairs) to improve dance movement skills of students in 4th grade elementary school dance learning. This research was conducted in 66 / IV Public Elementary School in Jambi City in the even semester of the 2018/2019 academic year. This type of research is classroom action research, which consists of II cycles with procedures starting from planning, implementation, observation, and reflection. The subjects of this study were grade IVB students of SD 66 / IV in Jambi City. Instrument Data collection used was teacher action observation and practice test (performance) of student dance movement skills. Data were analyzed qualitatively and quantitatively. The results of the percentage of student practice tests (performance) amounted to 45% with less categories in the first cycle and increased in the second cycle by 82.5% in the good category. From the results of this study, it was concluded that by implementing a paired practice strategy (Practice Rehearsal Pairs) can improve students' dance skills in fourth grade elementary school dance learning. Keywords: Practice Rehearsal Pairs, dance movements skills

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Seko, Yukari, and Trish Van Katwyk. "Embodied interpretation: Assessing the knowledge produced through a dance-based inquiry." Aotearoa New Zealand Social Work 28, no. 4 (December 23, 2016): 54–66. http://dx.doi.org/10.11157/anzswj-vol28iss4id299.

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INTRODUCTION: Although the field of social work has experienced an exponential increase in the use of arts-based methodology, the way in which knowledge shared through artful presentations is understood by audience members remains understudied. As arts-based inquiry often involves active co-construction of meanings between researchers, participants and audiences, it is crucial for social work researchers to scrutinise the process of meaning making by audience members. In this article, we explore how audience members make sense of research findings presented through improvisational dance and how the provision of information about the dance may influence viewer responses.METHODS: A personal experience with self-injury documented in a creative poem was represented through the performance of improvisational dance pieces and assessed by two groups of viewers, with and without knowledge of the topic of the dances. The viewers were prompted to interpret the dances by reflecting on the feelings, thoughts and perceptions they had while watching the performance. A thematic analysis was conducted to compare and contrast the responses of the two groupsFINDINGS: By comparing the interpretations of informed and uninformed viewers, we suggest that interpretation can be influenced by normative, socially constructed assumptions that hinder empathic and action-inspiring engagement.CONCLUSION: We conclude the article with a discussion of potential implications for social work research, practice and education.

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Camilleri, Frank. "‘Yours Neutrally, Habitational Action’: Performance between Theatre and Dance." New Theatre Quarterly 29, no. 3 (July 31, 2013): 247–63. http://dx.doi.org/10.1017/s0266464x13000444.

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A milestone development in a practice-as-research investigation led to the identification of ‘habitational action’ as a term that resists a priori restrictions of inner–outer problematics when discussing performer processes. In this article Frank Camilleri cross-references the term with ‘neutral action’ to locate it conceptually and historically; first with Jacques Lecoq's pedagogical mask work, and then with Yvonne Rainer's conceptualization of the ‘neutral doer’. The cross-referencing to specific theatre and dance contexts is also intended to problematize psychophysicality as a central aspect of current actor training discourse. Frank Camilleri is Associate Professor in Theatre Studies at the University of Malta and Artistic Director of Icarus Performance Project. In 2007 he co-founded Icarus Publishing with Odin Teatret and the Grotowski Institute. He is also Visiting Professor in Theatre and Performance at the University of Huddersfield.

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Stevens, Catherine, and Shirley McKechnie. "Thinking in action: thought made visible in contemporary dance." Cognitive Processing 6, no. 4 (August 26, 2005): 243–52. http://dx.doi.org/10.1007/s10339-005-0014-x.

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Sevdalis, Vassilis, and Peter E. Keller. "Captured by motion: Dance, action understanding, and social cognition." Brain and Cognition 77, no. 2 (November 2011): 231–36. http://dx.doi.org/10.1016/j.bandc.2011.08.005.

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He, Hua. "Research on Human Action Recognition in Dance Video Images." Journal of Physics: Conference Series 1852, no. 2 (April 1, 2021): 022062. http://dx.doi.org/10.1088/1742-6596/1852/2/022062.

