Relevant bibliographies by topics / Dance body movements

Academic literature on the topic 'Dance body movements'

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

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Journal articles on the topic "Dance body movements"

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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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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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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping." Baltic Journal of Sport and Health Sciences 1, no. 120 (April 15, 2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.

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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz. Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found. Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer. Keywords: DanceSport, ballroom, kinematics, partnering, statistical parametric mapping.
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Azaglo, Alex Kwasi, Alice Korkor Ebeheakey, Benjamin Quarshie, and Prosper Kwaku Asiedu. "Conceptualizing the stylistic body movements in contemporary Ghanaian dances as performance art form." Journal of African History, Culture and Arts 2, no. 1 (April 25, 2022): 61–74. http://dx.doi.org/10.57040/jahca.v2i1.104.

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This paper attempts to conceptualize the stylistic body movements in contemporary Ghanaian dances through the aesthetic lenses of performance art. The expressiveness of performance art forms is frequently praised for the emotions we have toward them. These feelings are derived from the symbolic connotations and functionalities of the arts in life. Through an exploratory design of qualitative inquiry, the researchers focus on a contextual dialogue on the aesthetic visual presentations of selected contemporary Ghanaian dances as performance art forms. The critical content analysis of music videos was espoused to examine the stylistic body movements and gestures coded in some contemporary Ghanaian dances such as Azonto, Twerking, Kupe, Pilolo and Shoo as part of an empirical artistic study. Instruments for data collection were observation, document analysis and photography for the contextual visual content analyses grounded in semiotic and aesthetic theoretical discourse. This study again relied heavily on secondary data from recorded communication including music videos, books, transcripts, websites, newspaper articles, journal articles and the like to make objective inferences. The findings indicate that dance is the communication that occurs via the conduit of the dancer's body that ruptures individuals' independent existence and generates a sense of finitude. Whereas some of the dances make aggressively erotic visual statements, others are mere expressive gestural and body movements to simply entertain a targeted audience. The result further shows that, the contemporary Ghanaian dance performances transcend beyond mere entertainment but rather are an embodiment of body language emerging from the indigenous dance symbolisms. Teaching learners to perceive visual aesthetic qualities and symbolic interpretations in dance performances will deepen the appreciation of Ghanaian dance performances not just as entertainment but as another medium for expression to transmit their inherent messages. It is suggested that, these dance forms should be formalized as indigenous knowledge in a quest to blend tradition with modernity in our creative endeavours. This knowledge should be propagated through creative arts education in Ghanaian schools. Other performance art components displayed in contemporary Ghanaian dances including body painting, facial expressions, costumology and fashion accessories present another lacuna for further research by future researchers. Key words: aesthetics, dance, therapy, performance art, body, movement
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Simpson, Travis T., Susan L. Wiesner, and Bradford C. Bennett. "Dance Recognition System Using Lower Body Movement." Journal of Applied Biomechanics 30, no. 1 (February 2014): 147–53. http://dx.doi.org/10.1123/jab.2012-0248.

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The current means of locating specific movements in film necessitate hours of viewing, making the task of conducting research into movement characteristics and patterns tedious and difficult. This is particularly problematic for the research and analysis of complex movement systems such as sports and dance. While some systems have been developed to manually annotate film, to date no automated way of identifying complex, full body movement exists. With pattern recognition technology and knowledge of joint locations, automatically describing filmed movement using computer software is possible. This study used various forms of lower body kinematic analysis to identify codified dance movements. We created an algorithm that compares an unknown move with a specified start and stop against known dance moves. Our recognition method consists of classification and template correlation using a database of model moves. This system was optimized to include nearly 90 dance and Tai Chi Chuan movements, producing accurate name identification in over 97% of trials. In addition, the program had the capability to provide a kinematic description of either matched or unmatched moves obtained from classification recognition
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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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Gates, Peter, Fred M. Discenzo, Jin Hyun Kim, Zachary Lemke, Joan Meggitt, and Angela L. Ridgel. "Analysis of Movement Entropy during Community Dance Programs for People with Parkinson’s Disease and Older Adults: A Cohort Study." International Journal of Environmental Research and Public Health 19, no. 2 (January 7, 2022): 655. http://dx.doi.org/10.3390/ijerph19020655.

