Journal articles on the topic 'Dance body movements'
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1
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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Bhavana, Sivayokan. "Understanding the Theoretical Framework of Choreography in Bharatanatyam: An Overview." Integrated Journal for Research in Arts and Humanities 2, no. 5 (September 15, 2022): 50–57. http://dx.doi.org/10.55544/ijrah.2.5.9.
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Bharatanatyam is one of the oldest classical dance forms which are in practice today. It has three divisions within itself: Nritham, Nrithyam, and Natyam. Nritham is the pure dance or rhythmic movement of the body, Nrithyam is the part of the dance that conveys emotions, and Natyam is the dramatic representation of dance. For any piece of dance, choreography is important. Choreography, being the art of designing dance, includes inventing or arranging movement and choosing dramatic structures to organize and present it to the audience. Effective choreography comes from the understanding of different elements of movement and the aspects of designing movements. Effective choreography is crucial not just for pieces of a traditional Bharatanatya repertoire, like a Varnam, Patham, or Thillana, but also for dance dramas. However, choreographing a dance drama slightly differs as it incorporates drama elements in addition to dance elements. This paper discusses the theories used in choreography and the elements and aspects that are important in the choreography of any item in a traditional Bharatanatya repertoire. It then discusses how these theories are used in the choreography of dance dramas. Further, this paper postulates that understanding the theoretical framework of choreography can contribute to creating visually compelling and harmonious strings of movements, by bridging the gap between the science behind the body movements and the artistic quality of such movements.
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Thomas, Karen Kartomi. "Dimensions of Dance with Reference to Song Lyrics: Improvisatory Processes and Practices in Indonesian Malay Mendu Theatre Performance." Dance Research 36, no. 2 (November 2018): 253–68. http://dx.doi.org/10.3366/drs.2018.0240.
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In this article, I analyse the creative process of dance in Malay mendu theatre staged in Indonesia's northern Riau Islands, based on fieldwork I conducted in 1984 and 2013. I describe and compare the four main motifs that made up most of the theatre's dances (referring specifically to upper body movements, the height of the forearms and hands, the direction of the eye gaze, the number of beats per movement), and deconstruct the five integrated, improvisatory mechanisms of the dance system (repetition, modification, retrogrades, looping, and controlled free-timing) by which actors generated their dances; thereby devising a choreology of Malay theatrical dance. Four performance parameters – motivic sequencing, improvisation, reflexive-cueing, and the dance-lyrics dynamic – were employed to guide and control these mechanisms. This case study aims to show how analysing a creative dance method benefits from an ethnographic research approach. 1
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Park, So-Hyun, Gwang-Soo Hong, Sun-Woo Park, Aziz Nasridinov, In-Ja Park, Byung-Kyu Kim, and Young-Ho Park. "A feasibility study of ballet education using measurement and analysis on partial features of still scenes." International Journal of Distributed Sensor Networks 12, no. 12 (December 2016): 155014771668179. http://dx.doi.org/10.1177/1550147716681794.
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There have been a number of dance and ballet education systems using different multimedia devices. One of the well-known multimedia devices is Kinect which uses multiple built-in sensors. We focus on Kinect-based dance and ballet education systems. Existing systems that use Kinect cannot properly recognize the turnout movement. We propose the use of a lower body joint point estimation algorithm and a closest foot points estimation algorithm that can efficiently perform image localization for recognition of basic ballet movements. In addition, in order to evaluate correct ballet movements, we propose a method that extracts partial features from still scenes and performs measurements for knee and foot positions. The proposed method is the first ballet education system that properly measures movements of a ballet dancer.
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Riskin, Seth. "Light Dance." Leonardo 53, no. 1 (February 2020): 90–91. http://dx.doi.org/10.1162/leon_a_01636.
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The author discusses the origin and meaning of his Light Dance artwork. The simple approach—placing a source of light on the body and thereby manipulating the illumination of the surrounding space through body movements—alters the viewer’s perception of space and time. Architecture appears malleable as the performer affects the size, shape and speed of light forms that reach from the body to the boundaries of the room. Light, in this perceptual environment, is not a mere transmitter of information between the invariant material surroundings and the eye of the viewer; light is a space-defining extension of the performer’s body that transposes movement expression from the individual body to the shared space. An inversion of subjective and objective “spaces” is realized in the experience of Light Dance wherein the prevailing conceptual hierarchy of light and vision is overcome.
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Dermawan, Wisnu. "BODY RECORD: PERJALANAN TUBUH DALAM BINGKAI TARI SRANDUL." Joged 17, no. 1 (July 26, 2021): 42–60. http://dx.doi.org/10.24821/joged.v17i1.5602.
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ABSTRAK“Body Record” dalam Bahasa Indonesia berarti catatan atau rekaman tubuh. Karya tari ini menceritakan perjalanan manusia khususnya perjalanan tubuh tari penata. Karya tari dalam bentuk suita ini dibagi menjadi empat bagian, bagian pertama tentang kelahiran, dua tentang mengenal tari, tiga tentang konflik batin, dan empat mengenai kelahiran kembali.Tari Srandul menjadi inspirasi untuk menciptakan karya tari ini. Ketertarikan berawal dari menyaksikan pementasan tari Srandul di Dusun Dukuh Seman, desa Wonosari, Kecamatan Bulu, Kabupaten Temanggung, Jawa Tengah. Dari sekian banyak hal yang ditangkap dari tari Srandul, penata tertarik pada koreografi tunggalnya yang dihadirkan dalam sebelas segmen, tema perjalanan manusia, gerak mlampah sebagai representasi tema perjalanan manusia, dan tiga unsur pokok tari Srandul yaitu adanya tembang, tembung, dan tari. Tema ini kemudian dihubungkan dengan pengalaman empiris penata khususnya perjalanan tubuh tari penata. Koreografi tari ini merupakan koreografi tunggal yang ditarikan oleh penata tari sendiri. Pertimbangannya adalah untuk mempermudah proses penciptaannya, selain beranggapan bahwa yang paling mengerti tentang hidup dan perjalanan hidup yang pernah dihanyalah penata sendiri. Bisa juga dikatakan bahwa dalang dari kehidupan kita adalah diri kita sendiri. Gerak Mlampah sebagai representasi perjalanan manusia yang ada pada tari Srandul dijadikan transisi antar bagian dalam struktur tari. Melalui karya ini diharapkan muncul generasi-generasi muda untuk ikut terlibat dalam melestarikan dan mengembangkan seni tradisi yang ada di daerahnya masing-masing. ABSTRACT "Body Record" in Indonesian means catatan or rekaman tubuh. This dance work tells about the human journey, especially the journey of choreographer’s dance body. This dance work in the form of suite is divided into four parts, the first part about birth, second about getting to know dance, third about inner conflict, and fourth about rebirth. Tari Srandul (Srandul dance) became the inspiration for creating this dance work. This interest started from watching the Srandul dance performance in Dusun Dukuh Seman, Desa Wonosari, Bulu District, Temanggung Regency, Central Java. Choreographer captures many things from the Srandul dance, and finally interested by the solo choreography presented in eleven segments, the theme about human journey, the movement of mlampah as a representation of the theme, and the three main elements of the Srandul dance, namely the presence of tembang, tembung, and dance. Then the choreographer connecting the theme with his empirical experience, especially the journey of the choreographer's dance body. This dance choreography is a solo work choreography that is danced by the choreographer himself. The choreographer dances the work that was created with the consideration to facilitate the creation process. In addition, the choreographer think that the one who understands the most about life and the journey of life that the choreographer has ever passed is only the choreographer himself. It could also be said that the mastermind of our lives is ourselves. Mlampah movements as a representation of the human journey in Srandul dance are used to move between parts in the dance structure. Through this work, it is hoped that it will create the younger generation to be involved in preserving and developing traditional arts in their respective regions.
