Relevant bibliographies by topics / Dance and dance studies

Academic literature on the topic 'Dance and dance studies'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Dance and dance studies"

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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.

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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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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.

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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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Nowak, Tomasz. "The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies." Musicology Today 11, no. 1 (December 1, 2014): 13–22. http://dx.doi.org/10.2478/muso-2014-0011.

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Abstract The mainstream fields of Polish dance research were defined in 1818–1847 by Józef Elsner, Kazimierz Brodziński, Łukasz Gołębiowski and Karol Czerniawski, who broadly characterized some elements of the dances considered as national (the polonaise, mazur, krakowiak and kozak). Oskar Kolberg knew very well the works of all these authors and referred to them many times. However, he was unique in his extensive documentation of dance melodies, information about their geographic origin, and local terminology. He also characterized the dances with regard to their sequence in the traditional context and described the dance technique in an instructive manner. Oskar Kolberg’s documentation for quite a long time remained outside the scope of mainstream research and publications about dance in Poland. In the 1930s Polish representatives of the newly defined field of ethnochoreology were the first to include examples from Kolberg in their works on the ritual dances, regional dances and characteristic dance behaviour types and forms. Kolberg’s works increased in popularity after the World War II. Today the materials left by Oskar Kolberg allow us to establish to a large extent the geographic range and perspective on the changes of dance repertoire, both with regard to choreographic technique and dance types, or a more detailed and critical perspective on the problems of folk terminology in dance phenomena. It may also serve as the point of departure for wider retrospective or comparative studies – which may not be very fashionable today, but which have never been adequately conducted in Poland.
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Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 2 (August 2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.

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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.
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Nugroho, Slamet. "Makna Tarian Sufi Perspektif Komunitas Tari Sufi Dervishe Pekalongan." JOUSIP: Journal of Sufism and Psychotherapy 1, no. 1 (June 10, 2021): 69–84. http://dx.doi.org/10.28918/jousip.v1i1.3880.

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Spiritual dance has a deep meaning. One of the Sufi dancers from Dervishe Pekalongan revealed that there are many meanings contained in the dance, one of which is love. The dancer must present love in his heart and in every breath only for Allah, from feelings of love it is hoped that all Sufi dancers can accept and live all life in the world with great love for Allah. Based on this, it is studied about the Meaning of Sufi Dance from the Perspective of the Sufi Dance Community Dervishe Pekalongan. This research is a type of qualitative research. The main target of the research is how to implement the meaning of Sufi dance in the daily life of the Sufi Dance community of Dervishe Pekalongan. The results show that in Sufi dances there are attributes used by the dancers and the movements they perform, including: Sikke, tennur, black belt, and Khuff. The meaning of Sufi dance in the perspective of the Sufi dance community of Dervishe Pekalongan consists of two descriptions, namely the meaning of the attributes and the meaning of the movement.
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Odefunso, Adebunmi E., Esteban Garcia Bravo, and Yingjie V. Chen. "Traditional African Dances Preservation Using Deep Learning Techniques." Proceedings of the ACM on Computer Graphics and Interactive Techniques 5, no. 4 (September 6, 2022): 1–11. http://dx.doi.org/10.1145/3533608.

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Human action recognition continues to evolve and improve through deep learning techniques. There have been studies with some success in the field of action recognition, but only a few of them have focused on traditional dance. This is because dance actions, especially in traditional African dance, are long and involve fast movements. This research proposes a novel framework that applies data science algorithms to the field of cultural preservation by applying various deep learning techniques to identify, classify, and model traditional African dances from videos. Traditional dances are an important part of African culture and heritage. Digital preservation of these dances in their multitude and form is a challenging problem. The dance dataset was constituted from freely available YouTube videos. Four traditional African dances were used for the dance classification process: Adowa, Swange, Bata, and Sinte dance. Five Convolutional Neural Network (CNN) models were used for the classification and achieved an accuracy between 93% and 98%. Additionally, human pose estimation algorithms were applied to Sinte dance. A model of Sinte dance that can be exported to other environments was obtained.
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Roseman, Marina, and Felicia Hughes-Freeland. "The Dancer and the Dance." Ethnomusicology 38, no. 2 (1994): 389. http://dx.doi.org/10.2307/851760.

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Coorevits, Esther, and Dirk Moelants. "Tempo in Baroque Music and Dance." Music Perception 33, no. 5 (June 1, 2016): 523–45. http://dx.doi.org/10.1525/mp.2016.33.5.523.