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Vieira, Alba Pedreira. "A Brazilian Hoe: Education in and through Dance—Unlocking Children's Potential for Dance Appreciation." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 284–92. http://dx.doi.org/10.1017/s2049125500001230.

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This paper discusses an action research project conducted for three semesters at two Brazilian cities: Vicosa and Paula Candido. It describes meanings, elements, and processes of education in dance appreciation experienced by K-12 public school students. The pedagogical method assured participants' attendance of ninety-minute dance classes once a week. The research method included qualitative analysis of more than two hundred written and oral answers from children and adolescents to questionnaires about dance appreciation, of their videotaped classes and performances, and of systematic on-site observations. The paper concludes with reflections on the future of dance appreciation in education.

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Liu, Hao. "The Study of Sports Dance Teaching Methods in the Multimedia Environment Based on Dancing Materials." Advanced Materials Research 282-283 (July 2011): 303–6. http://dx.doi.org/10.4028/www.scientific.net/amr.282-283.303.

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After consulting a large number of literature and experts, survey to the present situation of sports dance teaching methods that P.E. teachers used in the senior high school is not efficient. The author is deeply impressed that sports dance teaching in the multimedia environment provides conditions for students to establish action representation, arouse students' learning passion and enthusiasm, emphasize students` subjective dynamic role and cultivate students' self-confidence to complete the right technology action with the strong will and the ability. This paper raises that sports dance teacher should choose the best way which can achieve the teaching purpose and finish the teaching task in terms of the different teaching content stages and different levels of students， compounding the traditional and advanced multimedia technology organically. This study provides the theoretical basis and method reference in order to promote common college sports dance teaching method theory and teaching practice.

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Alistiana, Lisa. "Proses Kreativitas dan Apresiasi Seni Dalam Pembelajaran Seni Tari Bagi Mahasiswa PIAUD UIN Sunan Ampel Surabaya." Attadrib: Jurnal Pendidikan Guru Madrasah Ibtidaiyah 3, no. 2 (September 29, 2020): 19–25. http://dx.doi.org/10.54069/attadrib.v3i2.106.

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This study aims to develop creativity and appreciation of art in learning dance for students of UIN Sunan Ampel Surabaya PIAUD. Learning dance is very useful for PIAUD students because it can improve the ability to learn dance in art appreciation activities. Creativity in this research is to create a new thing in individual learning. In general, creativity and appreciation lead to the process of moving that drives someone in an action. Desires that must continue to be fostered for the process of learning dance one of them with a form of appreciation, because in the form of appreciation of art contains a beauty or aesthetic dance moves, as well as expression in learning dance know that dance creation also contains a beauty. The process of dance work will be an aesthetic experience for students who are in line with their educational interests through learning dance. This process is carried out continuously so that the appreciation of PIAUD students towards dance as expected and will increase and have creativity towards learning dance when they become kindergarten teachers.

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Van Meel, Jacques, Henriette Verburgh, and Marco De Meijer. "Children's Interpretations of Dance Expressions." Empirical Studies of the Arts 11, no. 2 (July 1993): 117–33. http://dx.doi.org/10.2190/v69n-vb0t-a9q3-tj04.

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Nine emotional themes were presented in dance expressions by a group of three professional dance students. In a first experiment these dance expressions were presented to children in the age groups of five-, eight-, ten-, and twelve-year-olds. Children's free response interpretations were analyzed for adequacy, conceptual level, and complexity of response. Clear age trends emerged, especially differentiating the five-year-olds from the other groups. In a second experiment a multiple choice response format was used. The same age trends were found. In a third experiment children with and without dance experience were compared. Experienced children used more emotional labels in interpreting the dance items. In the discussion it is suggested that, in the medium of dance, emotional interpretations gradually emerge from a preceding stage in which movements are imbued with action tendencies.