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Cusack, Carole M. "The Contemporary Context of Gurdjieff’s Movements." Religion and the Arts 21, no. 1-2 (2017): 96–122. http://dx.doi.org/10.1163/15685292-02101004.
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The “sacred dances” or “Movements” were first revealed by George Ivanovitch Gurdjieff (c. 1866–1949) in 1919 in Tiflis (Tblisi), the site of the first foundation of his Institute for the Harmonious Development of Man. The proximate cause of this new teaching technique has been hypothesized to be Jeanne de Salzmann (1889–1990), an instructor of the Eurhythmics method of music education developed by Émile Jaques-Dalcroze (1865–1950). Jeanne and her husband Alexandre met at Jaques-Dalcroze’s Institute at Hellerau in 1913, and became pupils of Gurdjieff in 1919. It was to her Dalcroze class that Gurdjieff first taught Movements. Esoteric systems of dance and musical education proliferated at the time. Gurdjieff was deeply interested in music, theater, and art. When Pyotr Demianovich Ouspensky (1878–1947) met him in 1915 he spoke of dances he had seen in Eastern temples, and was working on a never-performed ballet, The Struggle of the Magicians. This article argues that body-based disciplines introduced by esoteric teachers with Theosophically-inflected systems are a significant phenomenon in the early twentieth century and that Gurdjieff’s Movements, while distinct from other dance systems, emerged in the same esoteric melting-pot and manifest common features and themes with the esoteric dance of Rudolf Steiner, Rudolf von Laban, Peter Deunov, and others.
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Ayobade, Dotun. "Invented Dances, Or, How Nigerian Musicians Sculpt the Body Politic." Dance Research Journal 53, no. 1 (April 2021): 5–22. http://dx.doi.org/10.1017/s0149767721000048.
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AbstractPopular dances encapsulate the aliveness of Africa's young. Radiating an Africanist aesthetic of the cool, these moves enflesh popular music, saturating mass media platforms and everyday spaces with imageries of joyful transcendence. This essay understands scriptive dance fads as textual and choreographic calls for public embodiment. I explore how three Nigerian musicians, and their dances, have wielded scriptive prompts to elicit specific moved responses from dispersed, heterogenous, and transnational publics. Dance fads of this kind productively complicate musicological approaches that insist on divorcing contemporary African music cultures from the dancing bodies that they often conjure. Taken together, these movements enlist popular culture as a domain marked by telling contestations over musical ownership and embodied citizenship.
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Salosaari, Paula. "Perception and Movement Imagery as Tools in Performative Acts Combining Live Music and Dance." Nordic Journal of Dance 4, no. 1 (June 1, 2013): 16–27. http://dx.doi.org/10.2478/njd-2013-0003.
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Abstract In this article I discuss movement imagery and perceptual strategies as tools in enhancing performative acts of playing music and composing performance material combining music and dance. In my earlier research I have introduced the concept of multiple embodiment in classical ballet and developed co-authored choreography with dancers. The concept of multiple embodiment in ballet suggests treating the fixed vocabulary as qualitatively open and therefore a basis for interpretation, improvisation and composition of new dance material. Directing the dancer’s experience in an open-ended way with movement imagery and perceptual strategies gave the performer new, sometimes surprising information about performance possibilities and thereby enhanced interpretation of dance material. (Salosaari 2001) Movement imagery has helped creating open-ended tasks in dance and thus enabled co-authoring in dance making projects. (Salosaari 2007; Salosaari 2009). Not only dance, but other art forms as well, are embodied. In playing a musical instrument, the sound is made using body movements. In workshops with a musician and a dancer, reported in this article, I ask whether the tools created for dance creation would work also in music making. I ask whether movement imagery and perceptual strategies can initiate music interpretation and improvisation?
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Huang, Ya. "Comparative Analysis of Aesthetic Emotion of Dance Movement: A Deep Learning Based Approach." Computational Intelligence and Neuroscience 2022 (July 21, 2022): 1–10. http://dx.doi.org/10.1155/2022/5135495.
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Dance is a unique art with the human body movement as the main means, but dance is not limited to the human body movement itself. Like any art, dance is the product of human social behavior and a romantic behavior of human thoughts and emotions in the virtual world. Dances with different characteristics will also reflect different aesthetics, different cultural psychology, different living styles, and emotional trajectories of different times and different nationalities. People rely on the image of dance artists to develop and inherit the profound ideological connotation and philosophy of life. Viewers may form their own diversified and unique aesthetic characteristics. In the new era, in order to better promote the development, communication, and dissemination of dance art, it is very necessary to analyze and explore the connotation and aesthetic characteristics of dance art. Only through specific movements can the value and ideological connotation of works be expressed. Therefore, this paper comparatively analyzes dance movement aesthetic emotion based on deep learning. Experimentations are performed to systematically analyze the models from various perspectives. Findings of the evaluation show that CAP and CNN are effective models that can successfully extract high-level emotional features. The method proposes and effectively selects the best models among the five standard models based on key features and is, therefore, suitable in predicting the dancer’s emotion and for the analysis of the dance movement in the future.
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Krysankov, Timofey G. "ON PROBLEMATIC ISSUES OF DANCE PHILOSOPHY: SEMIOTIC AND ONTOLOGICAL ASPECTS OF DANCE MOVEMENTS." Вестник Пермского университета. Философия. Психология. Социология, no. 4 (2021): 604–12. http://dx.doi.org/10.17072/2078-7898/2021-4-604-612.
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One of the core objectives of dance philosophy is research into dance movements as the main means of artistic expression in choreography. This article aims to break the tether of semiotic interpretation of dance movements, to analyze them outside the context of any corporal movement-based practice, and to determine their ontological base, being an irrevocable and immanent quality of human nature itself. Based on various research works in the fields of philosophy, culture studies and art studies, the nature and spe-cific features of the choreographic arts’ expressive language are defined. Semiotic approach to the expressive specifics of dance movements is critically re-evaluated. Its limitations connected with the inter-pretation of the nature of dance movements in the context of understanding the nature of art are substanti-ated. With the help of the method of phenomenological reduction, the dance is represented as an inde-pendent phenomenon. Three important qualities of the nature of dance movements are identified: they oc-cur spontaneously under the influence of positive emotions, have a connection with a person’s special mental state, contribute to the harmonization of a person’s lifeworld. Dancing is characterized by «happi-ness affect», being a source of an individual’s motional activity. This is the state of happiness, positive and joyful emotions that direct a person towards self-actualization. The research is novel in that it defines the ontological aspect of dance movements as those occurring as a result of the «happiness affect» and transferring the energy arising in the human body into an objectified form. Feeling the increased ability of their body to act and its internal energy, doing dance movements, a person experiences satisfaction and joy, and as a result harmony fills their lifeworld.
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Wachowicz, Fatima, Catherine J. Stevens, and Timothy P. Byron. "Effects of Balance Cues and Experience on Serial Recall of Human Movement." Dance Research 29, supplement (November 2011): 450–68. http://dx.doi.org/10.3366/drs.2011.0028.