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Dance therapy can improve motor skills, balance, posture, and gait in people diagnosed with Parkinson’s disease (PD) and healthy older adults (OA). It is not clear how specific movement patterns during dance promote these benefits. The purpose of this cohort study was to identify differences and complexity in dance movement patterns among different dance styles for PD and OA participants in community dance programs using approximate entropy (ApEn) analysis. The hypothesis was that PD participants will show greater ApEn during dance than OA participants and that the unique dance style of tango with more pronounced foot technique and sharp direction changes will show greater ApEn than smoother dance types such as foxtrot and waltz characterized by gradual changes in direction and gliding movement with rise and fall. Individuals participated in one-hour community dance classes. Movement data were captured using porTable 3D motion capture sensors attached to the arms, torso and legs. Classes were also video recorded to assist in analyzing the dance steps. Movement patterns were captured and ApEn was calculated to quantify the complexity of movements. Participants with PD had greater ApEn in right knee flexion during dance movements than left knee flexion (p = 0.02), greater ApEn of right than left hip flexion (p = 0.05), and greater left hip rotation than right (p = 0.03). There was no significant difference in ApEn of body movements (p > 0.4) or mean body movements (p > 0.3) at any body-segment in OA. ApEn analysis is valuable for quantifying the degree of control and predictability of dance movements and could be used as another tool to assess the movement control of dancers and aid in the development of dance therapies.
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Skublewska-Paszkowska, Maria, Pawel Powroznik, Jakub Smolka, Marek Milosz, Edyta Lukasik, Dilbar Mukhamedova, and Elzbieta Milosz. "Methodology of 3D Scanning of Intangible Cultural Heritage—The Example of Lazgi Dance." Applied Sciences 11, no. 23 (December 6, 2021): 11568. http://dx.doi.org/10.3390/app112311568.

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Traditional dance is one of the key elements of Intangible Culture Heritage (ICH). Many scientific papers concern analysis of dance sequences, classification and recognition of movements, making ICH data public, creating and visualising 3D models or software solutions for learning folklore dances. These works make it possible to preserve this disappearing art. The aim of this article is to propose a methodology for scanning folklore dances. The methodology was developed on the basis of capturing 3D data via an optical motion capture system with a full body Plug-in Gait model that allows for kinematic and kinetic analysis of motion sequences. An additional element of this research was the development of a hand model with which it is possible to precisely analyse the fingers, which play a significant role in many dances. The present methodology was verified on the basis of the Lazgi dance, included in the UNESCO ICH list. The obtained results of movement biomechanics for the dance sequence and the angles of the fingers indicate that it is universal and can be applied to dances that involve the upper and lower body parts, including hand movements.
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Vītola, Sandra. "Promoting Awareness of the Body's Centre in Classical and Modern Dance Training." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 453. http://dx.doi.org/10.17770/sie2015vol2.420.

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<p><em>Based on dance theorist insights into the basic components that determine performance of movements in dance, the article analyses promotion of a sense of bodily centre in classical and modern dance training. The most significant condition for a dancer to be able to fit within the confines of the proposed tasks in dance is to govern own body, which is made easier through an understanding of the body’s centre of gravity. Promoting an awareness of muscle activity being fixated within the central point of the body develops an understanding of movements around this point among dancers, which leads to easier control over performed movements. </em></p><p><em>The article aims to analyse the awareness of the body’s centre among dancers and to justify its significance in classical and modern dance training. The article applies the theoretical research method – it characterises classical and modern dance and analyses the sense of body centre in dance. </em></p><p> </p>
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Bergonzoni, Carolina. "When I Dance My Walk: A Phenomenological Analysis of Habitual Movement in Dance Practices." Phenomenology & Practice 11, no. 1 (July 11, 2017): 32–42. http://dx.doi.org/10.29173/pandpr29336.