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Vass-Rhee, Freya. "Motion/Perception: William Forsythe's Spectatorial Shifts." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 206–11. http://dx.doi.org/10.1017/s2049125500000340.

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What do we mean when we talk about perception in/of dance? The movement of viewers of William Forsythe's dance and performance installation works affords perceptual change in multiple senses—sensory, cognitive, philosophical, aesthetic. This paper explores issues of action, perspective, and convention in the performance of dance spectatorship through a consideration of Forsythe's mobilized audiences. Moving within and between diverse disciplines, this paper simultaneously examines disciplinary specificity, variance, and crossover of the term “perception.”

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Rosita, Rosita. "PENINGKATAN KECERDASAN BODY KINESTHETIC MELALUI KEGIATAN TARI KREATIF (Penelitian Tindakan di Kelompok B TK/RA Daaruttuqo, Cipondoh)." JECIES: Journal of Early Childhood Islamic Education Study 1, no. 2 (October 6, 2020): 89–102. http://dx.doi.org/10.33853/jecies.v1i2.87.

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Objectives of the research are to determine the creative dance and to increase body kinesthetic intelligence of children through creative dance. This research was carried out in group B Daaruttuqo kindergarten, Cipondoh Tangerang with 10 subject , on the month from May to June. This research uses an action research design model of Kemmis and Mc Taggart, through two cycles consisting of seven meetings on the first cycle and seven meetings on the second cycle which includes the stages of planning, action, observation and reflection. Data analysis using quantitative and qualitative analysis. Data obtained by referring to the research instrument which refers to the body kinesthetic intelligence. The results showed an increase in body kinesthetic intelligence scores of children with the acquisition of body kinesthetic intelligence classical pre-action reached 37.5%, the first cycle increased the score reached 56.75% and the second cycle was obtained which satisfy the classical score reached 80.75 % so it can be concluded that the activity”creative dance” can improve children's body kinesthetic intelligence.

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German, Senta. "Dance in Bronze Age Greece." Dance Research Journal 39, no. 2 (2007): 23–42. http://dx.doi.org/10.1017/s0149767700000206.

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The identification of images of dance from antiquity is very difficult given the limitations of ancient forms of representation, the remoteness of the action itself, and the obscurity of its cultural contexts. These problems are magnified when one considers images of dance from preliterate cultures or those in which written language offers little insight. The following is an investigation into the representation of dance dating to the latter half of the Aegean Bronze Age, during the second millennium BC, as part of the visual culture of the Minoans and Mycenaeans from the island of Crete and the mainland of Greece respectively.

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Prieto, Laura, Michael L. Norris, and Luis Columna. "“Keep Moving”: Experiences of People With Parkinson’s and Their Care Partners in a Dance Class." Adapted Physical Activity Quarterly 38, no. 2 (April 1, 2021): 307–28. http://dx.doi.org/10.1123/apaq.2019-0125.

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The purpose of this study was to examine the experiences of people with Parkinson’s (PwP) and their care partners (CPs) who participated in a Parkinson’s-focused community dance class in a northeastern state of the United States. In this qualitative inquiry, participants included five PwP and their respective CPs (n = 5). Three major, recurrent, and interrelated themes emerged from the data. These themes were (a) keep moving, (b) compassion in action, and (c) acceptance and freedom in dance. These themes captured personal and environmental factors that influenced the participation of PwP and their CPs in a dance class and how they perceived that dance influenced their quality of life. The themes described the obstacles, motives, and perceived outcomes of participating in dance. The findings emphasize the need for future dance interventions and programs that consider the CPs’ role in promoting participation for PwP in dance classes.

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Stevens, Kym, Rachel A. Pedro, and Stephanie J. Hanrahan. "Building an authentic cultural curriculum through tertiary cultural dance." Arts and Humanities in Higher Education 19, no. 3 (March 6, 2019): 264–84. http://dx.doi.org/10.1177/1474022219833648.