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One way that student dancers learn new contemporary dance, hip-hop or ballroom dancing is by observing and reproducing dance phrases or steps. For experts, learning long and complex sequences may appear effortless whereas for those new to dance, the task is challenging with both motor and cognitive demands. On the cognitive side, the first stage for increasing familiarity or perceptual fluency is registering or encoding material in the short-term memory. With rehearsal, the material may be transferred subsequently to the long-term memory. Theories propose that human memory is cue driven – the more cues that are present while taking information in, that are also present at the time of retrieving the information, the better the recall. In this study, we investigate proprioceptive cues related to relative stability, as cues to short-term memory for recalling a series of simple body movements. We ask: is the feeling of either being in a balanced or unbalanced standing position a cue to short-term memory for movement material? And, if so, are such proprioceptive cues moderated by dance experience? An experiment was designed to test short-term memory for relatively simple body movements. Our aim was to investigate the observation of a series of movements and their immediate recall in the original order by adults with differing levels of specialist movement experience, including dance and martial arts. The experiment task was similar to a dance teacher performing a number of different movements and students recalling those movements immediately by performing them using their body and in the correct order. To minimise intrusion from long-term knowledge of biological motion – as such knowledge may distinguish novices and experts without testing their short-term memory capacity – disconnected or non-flowing simple movements were used as the material to be observed and later recalled. Relative stability in our experiment participants was challenged using the Tandem Romberg Position (TRP), which involves standing toe-to-heel in a line, and we reasoned that this should not impair experts' recall of movements using their body, relative to those less expert. According to the concept of encoding specificity from working memory (WM) theory, recalling items in the correct order is most likely when there is a match between cues during encoding and retrieval. If relative stability is a contextual cue during observing and learning movement, then recall should be greatest when contexts match during encoding and retrieval. In Experiment 1, low and moderate movement experience groups observed and then performed four body movements; in Experiment 2, and following the same procedure, low, moderate, and high movement experience groups recalled six movements. Recall span and movement experience were positively correlated – the more movement training, the greater the memory span. In Experiment 1, encoding specificity was observed, indicating that proprioception can be a cue to recalling movement from WM. The results indicate that changing proprioceptive cues can reduce memory span for movement, especially among those with low or moderate experience. In teaching new movers, there is a need to maximise the cognitive resources available for learning, by reducing the number of competing demands on attention and working memory. The present results also support the common practice in dance companies to disrupt context-specific cues by changing location – and training the execution of movement phrases, in different spatial orientations. Generalisation to different environmental contexts appears to strengthen the memory trace. For dance teachers, the present results identify potential impairments to recall, the advantages of initially minimizing competing demands, and later diversifying contextual cues, including varying environments where new material is learned and rehearsed.
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Zafeiroudi, Aglaia. "Intersections between Modern and Contemporary Dance and Yoga Practice: A Critical Analysis of Spiritual Paths through Body Movement and Choreography." Academic Journal of Interdisciplinary Studies 10, no. 4 (July 8, 2021): 1. http://dx.doi.org/10.36941/ajis-2021-0094.
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Bodily movement, rhythmic response, physical exercise and related techniques are sources of spiritual awareness. Yoga and dance are both concerned with the relationship between spirituality and the physical body. This paper presents a literature review of yoga and modern and contemporary dance as spiritual bodily practices. An electronic literature search was undertaken using Scopus, Google Scholar, CINAHL, EMBASE, PubMed/MEDLINE and Web of Science databases to examine the integration of modern and contemporary dance with yoga practice. The review reveals a number of important choreographic and spiritual similarities between these practices, including coordinated movement of the body with the breath, sequences of movements, rhythm, gestures and energy management. Many modern and contemporary dancers, choreographers and artists, such as Graham, include yoga techniques in their choreography and teaching. Through bodily movements, yoga and dance allow for self-awareness and self-perception, which aid in connecting the body, the brain and the soul with the divine. The paper finally suggests and describes how a combination of these two practices may be applied in conjunction with rhythm and music to enhance spirituality through body movement. This paper sought to expand the ways in which movement through yoga and modern and contemporary dance can be considered and practiced in relation to spirituality. Received: 4 March 2021 / Accepted: 6 May 2021 / Published: 8 July 2021
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C, Pangilinan Math, Fontanilla Lyndo V, Pineda Israel C, Rocelle E. Agtang, Soriano Ria M, and Martin Jonar T. "Movement Analysis of Philippine Folk Dance Itik-itik." Asian Journal of Interdisciplinary Research 2, no. 1 (March 28, 2019): 56–63. http://dx.doi.org/10.34256/ajir1916.
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The purpose of the study was to describe and analyze the dance movements of the Philippine folk dance Itik-itik. The researchers adopted the movement analysis method similar to that of Mackenzie that involves the (1) description of the actual movements which occur at the joints involved; (2) the plane in which the movement occurs; and (3) the muscles producing the movement (agonist & antagonist). In addition, similar to the study of Martin and Miller, the researchers also had done a mechanical analysis on the lever type involved in the execution of the dance movement in terms of force, axis, and resistance. Results revealed that the prominent dance steps in the Philippine local dance Itik-itik are the (1) running, (2) cross step, slide close, slide close step, (3) heel, close-ball, close arm, (4) step, slide-close, slide, (5) arms extension/flexion, and (6) flapping of the arms. The joints involved are the shoulder and hip muscle which are ball and socket type of joints; and elbow, knee and ankle which are hinge joints. The major muscles involved in the dance for the lower body include the quadriceps, hamstring muscle group, adductor muscle group, calves and gluts. While for the upper body muscles involved are the pectoralis major, latissimus dorsi, deltoid, trapezius, biceps, and triceps muscles. The type of lever used in performing the dance comprise majority of 1st class and 3rd class levers. By knowing the muscles involved in the dance the dance teacher may be able to devise activities to gradually prepare the prime mover muscles before the actual execution for injury prevention. Thus, the movements in the dance may improve the health and skill related fitness of the performers.
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Wang, Yunchen. "Research on Dance Movement Recognition Based on Multi-Source Information." Mathematical Problems in Engineering 2022 (April 23, 2022): 1–10. http://dx.doi.org/10.1155/2022/5257165.
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A huge number of scientific research institutions and scholars are now researching this topic in depth, with promising results. Meanwhile, research development in dance visual frequency movement detection is rather modest due to the high complexity of dance movement and the challenges of human body self-shielding in dance performance. Aiming at the problem of the combination of motion recognition and dance video, the feature extraction, representation, and motion recognition methods based on dance video are emphatically studied. This paper studies an effective feature extraction method according to the characteristics of dance movements. Firstly, each dance movement video in the data set is separated into equal sections, and the edge characteristics of all video pictures in each segment are gathered into one image, from which the direction gradient histogram features are extracted. Secondly, a group of directional gradient histogram feature vectors is used to represent the local appearance information and shape features of the video dance moves. In view of the existing problem of heterogeneous feature fusion, this paper chooses the multi-core learning method to fuse the three kinds of features for dance movement recognition. Finally, the effectiveness of the proposed dance movement detection algorithm is tested using the Dance DB data set from the University of Cyprus and the Folk Dance data set from my laboratory. Experimental results show that the proposed algorithm can maintain a certain recognition rate for relatively complex dance movements and can still ensure a certain accuracy when the background and target are easily confused. This also confirms the efficacy of the movement recognition system used in this paper for recognizing dance movements.
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МОВА, Людмила. "Contemporary dance as a component of students’ physical education." EUROPEAN HUMANITIES STUDIES: State and Society 3, no. I (September 27, 2019): 16–29. http://dx.doi.org/10.38014/ehs-ss.2019.3-i.02.
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Today in the modern world the basic human need for the development of one's own body and keeping it healthy and fit is a topical issue. Health is one of the most important prerequisites for harmonious, full-fledged life and personal self-realization. And it is precisely physical education that is aimed at the formation of a healthy, physically complete personality and the functional improvement of the organism. Dance is an integral part of a human plastic culture. The danceplastic culture education begins with the knowledge and development of the musculoskeletal system of a dancer. First and foremost, students need to learn how to perform basic dance exercises and movements efficiently, anatomically competently and consciously. In our understanding, the contemporary dance technique (post-postmodern) is the technique based on the natural laws of the body functioning with regard to the organization of movement and breathing. Muscles’ release from excessive tension and the activation of the faction level in movement organization, the natural anatomical work of joints and their strengthening, the structure of the body interrelations - all of the abovementioned should precede the technical dance mastery as a high-quality physical training of a student for further mastering of professional disciplines. That is why, in our opinion, a modern student-dancer should be knowledgeable about the body by the following parameters: how human movement is organized, structural peculiarities of the skeletal mobile zones (joints), the understanding what makes the body move in space, what is the center of the body gravity, how the movement of a person from the lower tier to the upper tier in space is organized, what is primary for understanding and training your body and why breathing is acknowledged as the number one item in teaching contemporary dance, what are fasciae and why the experienced dancers-teachers talk so much about them during their classes, how the floor plays the role of a partner and allows you to feel the zones with excessive tension in your body during movement, what BF (Bartenieff Fundamentals) and LMA (Laban Мovement Аnalysis) are and more.