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Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting methodologies in studies on music and dance. Insight into the relation between dance and music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in music performance practice today, the link with the original dance movement is often lost and the tempo variation can be very large. The aim of this study is to compare the interpretations of dancers and musicians regarding Baroque music and dance in an experimental setting. First, we investigate the influence of dance movement on the musical interpretation of a series of Baroque dances. The pieces were recorded both with and without dance accompaniment and the tempo and timing in the different versions were compared. In the second part, dancers performed a particular choreography to music that varied in tempo. Video analysis and questionnaire data were used to evaluate the different performances. The results were compared with the tempi of music recordings of the same dance types, showing a clear difference between music and dance performance. Musicians adapt their interpretation when performing together with the dancers, and the optimal tempo range found for certain Baroque dances coincides only partly with the tempi commonly found in music recordings. The direct link between music and movement and its mutual influence illustrates the importance of an embodied approach in music performance, where in this case dance movement gives concrete information for a “historically informed” performance.
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Schroedter, Stephanie. "Embodying Musical Space." Congress on Research in Dance Conference Proceedings 2012 (2012): 132–39. http://dx.doi.org/10.1017/cor.2012.17.

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The epoch-making dance reforms of the early twentieth century did not only lead to new dance techniques, styles, and movement concepts, but also to an intensive search for new dialogues between music/sound and dance/movement. These new interactions were notable for their reliance on pre-existing music that was usually not intended for dance. Analogous to the choreographers' search for new movements in new (sound) spaces, composers looked for a new physicality of sounds (musical gestures), as well as for new spaces inside and outside of these sounds. Following these mid-twentieth-century developments, choreographers have increasingly chosen “new music” for their creations—compositions beyond the classical repertoire. In my paper, I will explore the choreographic possibilities of “new (non-dance) music” by comparing two examples: Bill T. Jones' solo danced to Edgar Varèses' Ionisation and a solo created by Martin Schläpfer using György Ligeti's Ramification. These examples will serve as case studies to argue for my concept of “kinesthetic listening,” which can be applied to a more general approach to discussions of the embodiment of music. This concept includes not only the perspective of the choreographer and interpreter/dancer, but also the perception of the spectator/listener. As a precondition, music/sound is understood as movement: an audible but not visible, rather an imaginable/imaginary movement that can (but need not) interact with body movements. Body movements/dance, in turn, can interact with music according to different choreographic strategies. To analyze these choreomusical dialogues, a special combination of (and training in) listening to and watching movement is required—informed by models of analysis from musicology and dance studies as well as from phenomenology and cognitive sciences.
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Varga, Sándor. "Two Traditional Central Transylvanian Dances and Their Economic and Cultural/Political Background." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 39–64. http://dx.doi.org/10.1556/022.2020.00004.

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This study focuses on a theme that until now has only been addressed to a lesser degree in dance folkloristics, namely the relationship between dance and politics. I examine two types of Central Transylvanian folk dance, the local variations of the dance group called eszközös pásztortánc (Herdsmen’s Dance with implement) and the local variations of the dance group called lassú legényes (slow male dance), attempting to study their transformation in terms of form and function during the 20th century in a traditional and revival context.1 Using two case studies, I also reflect on the unique system of relations between folklorism and folklorisation in an attempt to illustrate Hungarian and Romanian socio-economic factors and cultural policy underlying the transformation of these dances.
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Dissertations / Theses on the topic "Dance and dance studies"

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Bidgood, Lee, and Joseph Sobol. "Performance at Historic Jonesborough Dance Society Contra Dance." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1061.

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Meijer, Kim. "Let the Gods Dance| Transformation Through Haitian Dance." Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1690650.

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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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Bidgood, Lee, Trae McMaken, and Roy Andrade. "Performance at Historic Jonesborough Dance Society Contra Dance." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3260.

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Brauner, Nathan. "Dance Gala 2016: navigating stage management in dance." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5425.

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Jeong, Ok Hee. "REMEMBERING AND REPRESENTING DANCE: RE-TRACING THE GENEALOGY OF NONFICTIONAL ANALOG DANCE MEDIA IN THE FORMATION OF THE NORTH AMERICAN DANCE FIELD." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/201041.