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This study identified a range of pedagogies developed to promote global citizenship within a university Latin American dance unit. It implemented changes to teaching and learning approaches in the unit using the Biological Sciences Curriculum Study (BSCS) 5E Instructional Model, supporting learning that privileges transcultural connections to Latin America. The action research used a range of dance teaching pedagogies that were adapted, and evaluated, using the Structure of Observed Learning Outcomes (SOLO)Taxonomy, to support a culturally enriched student learning experience. The findings challenge traditional dance teaching pedagogies through meaningful engagements with the local Latin American dance community and a range of student and teacher reflective approaches.

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Leman, Marc, and Luiz Naveda. "Basic Gestures as Spatiotemporal Reference Frames for Repetitive Dance/Music Patterns in Samba and Charleston." Music Perception 28, no. 1 (September 1, 2010): 71–91. http://dx.doi.org/10.1525/mp.2010.28.1.71.

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The goal of the present study is to gain better insight into how dancers establish, through dancing, a spatiotemporal reference frame in synchrony with musical cues. With the aim of achieving this, repetitive dance patterns of samba and Charleston were recorded using a three-dimensional motion capture system. Geometric patterns then were extracted from each joint of the dancer's body. The method uses a body-centered reference frame and decomposes the movement into nonorthogonal periodicities that match periods of the musical meter. Musical cues (such as meter and loudness) as well as action-based cues (such as velocity) can be projected onto the patterns, thus providing spatiotemporal reference frames, or 'basic gestures,' for action-perception couplings. Conceptually speaking, the spatiotemporal reference frames control minimum effort points in action-perception couplings. They reside as memory patterns in the mental and/or motor domains, ready to be dynamically transformed in dance movements. The present study raises a number of hypotheses related to spatial cognition that may serve as guiding principles for future dance/music studies.

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Cullen, R., R. W. Carter, and H. Ross. "The government–non-government dance: collective action in New Zealand." Australasian Journal of Environmental Management 18, no. 3 (September 2011): 135–38. http://dx.doi.org/10.1080/14486563.2011.613151.

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Harrison, Alexandra M. "The sandwich model: The ‘music and dance’ of therapeutic action." International Journal of Psychoanalysis 95, no. 2 (April 2014): 313–40. http://dx.doi.org/10.1111/1745-8315.12113.

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Leventhal, Fern, and Meg Chang. "Dance/movement therapy with battered women: A paradigm of action." American Journal of Dance Therapy 13, no. 2 (1991): 131–45. http://dx.doi.org/10.1007/bf00844142.

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Kajiyama, Debby, and Jose Navarrete. "Environmental performance as social action: Navarrete x Kajiyama Dance Theater." Journal of Environmental Studies and Sciences 4, no. 2 (August 6, 2013): 180–82. http://dx.doi.org/10.1007/s13412-013-0121-4.

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Wass, Andrew. "Aristotle and Husserl go dancing: Solo improvised dance-making and the noetic cycle." Choreographic Practices 11, no. 1 (July 1, 2020): 29–42. http://dx.doi.org/10.1386/chor_00010_1.

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This article asserts that the practice of dance improvisation is the embodiment of the noetic cycle, the cyclical relationship of two theories of noesis, Aristotle’s and Husserl’s. Aristotle describes noesis as the thinking and planning of work to be done. Husserl’s noesis describes the reception of sensuous information and the translation of that information into actionable data. Using videos of my solo release-based improvised dancing in the studio, I discuss how each theory of noesis is present in practice. These theories of noesis, when seen as complementary to one another, reveal improvised dance making as arising from the interrelationship of awareness and action. The noetic cycle provides dance makers with more theoretical lenses for researching dance and shows that dance is a testing ground and the means for philosophical inquiry.

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Jay, Danielle. "Effect of a Dance Program on the Creativity of Preschool Handicapped Children." Adapted Physical Activity Quarterly 8, no. 4 (October 1991): 305–16. http://dx.doi.org/10.1123/apaq.8.4.305.