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Linggih, Nyoman. "Sasolahan Sanghyang Oncesrawa At Penataran Sasih Temple, Desa Pakraman Pejeng Tampaksiring District, Gianyar Regency." Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies 3, no. 2 (October 31, 2019): 191. http://dx.doi.org/10.25078/ijhsrs.v3i2.892.
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<p>The Sanghyang Oncesrawa dance is not just a mere spectacle dance, this dance is in a state of unconsciousness, dancing on a burning fire and even though there are no signs of burning the body parts of the dancers. This dance is not a show or show off strength. The Sanghyang Oncesrawa dance is motivated by the loss of a beloved horse, the king of Bali, namely Sri Gajah Waktera with the title Sri Asta Sura Ratna Bumi Banten, a white hairy horse with a very powerful black tail named kuda oncesrawa. King Bedahulu's favorite horses disappeared and never came again. To commemorate the horse named Oncesrawa, the Sanghyang Oncesrawa Dance was performed in the Sasih Penataran Temple. This dance is classified as the art of sacred dance and when dancing mattress, moves agile (dangkrik-dingkrik = Balinese language) like horse movements. The research was conducted to multiply, raise, explore, socialize, religious dances, especially the Sanghyang Oncesrawa Dance, which so far still many people do not understand correctly. Qualitative research was carried out in the Sasih Penataran Temple through a cultural approach with data sources from figures, dance artists, <em>pemangku, serati</em>, library and photos. The results of the research analysis showed that the Sanghyang Oncersrawa dance is a sacred dance that is only danced on <em>piodalan</em> / large ceremonies (Ngusaba Nyatur), dances on coals in a trance state, bringing <em>pratima / arca / pralingga</em> of Sanghyang Oncesrawa, dances in a row while kicking a burning fire. The Sanghyang Oncesrawa dance has a function, namely; religious, sanctification, social and aesthetic. Sanghyang Oncesrawa dance has religious, sanctification, social, and aesthetic meaning.</p>
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Han, Yang, and Kaza Mojtahe. "Intelligent Action Recognition and Dance Motion Optimization Based on Multi-Threshold Image Segmentation." Mobile Information Systems 2022 (September 24, 2022): 1–9. http://dx.doi.org/10.1155/2022/5776642.
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In order to improve the recognition and optimization effect of dance movements, this paper combines multi-threshold image segmentation technology to perform intelligent recognition of dance movements. Moreover, this paper analyzes the window focus calibration process in the cascade multi-threshold expansion method and focuses the window on the object body to expand from small to large. Then, due to the local optimum problem of single-layer expansion, this paper proposes a cascade expansion method, and comparative experiments analyze the effect of this method on window optimization. In addition, this paper combines the actual situation of dance movement training to construct an intelligent action recognition and dance movement optimization system based on multi-threshold image segmentation. The research shows that the intelligent action recognition and dance motion optimization method based on multi-threshold image segmentation proposed in this paper has a good effect.
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Zemskova-Ryabaya, Anna Viktorovna. "Studying positive impact of kizomba on human life." Vestnik of Astrakhan State Technical University 2022, no. 1 (May 31, 2022): 82–88. http://dx.doi.org/10.24143/1812-9498-2022-1-82-88.
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Dance is part of a culture that brings positive emotions. Dances are divided into several types: ballet, ballroom, historical, folk, club, erotic, modern, street, modern ballet, Latin American. Latin American dances are of two types: ballroom and social. Social dance is a special form of communication, an opportunity to organize leisure and pastime. Kizomba belongs to social dances and is practiced on various dance floors and open airs. Kizomba has come from African Angola, but it developed on the dance floors of Latin America, gradually absorbing ele-ments of Cuban, Brazilian and European dances. Thanks to measured and smooth movements, kizomba is easy to master, and practicing it one can become a famous kizombist. The features of kizomba include the correct invita-tion to dance and the correct end of the dance, the ability to correctly build a sequence of fast and slow steps, a smooth change in the direction of the dance, and a general base of movements. It is the basic steps that help to master kizomba correctly, and thanks to the knowledge gained in the lessons and on the YouTube channel, opportunities for learning new dance techniques are given in details. There are several styles of kizomba: Passada, Tarraxinha, Ventoinha, Quadrinha. Kizomba helps to relax after a working day, has a beneficial effect on both mental and physical state of a person. Positive emotions during the dance arise due to the release of endorphins - hormones of happiness, which have a positive effect on the inner world, liberating a person. Kizomba helps to strengthen the body, develops flexibility, strength and endurance.
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Dahlstedt, Ami Skånberg. "A Body of Accents." Nordic Journal of Dance 9, no. 1 (June 1, 2018): 44–51. http://dx.doi.org/10.2478/njd-2018-0005.
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Abstract Dance practice is often hidden inside dance studios, where it is not available for dialogue or interdisciplinary critique. In this paper, I will look closer at one of the accents that my body has held since the year 2000. To Swedish dance academies, it is perhaps the most foreign accent I have in my dance practice. It has not been implemented as ‘professional dance’ in Western dance studios. This foreign accent is called Nihon Buyō, Japanese dance, also known as Kabuki dance. Nihon Buyō, Nō or Kabuki are local performing arts practices for professional performers in Japan. A few foreigners are familiar with these practices thanks to cultural exchange programmes, such as the yearly Traditional Theatre Training at Kyoto Art Centre. There is no religious spell cast over the technique or a contract written that it must be kept secret or that it must not leave the Japanese studio or the Japanese stage. I will compare how dance is being transmitted in the studio in Kyoto with my own vocational dance education of many years ago. Are there similarities to how the female dancer’s body is constructed? Might there be unmarked cultural roots and invisible originators of the movements we are doing today in contemporary dance?
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Sibarani, Cindi Soraya Dwi Putri. "ANALISIS GERAK DAN KARAKTER RITUAL TARI DAKDENG PADA MASYARAKAT MELAYU DESA BAGAN SERDANG KABUPATEN DELI SERDANG." Gesture: Jurnal Seni Tari 9, no. 1 (June 25, 2020): 19. http://dx.doi.org/10.24114/senitari.v9i1.17962.
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ABSTRACT
The results of the research based on the data obtained show that in the process of implementing the ceremony of rejecting the dance of Dakdeng dance present in the middle of the implementation becomes one of the important parts that must be carried out because the Dakdeng dance becomes a means of entry of supernatural spirits called Mambang which is the spirit of the ancestors of their descendents . Mambang's spirits entering the body of the family and community will dance during the process of rejecting reinforcements. There are differences in the movements and character of the Dakdeng dance between one dancer to the other. Because every Mambang who possesses the body of a family or a number of people who become dancers has a different character. Different character can be seen from Mambang Buaya who is angry when he feels disturbed, Mambang Knight is able to control emotions when there are other Mambang who unintentionally interfere, Blind Mambang has a sensitive mood, Mambang Leaders have a strict, hard and responsible nature, Mambang Penangis the loner and likes to cry, Mambang Macan is quiet and calm, Mambang Jelita is cheerful and encourages the other Mambang to dance, Mambang Galak is very angry when he sees the audience recording with his cellphone camera, Mambang Iba is gentle and a loner, Mambang Berdembah covers the genitals and is happy approaching with other Mambang spirits, Shy Mambang does not want to show his face in public and cover it with a scarf. Judging from the different character of Mambang, the movements performed are also different according to the wishes of each Mambang.