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Dance
Ph.D.
This dissertation shed light on the hitherto overshadowed area of nonfictional analog dance media by contextualizing and historicizing it within the North American dance field. It is a revisionist historiography examining how nonfictional dance media has been conceptualized, regulated, and institutionalized in tandem with the North American dance field's agenda of legitimizing dance as an artistic and academic field. Approaching the discursive shape of nonfictional analog dance media as a unique cultural construction, I argue that nonfictional dance media is not a simple stand-in for live dance, but an ambiguous and ambivalent object reflecting our beliefs and desires projected on dance. Thus, I suggest that nonfictional dance media provides a strategic setting for reconsideration of the operation of the dance field, especially that of North America. The research questions this study addresses include the following: how was the field of nonfictional dance media formulated and institutionalized according to the North American dance field's agenda of legitimizing dance as an artistic and academic field; how has nonfictional dance media constituted and reconceptualized the knowledge claims in the dance field by preserving and representing dance; and how has the discourse of nonfictional media resonated with the discourse of dance in modernity? As a historiography, I re-write the genealogy of nonfictional analog dance media within the formation of the North American field between 1927 and the 1980s. Also, for case studies, I compare the New York Public Library's Dance Division and the George Balanchine Foundation Video Archives to examine the discourse of dance preservation, while analyzing the schism between the intention and the reception of an ambitious TV dance program Dancing (Channel 13/WNET, 1993) to examine the discourse of dance representation. In so doing, I explore how nonfictional dance media has shaped and been shaped by the North American dance field's internal conceptualization of dance knowledge and external advocacy of legitimizing dance in its society. This study suggests that nonfictional dance media is--just as dance is--a phenomenon with cultural, economic, and political implications and imbalances. Particularly highlighting that media's duality of an icon and an index corresponds with the conceptualization of dance as choreography and performance, I further find that this duality resonates with the ambivalent desires of the modernist temporality. While time has been rationalized, the attraction of contingency has also increased in reaction to it. Similarly, while nonfictional analog dance media has been rationalized, controlled, and institutionalized according to the American dance field's agenda of legitimizing dance, this effort of rationalization not only raised the criteria of knowledge claims but also enhanced the attraction of the irrational, contingent aspect of dance. Given that, this dissertation argues that nonfictional dance media is not a simple imprint of dance but the barometer of ambivalent and fluid beliefs and desires projected on it.
Temple University--Theses
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Bidgood, Lee. "Music and Dance in Appalachia." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1088.

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Son, Munmi. "Dance as Healing Therapy| The Use of Korean Traditional Mission Dance in Overcoming Oppression." Thesis, California State University, Los Angeles, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10814071.

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Korean traditional mission dance originates in worship ceremonies in Christian churches and missionary settings, but inherits movement, floor patterns, and motifs from Korean folk dances that are performed as ceremonial rituals. This thesis suggests that as women connect to the healing power present in Korean traditional dance and its hybrid forms, they may be aided in healing from negative experiences with sexist oppression. The author discusses intersectional oppression she experienced in Korea through an autoethnographic research process, her experiences with Korean traditional mission dance pioneered by Soon Ja Park and considers identity transformation and healing in the context of her work as director of the L.A. Argon Mission Dance group. In this way, she expands a choreography model to further these healing processes.

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Caudill, Matthew A. "Learning to dance while becoming a dancer identity construction as a performing art /." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001024.

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Lee, Tsung-Hsin. "Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594914032775976.

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Malmquist, Cassandra Muree Kathleen. "Theatre and dance lighting design." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1688.

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Books on the topic "Dance and dance studies"

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Dance. London: Dorling Kindersley, 2000.

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Grau, Andrée. Dance. London: Dorling Kindersley, 1998.

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Grau, Andrée. Dance. London: DK, 2005.

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Grau, Andrée. Dance. London: DK, 2005.

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Grau, Andrée. Dance. New York: Knopf, 1998.

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Tythacott, Louise. Dance. New York: Thomson Learning, 1995.

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Dance studies: the basics. London: Routledge, 2012.

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1945-, Adams Doug, and Apostolos-Cappadona Diane, eds. Dance as religious studies. New York, N.Y: Crossroad Pub. Co., 1990.

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New German dance studies. Urbana: University of Illinois Press, 2012.

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Pattison, Melanie. Critical studies in dance education. [s.l.]: typescript, 1995.

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Book chapters on the topic "Dance and dance studies"

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George-Graves, Nadine. "Black Dance." In The Routledge Companion to Dance Studies, 223–35. First Edition. | New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315306551-15.