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In this article, I describe the experience of dancing-a-walk. My specific focus is on the shift that I perceive in my body when I dance-a-walk rather than functionally walking. Following a firstperson perspective, I demonstrate how my experience of practicing dancing-a-walk interrogates the habit of walking and makes it come alive again as an expression of the body. First, I show how the practice of dancing-a-walk challenges the dichotomy between abstract and concrete movement proposed by Maurice Merleau-Ponty in the Phenomenology of Perception. Indeed, dancing-a-walk is an example of a concrete and yet already abstract movement. Then, I turn to concepts such as habits and body memory. By identifying how the perception of my body changes when I dance everyday movements (i.e., walking) versus when I execute such movements functionally, I aim to develop a new perspective on and vocabulary for a phenomenological definition of concrete/abstract movements within the context of dance.
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Dissertations / Theses on the topic "Dance body movements"

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Weege, Bettina [Verfasser], Bernhard [Akademischer Betreuer] Fink, and Lars [Akademischer Betreuer] Penke. "Social Perception of Dance Movements : Investigating The Signalling Value Of Male Body Movements Using Motion-Capture-Technology / Bettina Weege. Betreuer: Bernhard Fink. Gutachter: Bernhard Fink ; Lars Penke." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2015. http://d-nb.info/1077648499/34.

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Riskin, Seth. "Light Dance : light and the nature of body movement." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/46405.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.
Includes bibliographical references (leaves 37-39).
Light Dance is a conscious transfiguration of the body, its movement and the encompassing space; a transposition of matter to light exalted in the dance. This corresponds to the conceptualized spirit of the performer whose body is "consumed" by light. A transposition occurs between the performer and audience. The audience experiences the dissolution of the body into light. In this thesis I assemble fragments of visible and inner light experiences and concepts of the body by an intuition of the spirit . The purpose is to equate visible and inner light. The writing is based on light as the physical self of the spirit; the significance of the body and movement. Specific examples are cited to create a contextual fabric for the inspired design of Light Dance.
by Seth Riskin.
M.S.V.S.
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Bågander, Linnea. "Body of movement : (in)forming movement." Licentiate thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-13271.

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In dance many choreographers uses neutral garments not to distract too much from the movement the ”natural” body performs. Still these garments paints the body with color, form, identity and movement qualities. The work exemplifies how the body can extend into materiality and through this it questions the borders of the body not only in form, which is usually the case in fashion design, but also in movement qualities as temporal form. Further it high lightens the importance of awareness of movement qualities in materials of dress as they express the form. The potential of dress in dance is explored in three chapters. For each of these, materials were chosen and arranged in order to provide an additional layer to the movement that the body naturally performs, allowing material to transform the body into various figures of movement. The first part introduces the use of dress in dance and how dress acts with the moving body. The second part explores how movement with the origin in the body can extend spatially and the last part focuses on the materials ability to interpret and materialize the movement.   The result of this work suggest that dress has the potential in dance as both choreographic tool and movement quality of equal importance as the movement of a body in a dance performance. Further it intersects the aesthetics of dance, a temporal aesthetic, with the aesthetics of garments, as a form based aesthetic, as it suggests dress as temporal design, allowing dress to create a new body of movement.
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Acker, Shaun Albert. "Writing the aerial dancing body a preliminary choreological investigation of the aesthetics and kinetics of the aerial dancing body." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002361.

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This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban’s choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.
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Fredricson, Flodin Fia. "Rörelsekatalysator : En fenomenologisk studie i högskolelärares kroppslighet i undervisning." Thesis, Södertörns högskola, Centrum för praktisk kunskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33034.