Keywords: Movement, Character, Dakdeng Dance, Mambang.
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Riezal, Chaerol, Hermanu Joebagio, and Susanto Susanto. "Dance Ranup Lampuan: Exploration Genius Aceh Movement and Expression Female Body Beauty Values in Culture Peumulia Jamee." International Journal of Multicultural and Multireligious Understanding 5, no. 5 (July 11, 2018): 146. http://dx.doi.org/10.18415/ijmmu.v5i5.298.
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Dance Ranup Lampuan is a very popular art of dance in Aceh. This dance exists in every welcoming guests, ceremonies, cultural events, and arrive at a formal event Aceh administration. This article answered about the genius of the woman's body movements in Aceh and expression of beauty in cultural values Peumulia Jamee dance Ranup Lampuan. With a soft and agile movement, dance Ranup Lampuan tells about women in Aceh who are preparing the betel for entertaining guests. Starting from picking and wiping betel, put lime and gambier, wrapping up the betel organize into place named puan or ceurana. After betel has been prepared, the dancers in dance Ranup Lampuan betel deliver to the invited guests. The purpose of it all is to welcome and praise guests or in the Acehnese language is referred to as Peumulia Jamee. The story is played in the Acehnese dance, in the lift pass culture Jamee Peumulia that is the tradition Acehnese people who like to eat and glorify guests with betel. Every movements in dance Ranup Lampuan has its own philosophical meaning. Acehnese woman's body that is synonymous with weak and soft, as well as in demand to cling to their cultural values. In this case, the woman Aceh has an important position as a support pillar dance Ranup Lampuan and culture Peumulia Jamee Aceh. Dance Ranup Lampuan represetasi women is a manifestation of Aceh and cultural values Peumulia Jamee, as a form of expression of ideas, ideas, understanding and confidence in social and cultural life of the people of Aceh, as a reflection of religious and cultural values in tridisi welcoming guests. Through dance Ranup Lampuan this, the women of Aceh were able to show the genius of his movement and to express beauty in cultural values Peumulia Jamee Aceh.
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Vītola, Sandra. "PROPER BREATHING IMPORTANCE IN CLASSICAL AND MODERN DANCE TRAINING." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 26, 2017): 158. http://dx.doi.org/10.17770/sie2017vol4.2353.
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Based on the theoretical ideas of scholars in the field of dance, the article analyses the significance of correct breathing and its usage in movement performance in classical and modern dance acquisition.
The most important condition for dancers is the daily workout, which develops an understanding of basic components of movements, one of the most significant being correct breathing. Application of correct breathing facilitates a comprehension among dancers of the possibilities of the body – the amplitude and quality of performed movements, as well as the ability to control the strength necessary for movement performance.
This article aims to analyse the meaning of correct breathing and to justify its use among dancers acquiring classical and modern dance.
The article makes use of the theoretical research method – characterising differences between classical and modern dance acquisition, analysing breathing and its correct usage during a dance performance.
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Mustaffa, Norsimaa, and Muhammad Zaffwan Idris. "Analysing Step Patterns on the Malaysian Folk Dance Zapin Lenga." Journal of Computational and Theoretical Nanoscience 17, no. 2 (February 1, 2020): 1503–10. http://dx.doi.org/10.1166/jctn.2020.8832.
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Zapin Lenga is a Malaysian folk dance within Zapin Melayu and specifically known as Zapin Johor. Zapin Lenga was originated in Muar, one of the district in Johor state and the oldest Zapin Melayu repertoire that had been found in Johor. Zapin Lenga which usually performed for religious significance comprises of six-step patterns, known as ‘langkah’ that were performed only by the males during the olden days. In the meaning of preservation, we have used Motion Capture (MoCap) technology in recording and digitising human motions. In this paper, we present a primary work in preserving the dance movements of Zapin Lenga through Laban Movement Analysis (LMA) including Body, Effort, Shape and Space in order to identify qualities on dance movements. The dance movements were analysed by considering musical rhythm using segmentation method and the distances between markers were measured to define speed.
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Byczkowska-Owczarek, Dominika. "Dance as a Sign: Discovering the Relation Between Dance Movement and Culture." Kultura i Społeczeństwo 63, no. 3 (September 27, 2019): 63–74. http://dx.doi.org/10.35757/kis.2019.63.3.4.
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This article presents examples of the relationship between culture, dance, and the body in the fields of communication (with oneself, the community, God/deity), the social hierarchy, social values, relations between the individual and the group, and relations between genders, from the perspective of the sociology of the dance. The sociological perspective also indicates the various historical, ritual, control, and regulatory roles that traditional and modern dances play in the communities in which they arise and are performed. The second part of the text contains a case study of the Japanese ankoku butoh dance. The author presents the philosophical roots of the dance (e.g., Japanese mythology, Zen Buddhist philosophy) and the creator’s personal experiences (childhood trauma and post-war social situation) as factors that influenced the dance’s development. The example of ankoku butoh illustrates the interrelation between cultural meanings and dance movements.
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Koch, Sabine C., Thomas Fuchs, and Michela Summa. "Body memory and kinesthetic body feedback: The impact of light versus strong movement qualities on affect and cognition." Memory Studies 7, no. 3 (June 17, 2014): 272–84. http://dx.doi.org/10.1177/1750698014530618.
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What influence does body memory from light vs strong movement qualities have on affect and cognition? This article relates the phenomenological theory of body memory, movement observation theory from dance, and psychological conceptual and empirical work on body feedback. Kinesthetic body feedback means efferent feedback from the body’s peripheral movements to the higher cortical functions, such as the systematic effects of the adoption of certain gestures or postures on the memory for life events. Meaning of movements is stored in the body in relation to our learning history –ontogenetic as well as phylogenetic. Based on the phenomenological theory of body memory, we hypothesize that specific movement qualities will have a differential impact on affect and cognition. In accordance with our hypotheses, our results suggest that strong movements are related to more fighting affect and more negative memory recall, whereas light movements – just as a non-movement control condition – are related to more indulgent affect and more positive memory recall. Results are discussed with reference to the phenomenological framework.
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Melinda, Tiya, and Afifah Asriati. "ANALISIS STRUKTUR GERAK TARI ZAPIN SIAK DI KECAMATAN SIAK KABUPATEN SIAK PROVINSI RIAU." Jurnal Sendratasik 9, no. 2 (September 25, 2020): 1. http://dx.doi.org/10.24036/jsu.v9i1.109507.
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Zapin Siak dance is a traditional Malay dance which has been cultured, lived, and developed in line with human life from time to time. Zapin Siak dance is danced by two male dancers taking parallel position in a form of motion which generally uses a lot ofThis is a qualitative research using a content analysis method, known as content analysis. The object of research was Zapin Siak Dance in Kampung Dalam Subdistrict, Siak District, Siak Regency, Riau Province. The data used were primary and secondary data. The data were collected through literature study, observation, interview, and documentation. The research instrument used was the researcher itself and was assisted by writing instruments, cameras, and flash drives. The data analysis was done by describing and interpreting various movements of the Zapin Siak dance. It refers to the elements of motion: the head, body, hands, andThe results show that the movement structure of Zapin Siak Dance in Siak District, Siak Regency, Riau Province, consists of 22 kinem elements, 22 morphokinem elements, 7 motif elements, and one overall dance form, namely Zapin Siak dance. Zapin Siak dance has a syntagmatic relationsip between the motif level and a paradigmatic relationship in overall dance.Keywords: Analysis, Motion Structure, Zapin Siak Dance
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Viaud-Delmon, Isabelle, Jane Mason, Karim Haddad, Markus Noisternig, Frédéric Bevilacqua, and Olivier Warusfel. "A Sounding Body in a Sounding Space: the Building of Space in Choreography – Focus on Auditory-motor Interactions." Dance Research 29, supplement (November 2011): 433–49. http://dx.doi.org/10.3366/drs.2011.0027.