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Markula, Pirkko, and Marianne Clark. "Dance practices." In Routledge Handbook of Physical Cultural Studies, 93–101. Abingdon, Oxon; New York, NY: Routledge, 2017. | Series:: Routledge, 2017. http://dx.doi.org/10.4324/9781315745664-10.

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Morris, Gay. "Dance studies/cultural studies." In The Routledge Dance Studies Reader, 38–48. New third edition, Expanded and updated edition. | New York : Routledge, 2019. | “Second edition published by Routledge 2010”–T.p. verso.: Routledge, 2018. http://dx.doi.org/10.4324/9781315109695-4.

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Waelde, Charlotte. "Dance and Copyright." In The Routledge Companion to Dance Studies, 323–36. First Edition. | New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315306551-23.

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Stephanie, Jordan. "Choreomusicology and Dance Studies." In The Routledge Companion to Dance Studies, 141–56. First Edition. | New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315306551-10.

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Manning, Susan. "Race in motion: modern dance, negro dance, and Katherine Dunham." In The Routledge Dance Studies Reader, 234–45. New third edition, Expanded and updated edition. | New York : Routledge, 2019. | “Second edition published by Routledge 2010”–T.p. verso.: Routledge, 2018. http://dx.doi.org/10.4324/9781315109695-22.

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Layson, June. "Dance history source materials." In The Routledge Dance Studies Reader, 19–28. New third edition, Expanded and updated edition. | New York : Routledge, 2019. | “Second edition published by Routledge 2010”–T.p. verso.: Routledge, 2018. http://dx.doi.org/10.4324/9781315109695-2.

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Rothfield, Philippa. "Differentiating Phenomenology and Dance." In The Routledge Dance Studies Reader, 77–92. New third edition, Expanded and updated edition. | New York : Routledge, 2019. | “Second edition published by Routledge 2010”–T.p. verso.: Routledge, 2018. http://dx.doi.org/10.4324/9781315109695-8.

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Foster, Susan Leigh. "Selling and Giving Dance." In The Routledge Companion to Dance Studies, 273–82. First Edition. | New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315306551-19.

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Bugg, Jessica. "Dressing Dance–Dancing Dress." In The Routledge Companion to Dance Studies, 353–64. First Edition. | New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315306551-25.

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Conference papers on the topic "Dance and dance studies"

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Zeng, Li, and Huabing Zhou. "The Dance Morphological Characteristics of Wuyuan Nuo Dance." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.21.

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"SOME FEATURES OF THE UZBEK NATIONAL DANCE AND QUESTIONS OF FOLKLORE DANCE STUDIES." In Advanced studies in science: Theory and practice. Global Partnership on Development of Scientific Cooperation LLC., 2015. http://dx.doi.org/10.17809/10(2015)-07.

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Levia, Ninda, and Indrayuda. "Comparative Study of Silampari Kayangan Tinggi Dance and Sambut Silampari Dance at Lubuklinggau City." In International Conference On Social Studies, Globalisation And Technology (ICSSGT 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200803.012.

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Zhang, Rui. "Research of Oroqen Dance Culture." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.57.

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Li, Xiujia. "The Characteristics of Dance Style of Vcham Dance of Vajrayana, Tibetan Religion." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.131.

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Zhang, Zhihua, and Yu Liu. "Learning Dance in Games: Study on the Innovation of Dance Teaching of Preschool Education Specialty." In International Conference on Education Studies: Experience and Innovation (ICESEI 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201128.061.

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Ouyang, Xiao-qin. "Li firewood dance studies in college education." In 2014 International Conference on Education, Management and Computing Technology (ICEMCT-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icemct-14.2014.137.

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Liu, Jingxian. "Research on the Artistic Conception Creation of National Dance Works." In 2021 4th International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2021. http://dx.doi.org/10.25236/icallh.2021.002.

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Artistic conception is an important part of Chinese classical art creation, which is the highest realm in the process of artistic pursuit, and also the highest requirement of dance art creation. Especially in the new era, art presents a trend of diversified development, and the creation of artistic conception in national dance works has become an important embodiment of its own artistic attainments. This paper mainly analyzes the related content of national dance artistic conception, and studies the artistic conception creation of national dance works, hoping to provide some reference for the creation of national dance works in China.
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Gimunová, Marta, Tomáš Vodička, Kristián Jánsky, Miriam Kalichová, Antonín Zderčík, Alena Skotáková, Petr Hedbávný, and Kateřina Kolářová. "The effect of classical ballet, Slovakian folklore dance and sport dance on static postural control in female and male dancers." In 12th International Conference on Kinanthropology. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9631-2020-4.