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The purpose of this study was to determine whether a dance program for preschool handicapped children can influence their creativity. This study was conducted in two schools in Illinois with 17 preschool handicapped children (Program I, N = 12; Program II, N = 5), ages 3 to 5 years. In each school there was a Program I and Program II. The children in Program I participated in the 12-week dance program which was based on sensory experiences utilizing Laban’s effort actions. Those in Program II did not have the dance program but did participate in an adapted physical education program. At the beginning and end of the study, the Torrance Test of Thinking Creatively in Action and Movement (TCAM) was administered individually. It consisted of three subscales: fluency, imagination, and originality. A two-way MANCOVA on the TCAM scores revealed that the experimental group improved over the comparison group (p <.05) on the set of subscale scores. Subsequent univariate ANCOVA analyses were performed on the data to determine which dependent measures were significantly different between the groups. The results demonstrated that imagination (p <.01) was significantly changed by the dance program but that fluency and originality were not.

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Adnan, Nerosti. "Tiga Gaya Tari Rantak Kudo Berpotensi Sebagai Sajian Pariwisata Di Kawasan Mandeh Dan Sekitarnya." Journal of Urban Society's Arts 4, no. 2 (December 26, 2018): 89–102. http://dx.doi.org/10.24821/jousa.v4i2.2162.

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This article is part of the research (2017) to analyze the style of Pesisir Selatan dance in textual and contextual. The study focuses on the style of dance Rantak Kudo from Nagari Painan Timur, Laban, and Bayang. Textual analysis includes (a) Attitude of the body; (b) Transition type of motion; (c) the dimensions of motion; (d) Active moving parts of the body; And (e) Action and effort. Contextual analysis includes the geographical areas of dance, customs, and community life structures. Descriptive evaluative method by comparing the three areas of dance development, namely Rantak Kudo dance of Talaok (Bayang), Rantak Kudo dance of Painan Timur, and Rantak Kudo dance of Laban. The discovery found that Rantak Kudo dance of Talaok there is a tendency to make a humble movement to the earth, jerking feet rigidly to the ground closely related to the livelihood of the dominant community farming both fields and fields. Rantak Kudo dance of Painan Timur is more varied with patterned motion arrangement leads to artistic, expressing patterns of life and ways of thinking of a developing society. Rantak Kudo dance of Laban, with its close influence of the dance development area of the coast as well as the friendly and intimate style and attitudes of the people, is highly visible in the flexible or non-rigid motion style.

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Atkins, Rahshida, Janet Deatrick, Cory Bowman, Ansley Bolick, Ian McCurry, and Terri Lipman. "University–Community Partnerships Using a Participatory Action Research Model to Evaluate the Impact of Dance for Health." Behavioral Sciences 8, no. 12 (December 14, 2018): 113. http://dx.doi.org/10.3390/bs8120113.

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Little is known about fostering sustainable, collaborative community-academic partnerships that effectively improve physical activity and health in residents of under resourced communities using Participatory Action Research (PAR) driven models. The purpose of this PAR study was to evaluate the impact of an urban, intergenerational, and physical activity dance program by identifying community preferred measurable outcomes that promote program participation and sustainability. A descriptive, qualitative design was employed using semi-structured interview guides to facilitate discussions for two adult focus groups and one youth focus group. Exactly 19 community-residing adults and six youth who lived in urban neighborhoods in West Philadelphia participated in the discussions. The audiotapes were transcribed and analyzed using directed content analysis. Five outcome themes emerged and included: (1). Enhancing the psychological and emotional well-being of the individual, (2). Enhancement of social well-being and management of interpersonal relationships and responsibilities (3). Enhancing and promoting physiologic well-being (4). Changes in health promoting behaviors and skill acquisition, and (5). Concerns about accessibility of dance for health and other physical activity programs in the community. Focused attention to measuring community preferred outcomes can promote sustainability of Dance for Health and possibly other urban-based physical activity dance programs.

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Journal articles on the topic 'Dance action'

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