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Den här masteruppsatsen är en vetenskaplig essä i den praktiska kunskapens teori. Den är ett försök till en fenomenologisk inspirerad studie i högskolelärares kroppslighet i undervisning på lärarutbildning. Mina forskningsfrågor är: På vilka sätt erfar högskoleläraren sin egen kropp och dess rörelser i undervisningssituationer? Vilken roll spelar den egna erfarenheten om sin kroppslighet i förståelsen av sin presentation? I vilken relation står undervisningens innehåll, det som ska undervisas, till högskolelärarens kroppslighet? På vilka sätt skapar högskolelärarens kroppslighet relationer i undervisningen?Undersökningen består av berättelser från min erfarenhet som lärare i dans samt filmade observationer och intervjuer av fyra andra högskolelärare på lärarutbildningen. Studiens metod och teoretiska bakgrund är fenomenologisk och baseras på den franska filosofen Maurice Merleau-Pontys arbete om levd kropp och intersubjektivitet samt dans och rörelse teorier om kropp, rum, tid och kraft av Rudolf Laban.I analysen av det empiriska materialet lyfter jag fram tre dimensioner av kroppslighet, presentation, gestaltning och relation som jag diskuterar i relation till mina valda teorier. Som en fenomenologisk studie beskriver jag först de fyra lärarnas erfarenhet av sin kroppslighet för att sedan reflektera på det som har visat sig. Undersökningens ändamål är inte ett snabbt svar på bästa sättet att undervisa. Istället är mitt intresse att verkligen försöka förstå hur kroppen och dess rörelser kan få en större betydelse inom lärarutbildning.
This master thesis has the form of a scientific essay within the theories of practical knowledge. It is an attempt to a phenomenological survey of higher education teacher´s relationship to their own corporality in teaching in a teacher education program. I investigate following question; In what ways do university teachers experience their own body and its movements in teaching? How does the teacher´s own experience of its corporality influence the understanding of the own presentation? What is the relationship between teacher´s corporality and the content of the teaching? In what way does the teacher´s corporality create relationships within the teaching?My investigation contains of narratives from my experience as a teacher in dance. It will also contain filmed observations and interviews with four other teachers in higher education at the teacher education program at the Södertörn university. The methodological and theoretical background of my study is phenomenological, based on the French philosopher Maurice Merleau-Ponty´ s work on lived body and intersubjectivity and movement and dance theories of Rudolf Laban about body, time, space and effort.Within the analysis of my empirical material I have high lightened three dimension of corporality; presentation, formation (creation) and relation, which I have discussed further in relationship to my theories. As a phenomenological study I have first tried to describe the four teacher´s experience of their own corporality and then reflect on the outcome. It is not my goal to present a quick fix answer to the best way to teach in relationship to the corporality. Instead my interest is to really try to understand how body and it´s movements can be a greater part of the interest and the curriculum of a teacher education program.
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Acaron, Rios Thania. "The practitioner's body of knowledge : dance/movement in training programmes that address violence, conflict and peace." Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=229434.

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This interdisciplinary thesis examines the role of dance/movement in training programmes, which address peace, violence, conflict and trauma. Despite the growing literature and scholarly interest in embodied practices, few training programmes address dance/movement peace explicitly, identify shared beliefs or make connections between movement behaviour and decision-making. The research questions explore how dance/movement trainers experience, implement and conceptualise embodied processes that enable the transformation of conflict, particularly concerning interpersonal and/or intergroup violence. In order to investigate this question, an 'internal' analysis of relations and practices amongst its practitioners progresses to an 'external' analysis of contributions to arts-based peace practices and peacebuilding. Twelve semi-structured interviews were conducted with experienced trainers working internationally who use artistic, therapeutic and educational approaches to peace practices. The practitioners' curricula and training materials were examined using thematic analysis and qualitative analysis software (NVivo). The data analysis results in a map of shared beliefs, positionality and boundary shifts amongst the respondents, and proposes an exploration of practices applicable to multiple settings and client groups. This thesis presents new research in Communities of Practice (CoP) theory with artistic communities. It also deepens previous research on dance/movement peace practices and movement analysis, which sustains peaceable and violent actions can be understood through conscious and/or unconscious movement decision-making processes. The thesis concludes that embodied processes involve reflexive and enactive interventions, and proposes analyses of spatial relations, symbolic enactment and relational nonverbal interactions as key contributions of dance/movement. These embodied processes challenge 'conventional' forms of knowledge transmission and the arts' constant pressure for legitimisation. The thematic exploration of shared practices and beliefs therefore integrates movement analysis and social theory to present an interdisciplinary contribution to embodied analyses of violence.
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Fournié, Fanny. "Danse, émotions et pensée en mouvement : contribution à une sociologie des émotions : le cas de Giselle et de MayB." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENH032/document.