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Purpose: Classical ballet, Slovakian folklore dance, and sport dance training differ in their way how to master the art of dance; however, postural control is essential for the correct exe-cution of complex movements used in all types of dance. The aim of this study was to analyse the differences in static postural control between classical ballet dancers, Slovakian folklore dancers and sport dancers and to analyse the effect of body mass, body height and toe grip strength on postural control. Methods: 68 dancers, between 17 to 28 years of age, participated in this study: 21 dancers from Slovakian folklore dance group VSLPT Poľana Brno (12 females, 9 males), 22 dancers from Brno Dance conservatory (16 females, 6 males) and 25 sport dancers competing at Brno Dance Open 2019 (12 females, 13 males). All participants were asked to stand upright, barefooted, arms along the body, both feet on the Emed-at platform (Novel GmbH, Germany) for 10 seconds with their eyes open to obtain the length of COP line (cm), average velocity of COP (cm/s), the elliptic area (mm2) and numerical eccentricity of the ellipse. The toe grip strength was measured for each foot when sitting using toe grip dynamometer (Takei Scien-tific Instruments, Niigata, Japan). To analyse the effect of dance style, to grip strength, body mass, body height, and gender on postural control variables, Kruskal Wallis test, and Spear-man Rank Order Correlation were used. Results: Abetter postural stability measured by the length and average velocity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. Sport dancers are used to a greater load on the forefoot and to a special foot roll-of pattern when dancing, which may lead together with a constantly changing environment during competi-tions to their enhanced postural stability. Despite the differences in dance training and dance footwear of female and male dancers (high-heel shoes in sport and Slovakian folklore female dancers, pointe shoes in female ballet dancers), no statistically significant difference in pos-tural variables between genders was observed. Similarly, in analysed dancers, no effect of age, body mass, and body weight on postural control were observed. The toe grip strength was not observed to affect the postural variables in this study. The greatest toe grip strength was observed in female ballet dancers, despite their younger age. Ballet dance training in-cludes repetitive exercises focused on foot and toes such as battement tendu or demi-pointe and en pointe positions probably resulting in the greater strength of the toes. Conclusion: In this study, better postural stability measured by the length and average ve-locity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. In analysed dancers, no effect of body mass, body weight, gender, and toe grip strength on postural control variables was observed. Future studies focused on postural stability changes in non-dancers after a sport dance, classical ballet and Slovakian folklore dance training program would provide additional knowledge about the process how each type of dance enhance the balance and other coordinative skills.
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Dennett, Nolan. "The Role of Critic: Reflections on Contemporary Dance Art." In Annual International Conference on Contemporary Cultural Studies (CCS 2017). Global Science & Technology Forum (GSTF), 2017. http://dx.doi.org/10.5176/2382-5650_ccs17.7.

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Reports on the topic "Dance and dance studies"

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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.

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Burch, Kaitlyn. Dance Lessons. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.256.

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Creger, Michael. Dance of Dreams. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6775.

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Wang, Xiao, Hong Shen, Yujie Liang, Yixin Wang, Meiqi Zhang, and Hongtao Ma. Effectiveness of Tango Intervention on Motor Symptoms in Patients with Parkinson's Disease: A Protocol for Systematic Review and Meta-Analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, May 2022. http://dx.doi.org/10.37766/inplasy2022.5.0009.

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Review question / Objective: Parkinson's disease (PD) is a degenerative neurological disease caused by the loss of dopaminergic neurons in the pars compacta of the substantia nigra of the brain, resulting in lesions in the basal ganglia. The main motor symptoms of PD include resting tremor, rigidity, akinesia or bradykinesia and postural instability. As an exercise intervention based on musical accompaniment, tango dance has shown positive effects on the rehabilitation of motor symptoms in PD patients in recently. In this study, we systematically reviewed the efficacy of tango intervention in alleviating the motor symptoms of patients with PD. Condition being studied: Parkinson. Information sources: The following electronic databases will be searched: PubMed, Cochrane Central Register of Controlled Trials (CENTRAL), Web of Science Core collection, and China National Knowledge Infrastructure Database (CNKI) and WanFang Database.
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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.

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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.

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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.

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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.

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Warren, Marc L. Teaching the JAG Elephant to Dance...Again. Fort Belvoir, VA: Defense Technical Information Center, April 2002. http://dx.doi.org/10.21236/ada404517.

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Anderson, Robin. Dance and self concept change in women. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2983.

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