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In the last 4 years, we have developed a partnership between dance and neuroscience to study the relationships between body space in dance and the surrounding space, and the link between movement and audition as experienced by the dancer. The opportunity to work with a dancer/choreographer, an expert in movement, gives neuroscientists better access to the significance of the auditory-motor loop and its role in perception of the surrounding space. Given that a dancer has a very strong sense of body ownership (probably through a very accurate dynamic body schema) ( Walsh et al. 2011 ), she is an ideal subject to investigate the feeling of controlling one's own body movements, and, through them, events in the external environment ( Moore et al. 2009 , Jola et al in press). We conducted several work sessions, which brought together a choreographer/dancer, a neuroscientist, a composer, and two researchers in acoustics and audio signal processing. These sessions were held at IRCAM (Institute for Research and Coordination Acoustic/Music, Paris) in a variable-acoustics concert hall equipped with a Wave Field Synthesis (WFS) sound reproduction system and infrared cameras for motion capture. During these work sessions, we concentrated on two specific questions: 1) is it possible to extend the body space of the dancer through auditory feedback ( Maravita and Iriki 2004 )? and 2) can we alter the dancer's perception of space by altering perceptions associated with movements? We used an interactive setup in which a collection of pre-composed sound events (individual sounds or musical sentences) could be transformed and rendered in real time according to the movements and the position of the dancer, that were sensed by markers on her body and detected by a motion tracking system. The transformations applied to the different sound components through the dancer's movement and position concerned not only musical parameters such as intensity, timbre, etc. but also the spatial parameters of the sounds. The technology we used allowed us to control their trajectory in space, apparent distance and the sound reverberation ambiance. We elaborated a catalogue of interaction modes with auditory settings that changed according to the dancer's movements. An interaction mode is defined by different mappings of position, posture or gesture of the dancer to musical and spatial parameters. For instance, a sound event may be triggered if the dancer is within a certain region or if she performs a predefined gesture. More elaborated modes involved the modulation of musical parameters by continuous movements of the dancer. The pertinence at a perceptive and cognitive level of the catalogue of interactions has been tested throughout the sessions. We observed that the detachable markers could be used to create a perception of extended body space, and that the performer perceived the stage space differently according to the auditory feedback of her action. The dancer reported that each experience with the technology shed light on her need for greater awareness and exploration of her relationships with space. Real-time interactivity with sound heightened her physical awareness – as though the stage itself took on a role and became another character.
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C, Sanchez Jorielle, Manlutac Crisalyn T, Salas Joven V, Soriano Marilou R, Santos Michael E, and Martin Jonar T. "Movement Analysis of Philippine Folk Dance Tinikling." Asian Journal of Interdisciplinary Research 2, no. 1 (March 25, 2019): 30–34. http://dx.doi.org/10.34256/ajir1913.
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The purpose of the study was to describe the dance movements of the folk dance Tinikling which is the most popular traditional dance and former national dance of the Philippines. The researchers adopted the movement analysis method similar to that of Mackenzie that involves the (1) description of the actual movements which occur at the joints involved; (2) the plane in which the movement occurs; and (3) the muscles producing the movement (agonist & antagonist). In addition, the researchers also had done a mechanical analysis on the lever type involved in the execution of the dance movement in terms of force, axis, and resistance. The prominent dance steps in the Philippine local dance Tinikling are the (1) running, (2) tinikling steps, (3) diagonal step, and (4) straddle jump with a turn step. The joints involved are: hip muscle which is ball and socket type of joint; and knee and ankle which are hinge joints. The major muscles involved in the dance include mostly the lower body muscle groups such as the quadriceps, hamstring, gluts, adductor muscle group, and calves. The type of lever used in performing the dance comprise majority of 1st, 2nd and 3rd class levers. Thus, the Tinikling is a viable dance which could improve the health related fitness of the performers in terms of muscular strength, muscular endurance, cardiovascular endurance and flexibility. Also, the dance could improve skill-related fitness such as power, agility, balance and coordination.
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Karoblis, Gediminas. "Controlling Gaze, Chess Play and Seduction in Dance." Janus Head 9, no. 2 (2006): 329–43. http://dx.doi.org/10.5840/jh2006924.
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The article introduces the phenomenological idea of 'natural attitude' in the field of dance. Three phenomena, which very clearly show the embodiment of the natural attitude and its resistance to the requirements of dance, are analyzed. The 'controlling gaze' is the natural tendency to look at the limbs andfollow their movements instead of proprioceptive control The 'chess play' is a natural tendency of moving on the flat surface and ignoring the volume of movement. The 'seduction' is a natural tendency to lose the body-self because of an interference with the others body. The dancing body has constantly to deal with these natural inclinations. And a dance teacher has to understand this split between 'ought' and 'is'.
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Pantham, Potchanan. "A-Na(d) tayaSati Hubungan Anapanasati (Nafas Buddha) di dalam Struktur Tari Klasik Thailand." Joged 10, no. 1 (July 23, 2019): 17–30. http://dx.doi.org/10.24821/joged.v10i1.3319.
Full textAbstract:
RingkasanA-Na(d)tayaSati adalah penciptaan karya tari dengan menyatukan prinsip hubungan Anapanasati (napas Buddha) dengan struktur gerak tari klasik Thailand. Tujuan penciptaan agar bisa mengarah pada salah satu bentuk atau metode gerakan tari Thailand yang berfokus pada penggunaan napas sebagai landasan struktur gerakan independen, alami, dengan mengambil kekuatan energi dari dalam ke luar. Hal ini untuk membuat gerakan tersebut bertahan lama sehingga bisa bergerak dalam jangka waktu yang lebih lama, dan merupakan gerak yang tenang melalui meditasi yang alami, tanpa memaksa tubuh. Karya ini bertujuan pula untuk menciptakan gerakan lain dalam tarian Thailand yang konsisten dengan doktrin Buddha, yang sadar akan jangkauannya saat ini dan alami melalui latihan dan kesadaran diri. Dengan menerapkan prinsip-prinsip meditasi dalam bentuk Anapanasati dan teori gerakan tubuh sesuai dengan (teori Pemrograman Motor) dalam anatomi untuk menemukan hubungan dari gerakan tari klasik Thailand yang memberikan arti penting bagi gerakan dengan napas penari. Proses penciptaan hubungan Anapanasati (Napas Buddha) dengan struktur gerak tari klasik Thailand, sebagai pengakuan adanya gerakan baru yang memiliki energi aerobik (Aerobic system) yang beredar sepanjang waktu. Hal ini merupakan sistem tubuh yang menggunakan oksigen untuk membakar sepenuhnya dan terbentuk sebagai energi yang berkelanjutan dan damai dari dalam tubuh yang disebabkan oleh meditasi dengan metode pernapasan sambil melalukan gerakan tari klasik Thailand. Selain itu, tubuh tetap memiliki postur yang jelas, kuat dan unik dengan struktur gerakan tari klasik Thailand namun menjadi lebih ringan, lebih nyaman dan lebih alami. Energi dari napas masuk dan ke luar itu membuat gerakan menjadi terus-menerus, tanpa akhir, tanpa masalah kelelahan dan kontraksi otot saat bergerak ketika menari.AbstractThe dance work creation with the principle of the relationship of Anapanasati (Buddha's breath) in the structure of the classical Thai dance movement. In the aim of being able to lead to one form or method of Thai dance movements that focuses on the use of breath as a foundation for the structure of independent movements, natural, and take energy from the inside to outside. This makes the movement very durable so that it can move for a longer period of time and is a quiet movement through natural meditation, without force. To create another movement in Thai dance that is consistent with Buddhist doctrine, which is aware of its current and natural reach through practice and self-awareness. By applying the principles of meditation in the form of Anapanasati and the theory of appropriate body movements (Motor Programming theory) in anatomy to find the connection of classical dance movements Thailand which gives importance mean to movement with the breath of dancers. The process of creating Anapanasati (Buddha's Breath) with the movement structure of the Thai classical dance as recognition of a new movement that has an aerobic system circulating around the time. This is a body system that uses oxygen to burn completely and is formed as a continuous and peaceful energy from the inside caused by meditation with the breathing method while moving the Thai classical dance movement. Besides that, the body still has a clear and strong posture that is unique with the structure of Thai classical dance movements such as lighter, more comfortable and more natural. The energy of in and out breath makes the movement become continuous, endless, without a problem of fatigue and muscle contraction during movements in the dance.