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Ce travail propose une réflexion menée à la croisée d'une sociologie des émotions, objet principal de la recherche, et d'une sociologie de l'art. En effet, la représentation d'un ballet romantique, Giselle, de Jules Perrot et Jean Coralli et d'un ballet contemporain, MayB, de Maguy Marin, forme le terrain de l'enquête. L'enjeu de l'analyse a consisté à rendre visibles les différents mouvements des émotions, à l'œuvre lors d'une soirée chorégraphique. D'un côté, le mouvement des danseurs sur la scène, qui, s'appuyant sur la technique corporelle, mais aussi la musique, le récit, les costumes et les décors, confectionnent les émotions. D'un autre côté, le mouvement des pensées, visibles chez les danseurs comme chez les spectateurs, à travers une sorte de dialogue intérieur participant à la fabrication des émotions individuelles. Enfin, le mouvement collectif des émotions échangées entre les danseurs et les spectateurs, dans un va-et-vient permanent, nécessaire à la construction de la matière chorégraphique. La méthodologie, qualitative, a été constituée de manière à saisir les différents temps de cette confection émotionnelle. Les observations directes, réalisées durant les répétitions, permettent de saisir, en amont, comment une technique de danse fabrique les émotions. L'observation participante lors des spectacles offre l'illustration, intime, du vécu corporel et émotionnel d'un spectateur : le ballet devient expérience, les spectateurs, acteurs de la soirée en train de se faire. Enfin, les entretiens, réalisés auprès des danseurs et des spectateurs, fournissent une matière sensible à la réflexion, tournée vers une sociologie compréhensive. Au final, la thèse présente les émotions comme « le corps » des relations sociales. Au travers elles, les individus se saisissent les uns des autres, soulignent leurs différences ou leurs similitudes, s'adaptent ou non au groupe, selon la « prise » ou la « déprise » des émotions du ballet sur eux
This study stands at a crossroads between a sociology of emotions – the main focus of our research – and a sociology of art. The survey here presented is grounded in two dance performances, the romantic ballet Giselle, by Jules Perrot and Jean Coralli on the one hand, and on the other hand, the contemporary dance performance MayB, by Maguy Marin The point of this analysis was to bring out the various movements of emotion at play in the course of a choreographic performance. First, I have studied the dancers' movements on stage, which, while resting on the body's technique as well as the music, the story, the costumes and the decors, participate in the making of emotions. Second, I have delved into the movement of thoughts, perceptible in the dancers and in the audience, via a kind of interior dialogue which takes part in the making of various emotions. Last but not least, I have looked into the collective and continuous flow of emotions moving back and forth between the dancers and the audience, and which is necessary for the construction of choreographic material. The methodology here used is a qualitative one, aiming to grasp the various moments in the making of emotions. Direct observations carried out during rehearsals allow for a prior understanding of how a dance technique can create emotions. Participatory observation during the performances grants an intimate illustration of the physical and emotional response of a spectator: the ballet becomes experience and the spectators become actors of the evening in the making. Finally, the audience and dancers' interviews offer food for thought, building towards a comprehensive sociology. In the end, this thesis presents emotions as “the body” of social relationships. Through them, individuals take hold of one another, underlining their differences or similarities. They adapt to the group or they do not, depending on the hold the emotions of the ballet may have on them
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Odhiambo, Seonagh. "A Conversation With Dance History: Movement and Meaning in the Cultural Body." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/25258.

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Dance
Ph.D.
This study regards the problem of a binary in dance discursive practices, seen in how "world dance" is separated from European concert dance. A close look at 1930s Kenya Luo women's dance in the context of "dance history" raises questions about which dances matter, who counts as a dancer, and how dance is defined. When discursive practices are considered in light of multicultural demographic trends and globalisation the problem points toward a crisis of reason in western discourse about how historical origins and "the body" have been theorised. Within a western philosophical tradition the body and experience are negated as a basis for theorising. Historical models and theories about race and gender often relate binary thinking whereby the body is theorised as text. An alternative theoretical model is established wherein dancers' processes of embodying historical meaning provide one of five bases through which to theorise. The central research questions this study poses and attempts to answer are: how can I illuminate a view of dance that is transhistorical and transnational? How can I write about 1930s Luo women in a way that does not create a case study to exist outside of dance history? Research methods challenge historical materialist frameworks for discussions of the body and suggest insight can be gained into how historical narratives operate with coercive power--both in past and present--by examining how meaning is conceptualised and experienced. The problem is situated inside a hermeneutic circle that connects past and present discourses, so tensions are explored between a binary model of past/present and new ways of thinking about dance and history through embodiment. Archives, elder interviews, and oral histories are a means to approach 1930s Luo Kenya. A choreography model is another method of inquiry where meanings about history and dance that subvert categories and binary assumptions are understood and experienced by dancers through somatic processes. A reflective narrative provides the means to untangle influences of disciplines like dance and history on the phenomenon of personal understanding.
Temple University--Theses
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Williams, Tamara Lynn. "Dance/movement therapy and architecture : an investigation of modern dance as an informative discipline and theories of the body in architectural design." Thesis, Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/21612.

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Utley, Allie Elizabeth. "Children and Dance: Spontaneous Tempo, Body Morphology, and The Problem of Synchronizing to an External Beat." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243958048.

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Books on the topic "Dance body movements"

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M, Watson Elizabeth, ed. Body code: The meaning in movement. Princeton, N.J: Princeton Book Co., 1987.

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1954-, Leman Rhea, ed. Body sense. New York: Pantheon Books, 1987.

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Ch'um kwa mom: Dance & body. Sŏul T'ŭkpyŏlsi: Ihwa Yŏja Taehakkyo Ch'ulp'anbu, 2010.

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Maletic, Vera. Body, space, expression: The development of Rudolf Laban's movement and dance concepts. Berlin: Mouton de Gruyter, 1987.

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The body speaks. London: Methuen, 2001.

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The body speaks. New York: Palgrave Macmillan, 2002.

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Body, space, expression: The development of Rudolf Laban's movement and dance concepts. Berlin: Mouton de Gruyter, 1987.

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Juba: Die Welt der Körperpercussion : Techniken, Rhythmen, Spiele. 2nd ed. Boppard/Rhein: Fidula, 2000.

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Sibony, Daniel. Le corps et sa danse. Paris: Seuil, 1995.

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Gabriele, Brandstetter, Völckers Hortensia, Mau Bruce, and Lepecki André, eds. ReMembering the body : [on the occasion of the exhibition "STRESS" at the MAK, Vienna] / edited by Gabriele Brandstetter and Hortensia Völckers ; with STRESS, an image-essay by Bruce Mau ; with texts by André Lepecki ; [translations, Andrea Scrima, Rainer Emig]. Ostfildern-Ruit: Hatje Cantz, 2000.

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Book chapters on the topic "Dance body movements"

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Smith, Rebecca, and Frank Pollick. "The role of dance experience, visual processing strategies, and quantitative movement features in recognition of emotion from whole-body movements." In Dance Data, Cognition, and Multimodal Communication, 274–94. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003106401-22.

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Alarcón Dávila, Mónica E. "Chapter 6. Body memory and dance." In Body Memory, Metaphor and Movement, 105–12. Amsterdam: John Benjamins Publishing Company, 2012. http://dx.doi.org/10.1075/aicr.84.08ala.

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Minton, Sandra Cerny. "The Body, Movement, Dance, and Learning." In Rechoreographing Learning, 151–206. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003258926-5.

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Koch, Sabine C., and Steve Harvey. "Chapter 23. Dance/movement therapy with traumatized dissociative patients." In Body Memory, Metaphor and Movement, 369–85. Amsterdam: John Benjamins Publishing Company, 2012. http://dx.doi.org/10.1075/aicr.84.27koc.

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Gross, Orit. "Whose Body is in the Room? One Question, Changing Answers." In Dance/Movement Therapy and Sexual Abuse, 145–56. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003309048-14.

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Devereaux, Christina, and Lauren Harrison. "Body, Brain, and Relationship: Dance/Movement Therapy and Children with Complex Trauma." In Dance/Movement Therapy for Trauma Survivors, 83–100. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003111382-8.

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Kawano, Tomoyo, and Meg Chang. "Applying Critical Consciousness to Dance/Movement Therapy Pedagogy and the Politics of the Body." In Social Justice in Dance/Movement Therapy, 97–118. Cham: Springer Nature Switzerland, 2022. http://dx.doi.org/10.1007/978-3-031-19451-1_7.

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Tropea, Elise Billock, and Susan Kleinman. "A Return to the Body: Trauma-Informed Dance/Movement Therapy for Individuals with Eating Disorders." In Dance/Movement Therapy for Trauma Survivors, 186–201. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003111382-15.