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Yin, Guangle, and Jing Liu. "Research on Movement Analysis and Guidance in Dance Learning Based on Data Mining." Computational Intelligence and Neuroscience 2022 (September 19, 2022): 1–9. http://dx.doi.org/10.1155/2022/9327442.
Full textAbstract:
In dance, we must understand the essential meaning of dance movements from the inside and express them on the basis of dance. Therefore, in the process of developing new dance teaching methods, it is necessary to improve the basic education of dance students, so that they can express the emotions conveyed by dance through body language and movements, and improve dance expression ability. In this context, we made the research and reached the following conclusions: (1) the number of frames of different dance types is also different, and the number of frames to be learned is also increasing. The dance with the highest number of frames is Latin2, which has 3635 frames, and the dance with the highest number of frames that need to be learned is also Latin2, which requires 2519 frames to learn. (2) The data mining method is still the highest among the three methods, and the accuracy of the complete teaching method is 82%, which is the lowest among the three methods, and the accuracy of the decentralized teaching method is 87%. No matter in the test set or the mixed test set, the curve values of deep mining are very stable. First of all, human movements emphasize that in dance, the essential meaning of dance movements needs to be understood from the inside and expressed through the foundation of dance. Therefore, when developing new dance teaching methods, it is necessary to strengthen the basic dance training of students so that students can express the emotions conveyed by dance through body language and movements and improve their dance expression ability. We conduct research in this ecological environment. Different types of dance learning process using different frames, different types of dance in the algorithm transport have different recognition methods, using better and different algorithms can achieve the best performance. Both groups in the Hip Hop dance had a shorter average learning time than both groups in the Latin dance.
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Vaessen, Maarten J., Etienne Abassi, Maurizio Mancini, Antonio Camurri, and Beatrice de Gelder. "Computational Feature Analysis of Body Movements Reveals Hierarchical Brain Organization." Cerebral Cortex 29, no. 8 (October 1, 2018): 3551–60. http://dx.doi.org/10.1093/cercor/bhy228.
Full textAbstract:
Abstract Social species spend considerable time observing the body movements of others to understand their actions, predict their emotions, watch their games, or enjoy their dance movements. Given the important information obtained from body movements, we still know surprisingly little about the details of brain mechanisms underlying movement perception. In this fMRI study, we investigated the relations between movement features obtained from automated computational analyses of video clips and the corresponding brain activity. Our results show that low-level computational features map to specific brain areas related to early visual- and motion-sensitive regions, while mid-level computational features are related to dynamic aspects of posture encoded in occipital–temporal cortex, posterior superior temporal sulcus and superior parietal lobe. Furthermore, behavioral features obtained from subjective ratings correlated with activity in higher action observation regions. Our computational feature-based analysis suggests that the neural mechanism of movement encoding is organized in the brain not so much by semantic categories than by feature statistics of the body movements.
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Pantham, Potchanan. "A-Na(d) tayaSati Hubungan Anapanasati (Nafas Buddha) di dalam Struktur Tari Klasik Thailand." Joged 13, no. 1 (July 23, 2019): 17–30. http://dx.doi.org/10.24821/joged.v13i1.2685.
Full textAbstract:
A-Na(d)tayaSati adalah penciptaan karya tari dengan menyatukan prinsip hubungan Anapanasati (napas Buddha) dengan struktur gerak tari klasik Thailand. Tujuan penciptaan agarbisa mengarah pada salah satu bentuk atau metode gerakan tari Thailand yang berfokus padapenggunaan napas sebagai landasan struktur gerakan independen, alami, dengan mengambil kekuatan energi dari dalam ke luar. Hal ini untuk membuat gerakan tersebut bertahan lamasehingga bisa bergerak dalam jangka waktu yang lebih lama, dan merupakan gerak yang tenangmelalui meditasi yang alami, tanpa memaksa tubuh. Karya ini bertujuan pula untuk menciptakangerakan lain dalam tarian Thailand yang konsisten dengan doktrin Buddha, yang sadar akanjangkauannya saat ini dan alami melalui latihan dan kesadaran diri . Dengan menerapkan prinsipprinsipmeditasi dalam bentuk Anapanasati dan teori gerakan tubuh sesuai dengan (teoriPemrograman Motor) dalam anatomi untuk menemukan hubungan dari gerakan tari klasik Thailandyang memberikan arti penting bagi gerakan dengan napas penari . Proses penciptaan hubungan Anapanasati (Napas Buddha) dengan struktur gerak tari klasikThailand, sebagai pengakuan adanya gerakan baru yang memiliki energi aerobik (Aerobic system)yang beredar sepanjang waktu. Hal ini merupakan sistem tubuh yang menggunakan oksigen untukmembakar sepenuhnya dan terbentuk sebagai energi yang berkelanjutan dan damai dari dalamtubuh yang disebabkan oleh meditasi dengan metode pernapasan sambil melalukan gerakan tariklasik Thailand. Selain itu, tubuh tetap memiliki postur yang jelas, kuat dan unik dengan strukturgerakan tari klasik Thailand namun menjadi lebih ringan, lebih nyaman dan lebih alami. Energi dari napas masuk dan ke luar itu membuat gerakan menjadi terus-menerus, tanpa akhir, tanpa masalahkelelahan dan kontraksi otot saat bergerak ketika menari.The dance work creation with the principle of the relationship of Anapanasati (Buddha'sbreath) in the structure of the classical Thai dance movement . In the aim of being able to lead to oneform or method of Thai dance movements that focuses on the use of breath as a foundation for thestructure of independent movements, natural, and take energy from the inside to outside . This makesthe movement very durable so that it can move for a longer period of time and is a quiet movementthrough natural meditation, without force. To create another movement in Thai dance that isconsistent with Buddhist doctrine, which is aware of its current and natural reach through practiceand self-awareness. By applying the principles of meditation in the form of Anapanasati and thetheory of appropriate body movements (Motor Programming theory) in anatomy to find theconnection of classical dance movements Thailand which gives importance mean to movement withthe breath of dancers.The process of creating Anapanasati (Buddha's Breath) with the mobement structure of theThai classical dance as recognition of a new movement that has an aerobic system circulatingaround the time. This is a body system that uses oxygen to burn completely and is formed as acontinuous and peaceful energy from the inside caused by meditation with the breathing methodwhile moving the Thai classical dance movement . Besides that, the body still has a clear and strongposture that is unique with the structure of Thai classical dance movements such as lighter, morecomfortable and more natural. The energy of in and out breath makes the movement becomecontinuous, endless, without a problem of fatigue and muscle contraction during movements in thedance.
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Meng, Huo. "Analysis and Evaluation on the Harmfulness of Sports Dance Based on Intelligent Computing." Wireless Communications and Mobile Computing 2022 (April 23, 2022): 1–8. http://dx.doi.org/10.1155/2022/7371366.
Full textAbstract:
With the rapid development of motion analysis and editing technology, more and more animation technologies based on real human motion analysis are widely used in games, medicine, film and television, sports, and other fields. The role of this technology in the teaching system of sports dance arrangement cannot be ignored. This paper studies the application of intelligent algorithm in injury analysis of sports dance choreography and puts forward a smooth and natural motion editing method which is more in line with the characteristics of human motion. The square spherical surface intelligent algorithm is used to naturally transition the rotation posture of each frame of human joint, and the action modification of computer-aided dance choreography system is more in line with the real action of human body. Simulation results show that interframe data can be used for the same type of dance. Different types of dance arrangement can adopt the method of inserting a new framework between the two dance movements, so as to finally meet the needs of sports dance coaches and students to observe their own dance movements in an all-round way, so as to facilitate the arrangement and modification of sports dance movement design. It provides a certain reference for the application and development of virtual technology in the field of sports and greatly improves the current situation of sports dance teaching equipment. Through animation simulation technology, we can effectively avoid the injury caused by dangerous movements, provide a way of observation and improvement for coaches’ dance teaching, and effectively improve the training effect. Compared with traditional dance choreography methods, the intelligent algorithm in this study can make the animation display of sports dance more coherent and realistic and effectively solve the needs of current events observation and modification in sports dance choreography. It can produce complex movements with simple movements and help teachers arrange and teach sports dance. Avoid the accidental injury caused by the limitation of time and space in traditional teaching and realize the modernization and intelligence of physical education teaching.
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Shi, Yuzhu. "Stage Performance Characteristics of Minority Dance Based on Human Motion Recognition." Mobile Information Systems 2022 (June 29, 2022): 1–10. http://dx.doi.org/10.1155/2022/1940218.
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Due to the different development history of different nationalities, there is a big gap between traditional cultures. Especially, as an important embodiment and component of traditional culture, ethnic minority dance has unique characteristics. With the development of machine vision technology, human motion recognition has gradually become a hot research direction, but its application research in the field of dance motion recognition is still in its infancy. In this paper, the characteristics of stage performances of ethnic minority dances in the field of intelligent auxiliary training based on human motion recognition technology are introduced. The human body regions in the frame are obtained by using human posture, and 3D_SIFT and optical flow features are extracted from each region. Then, we use the extracted key frames and DTW (dynamic time warping) algorithm to realize the motion recognition of the motion capture data and carry out simulation experiments. The test results show that the algorithm can identify the minority dance video database, effectively identify the dance movements, and realize the movement correction of dancers.
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Lei, Yan, Xin Li, and Yi Jiao Chen. "Dance Evaluation Based on Movement and Neural Network." Journal of Mathematics 2022 (February 1, 2022): 1–7. http://dx.doi.org/10.1155/2022/6968852.
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In terms of music-driven dance movement generation, the music movement matching model and the statistical mapping model have poor fit between the dance generated by the model and the music self. The generated dance movement is incomplete, and the smoothness and rationality of long-term dance sequences are low. The new dance moves and other related issues cannot be generated by the traditional model. In order to address these issues, we design a dance generation algorithm based on movements and neural networks that will extract the mapping between voice and movement features. In the first stage, where the prosody features and audio beat features extracted from music are used as music features, and the coordinates of key points of the human body extracted from dance videos are used as motion features for training. In the second stage, the basic mapping of music and dance movements are realized through the generator module of the model to generate a smooth dance posture; the consistency of dance and music is realized through the discriminator module; the audio characteristics are more possessed through the Autoencoder module representative. In the third and final stage, the modified version of the model transforms the dance posture sequence into a realistic version of the dance. Finally, a realistic version of the dance that fits the music is obtained. The experimental data is obtained from dance videos on the Internet, and the experimental results are analyzed from five aspects: loss function value, comparison of different baselines, evaluation of sequence generation effect, user research, and quality evaluation of real-life dance videos. The results show that the proposed dance generation model has a good effect in transforming into realistic dance videos.
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Chakraborty, Aishika. "In Leotards Under Her Sari: An Indian Contemporary Dancer in America." Congress on Research in Dance Conference Proceedings 2014 (2014): 39–51. http://dx.doi.org/10.1017/cor.2014.6.
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Traversing through disparate cultural and geographic frontiers, my paper maps the journey of a Bengali dancer, Manjusri Chaki-Sircar, who travels from India to America via Africa before putting her “roots” finally down in India, exploring the migration of body movements across the world. Spelling a new body politics, her dance inscribes the signature of her-self in moving space(s); weaving varied patterns of life experiences; telling tales of displacements, exodus, and resettlements; and fashioning a glocal perspective of movement in a “global political moment.”Situating Manjusri within a counter-centric discourse, my paper underscores the counter-hegemonic agency of her feminist choreographies that opened up “an other” genre of bodily idiom, turning the flattering feminine performance into a site for cultural politics. From the dynamic landscape of post-partitioned Bengal, I will trace how the idiom evolved, migrated, and altered, changing, by the end of the century, the face of Indian contemporary dance.
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Snowber, Celeste. "Dancers of Incarnation." Thème 25, no. 1 (January 7, 2019): 125–38. http://dx.doi.org/10.7202/1055243ar.
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In poetic, sensuous and visceral language this article explores how one liturgical dance artist, whose work as a dancer and educator was centered in dance and theology for decades was informed by an incarnational theology to break open a field of embodied inquiry now situated outside the field of theological studies. The article is in itself a dance consisting of five movements which trace the journey of a liturgical dance artist from theology to doxology, embodied prayer and embodied inquiry to dancing in nature as a cathedral. Here in creating and performing site-specific work in the natural world, all of living and being is an embodied expression of spirit. Attention is given to the Biblical foundation of bodily expression and wisdom, moving to the fields of arts-based research rooted in phenomenology and curriculum theory to open up an embodied and poetic scholarship. Here writing is artistic and scholarly, personal and universal, evoking a physicality through the senses where connections between the holy and ordinary are honoured. Dance, movement and the body are rooted in incarnational and poetic expression and represent a philosophy through the flesh where physicality and spirituality are deeply intertwined.
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Gittens, Angela Fatou. "Black Dance and the Fight for Flight." Journal of Black Studies 43, no. 1 (December 27, 2011): 49–71. http://dx.doi.org/10.1177/0021934711423262.
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The arts have fulfilled a major historical role as mediums of expressivity for people of African descent during the 1960s. It is during this important decade that a number of political and artistic movements came to rise—like a pot waiting to boil over—as a result of decades of sociopolitical precedents that came to a head, sparking revolutionary responses by grassroots communities worldwide. This body of writing is an excerpt of a larger study the author conducted on the role of West African dance as performed by Black women dancers in New York City–based dance companies. Because of the techniques of djembe and sabar dance within traditional West African contexts for both dancers and drummers alike, the author closely examines these styles as leading examples of the types of physical movement within political movements of the 1960s era—movements that empowered and liberated oppressed peoples during moments of high tension.
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Sen-Podstawska, Sabina Sweta. "Moving towards aṇgasuddhi and saustabham with a conscious bodymind: Embodied imagery, metaphor and sensory awareness in Odissi dance training." Journal of Dance & Somatic Practices 14, no. 1 (July 1, 2022): 35–56. http://dx.doi.org/10.1386/jdsp_00068_1.
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This article investigates the usage of embodied imagery, metaphor and sensory awareness in the teaching and learning process of Odissi dance, an Indian classical dance from the eastern state of Odisha. It analyses examples of Odissi dance training used by chosen dance institutes and dancers in India. The discussion is undertaken in correlation with the psychophysical performers’, dance scholars’, somatic movement practitioners’, dance anthropologists’ and philosophers’ study of bodymind and embodiment. It proposes a shift from the objectified to a subjective approach to the dancer’s body that empowers students/dancers to reclaim the ownership of their bodies and movements. Altogether, it highlights a missing block in the training process that enables dance students to move towards the socioculturally imagined level of ‘perfection’, however, with a healthy, thinking, feeling, moving and agentive bodymind.