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Maltz Schwartz, Ravit. "Identifying and Giving Meaning to Body and Movement Messages in Women Diagnosed with Complex PTSD." In Dance/Movement Therapy and Sexual Abuse, 104–19. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003309048-11.

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Beardall, Nancy, and Charné Furcron. "The Embodied Teen: A Somatic Curriculum for Teaching Body‑Mind Awareness, Kinesthetic Intelligence, and Social and Emotional Skills." In Social Justice in Dance/Movement Therapy, 183–87. Cham: Springer Nature Switzerland, 2022. http://dx.doi.org/10.1007/978-3-031-19451-1_12.

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Conference papers on the topic "Dance body movements"

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Utsugi, Annla, Tsuyuki Masaya, and Hideo Takaoka. "Analysis of Movements of Body Trunk in Japanese Traditional Dance." In 2017 International Conference on Culture and Computing (Culture and Computing). IEEE, 2017. http://dx.doi.org/10.1109/culture.and.computing.2017.45.

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Landry, Steven, and Myounghoon Jeon. "Participatory Design Research Methodologies: A Case Study in Dancer Sonification." In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.069.

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Given that embodied interaction is widespread in Human-Computer Interaction, interests on the importance of body movements and emotions are gradually increasing. The present paper describes our process of designing and testing a dancer sonification system using a participatory design research methodology. The end goal of the dancer sonification project is to have dancers generate aesthetically pleasing music in real-time based on their dance gestures, instead of dancing to prerecorded music. The generated music should reflect both the kinetic activities and affective contents of the dancer’s movement. To accomplish these goals, expert dancers and musicians were recruited as domain experts in affective gesture and auditory communication. Much of the dancer sonification literature focuses exclusively on describing the final performance piece or the techniques used to process motion data into auditory control parameters. This paper focuses on the methods we used to identify, select, and test the most appropriate motion to sound mappings for a dancer sonification system.
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Masurelle, Aymeric, Slim Essid, and Gael Richard. "Multimodal classification of dance movements using body joint trajectories and step sounds." In 2013 14th International Workshop on Image Analysis for Multimedia Interactive Services (WIAMIS). IEEE, 2013. http://dx.doi.org/10.1109/wiamis.2013.6616151.

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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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Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.

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“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.
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Fan, Sarah, Kevin Guo, and Yu Sun. "LaBelle: A Deep Learning APP that Helps You Learn Ballet." In 11th International Conference on Signal & Image Processing (SIP 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.121714.

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Human Pose Estimation has proven versatility in improving real-world applications in healthcare, sports, etc. [1]. Proper stance, form and movement is instrumental to succeeding in these activities. This paper will explain the research process behind the deep learning mobile ballet app, LaBelle [2]. LaBelle takes in two short videos: one of a teacher, and one of a student. Utilizing MediaPipe Pose to identify, analyze, and store data about the poses and movements of both dancers, the app calculates the angles created between different joints and major body parts. The app’s AI Model uses a K-means clustering algorithm to create a group of clusters for both the student dataset and the teacher dataset [3]. Using the two sets of clusters, LaBelle identifies the key frames in the student-video and searches the teacher cluster set for a matching set of properties and frames. It evaluates the differences between the paired frames and produces a final score as well as feedback on the poses that need improving. We propose an unsupervised guided-learning approach with improved efficiency in video comparison, which is usually both time and resource consuming. This efficient model can be used not just in dance, but athletics and medicine (physical therapy like activities) as well, where stance, form, and movements are often hard to track with the naked eye.
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Chandnasaro, Dharakorn. "The Series of Archaeological Dance: A Historical Study and Dance Move Recording with Labanotation | ระบำ􀄕ชุดโบร􀄕ณคดี: ก􀄕รศึกษ􀄕เชิงประวัติศ􀄕สตร์ และก􀄕รบันทึกท่􀄕ร 􀄕ด้วยล􀄕บ􀄕นโนเทชัน." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-26.

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The Series of Archaeological Dances is a creative work of Thai dance inspired by information and evidence of ancient antiquities and sites discovered in Thailand to make the archaeological evidence found to be alive again in the form of Thai theatre and dance. The name of the historical period of art identified by the scholars are used to define the names of five performance of the Archaeological Dances, namely, Dvāravatī Dance, Srīvijaya Dance, Lopburi Dance, Chiang Saen Dance, and Sukhothai Dance. Each performance has its own unique style with no related content to each other. This series of dances were premiered on 25 May 1967, in front of King Rama IX and Queen Sirikit. Regarding to the movement of the body, there is unique identity that reflects the ethnicity of the area and the civilization from the land where the archaeological evidence of each era was discovered. They were created according to the imagination of the choreographers of the dance posture. In addition, The Series of Archaeological Dances are popularly performed on various occasions continuously until present day. ระบ􀄬ำชุดโบรำณคดี เป็นผลงำนสร้ำงสรรค์ด้ำนนำฏศิลป์ของประเทศไทยที่ได้รับแรงบันดำลใจจำกข้อมูลและหลัก ฐำนด้ำนศิลปะโบรำณวัตถุสถำนที่ถูกค้นพบได้ในพื้นที่ประเทศไทย เพื่อต้องกำรให้หลักฐำนโบรำณคดีที่ค้นพบได้ กลับมำมีชีวิตชีวำอีกครั้งในรูปแบบของนำฏศิลป์ โดยใช้ชื่อยุคสมัยทำงศิลปะที่นักวิชำกำรประวัติศำสตร์ระบุไว้ มำ ก􀄬ำหนดเป็นชื่อของกำรแสดงจ􀄬ำนวน 5 ชุด คือ ระบ􀄬ำทวำรวดี ระบ􀄬ำศรีวิชัย ระบ􀄬ำลพบุรี ระบ􀄬ำเชียงแสน และระบ􀄬ำ สุโขทัย กำรแสดงแต่ละชุดเป็นลักษณะแบบเอกเทศ ไม่มีเนื้อหำเกี่ยวข้องกัน จัดแสดงรอบปฐมทัศน์เมื่อวันที่ 25 พฤษภำคม พ.ศ. 2510 ต่อหน้ำพระที่นั่งของในหลวงรัชกำลที่ 9 และพระรำชินีในรัชกำลที่ 9 ในด้ำนกำรเคลื่อนไหว ร่ำงกำยมีเอกลักษณ์ที่สะท้อนควำมเป็นชำติพันธุ์ของพื้นที่และอำรยธรรมดินแดนที่ค้นพบหลักฐำนโบรำณคดีแต่ละ ยุคสมัย ซึ่งใช้รูปแบบกำรสร้ำงสรรค์ของนำฏศิลป์ไทยตำมจินตนำกำรของผู้ประดิษฐ์ท่ำร􀄬ำ นอกจำกนี้ระบ􀄬ำชุด โบรำณคดีได้รับควำมนิยมในกำรจัดแสดงอย่ำงต่อเนื่องในวำระต่ำง ๆ มำจนถึงปัจจุบัน
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Peng, Youhong Friendred, and Atau Tanaka. "Body and Embodiment in Dance Performance." In MOCO '19: 6th International Conference on Movement and Computing. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3347122.3359596.

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Li, Hongju, and Xindi Cao. "MIND-BODY INTEGRATION IN DANCE MOVEMENT THERAPY." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact081.

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"Mind-body integration is a key element for a successful dance movement therapy (DMT). As the connection between mind and body is reconnected, the clients can not only express but also improve their mental state through body movement. The integration of mind and body can be viewed from to aspects, namely the first-person experience and the third-person phenomenon, both of which play a crucial role in the therapeutic process of DMT. The first-person experience transcends the mind’s neurobiological phenomenon, which is relatively more important for the clients, while the third-person observation is based on the body’s reflection of mind, often adopted by the therapists. The relationship between mind and body can be validated by the mirror neuron theory, which is one of the theoretical proofs and inspirations of DMT. Unlike the notion of mind-body differentiation in western classical philosophy, ancient Chinese thoughts had not separated them. The Chinese character “shen” is considered as the whole of flesh and soul. The abundant Chinese thoughts concerning mind-body theory can be considered as a suitable route of the exploration of mind-body integration."
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Varanda, Paula. "Body and Movement Visualisations in New Media Dance." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.47.

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