Relevant bibliographies by topics / Dance disciplines

Academic literature on the topic 'Dance disciplines'

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

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Journal articles on the topic "Dance disciplines"

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Vukadinovic, Maja. "Psychological research in dance." Zbornik Matice srpske za drustvene nauke, no. 181 (2022): 47–61. http://dx.doi.org/10.2298/zmsdn2281047v.

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This paper examines dance as a significant ethnological, historical, geographical, sociological, artistic, musical, aesthetic, psychological, biological, and psychotherapeutic phenomenon. The main focus is on its psychological aspects and the interconnectedness of psychological and physical components, which enables a unique experience not only for the person who dances but also for the observers. In the first part, the complex phenomenon of dance is elaborated, differences between spontaneous dance and dance as an artistic discipline are highlighted and a new comprehensive definition of dance is offered. Secondly, different aspects of dance are looked at through the prism of questions that intrigue researchers in various psychological disciplines such as developmental psychology, social, cognitive, health and clinical psychology, physiological, evolutionary, and finally the psychology of creativity. The last chapter provides the basic determinants of artistic dance from the perspective of the psychology of creativity. Specific issues related to artistic dance are discussed, including the characteristics of a creative person - choreographer or performer, creative process, work of art - dance, audience and creative environment. The paper concludes with a brief overview of the importance of psychology for the field of dance, and vice versa, emphasizing the continuous interchange between the two.
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Lepecki, André. "Dance Discourses: Keywords In Dance Research." Dance Research Journal 44, no. 1 (2012): 95–99. http://dx.doi.org/10.1017/s0149767712000010.

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The formation of what Randy Martin has called “critical dance studies” (1998) has gained increased momentum over the past decade. Martin's notion of critical dance studies clarified how dance scholarship was being reshaped by the explicit inclusion of critical theory in its methodologies and epistemologies. One of the major consequences for dance studies in embracing critical theory was the identification of dancing and choreographic practices as being also theory. Understanding dance as theory is not equivalent to seeing dance as the sole provider of the theoretical tools it needs for its own analysis (this would be intolerably solipsistic). Rather, it means that dance becomes a privileged practice ready to provide analytical tools for theorizing other areas of social performances: politics, culture, formations of disciplines and their bodies (docile or resistant). Dance is a mode of theorization that theory itself would need in order to address the social and political problematic brought by issues close to dance such as mobilization, embodiment, subjectivities, participation, representation, desire, discipline, control, etc.
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Nolton, Esther C. "Dancer Wellness. By M. Virginia Wilmerding and Donna H. Krasnow." Medical Problems of Performing Artists 33, no. 1 (March 1, 2018): 72. http://dx.doi.org/10.21091/mppa.2018.1010.

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Dancer Wellness is a comprehensive text for dancers and dance educators to better understand health and wellness in the context of their craft. Though not intended for this purpose, this resource may also be a beneficial tool in allowing allied healthcare professionals to repackage knowledge that was obtained in a traditional (sports) medicine context to the otherwise unchartered world of dance medicine and science. As a former dancer turned sports medicine practitioner and researcher, I appreciate what this text has done to bridge the gap by transferring knowledge and skills across disciplines.
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Farrugia, Kathrina. "Moving Beyond and in Between: Implications of Cross/Transdisciplinary Methodologies for Twenty-First-Century Pedagogies for Teaching Dance Studies." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 312–18. http://dx.doi.org/10.1017/s2049125500001278.

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This presentation outlines the application of cross-disicplinary and transdisciplinary epistemologies and pedagogies within the field of dance studies and the parameters of dance teacher education. Charting and challenging readings of the articulated and bodily knowledge, including dance disciplines (such as reading, writing, and embodying dance histories; performance analysis; and performance making), the enquiry presents an application of the three dimensions of academic disciplines within two case studies (dance histories/performance analysis and making). The paper presents epistemologies and pedagogies that facilitate methodologies for an embodied and articulated knowledge of balletic genres and histories, practices, and traditions.
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Longley, Alys, and Barbara Kensington-Miller. "“Under the radar”: exploring “invisible” graduate attributes in tertiary dance education." Journal of Applied Research in Higher Education 11, no. 1 (February 4, 2019): 66–75. http://dx.doi.org/10.1108/jarhe-12-2017-0157.

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Purpose Many graduate attributes (such as adaptability, resilience, cultural awareness and professionalism) are often considered aspirational or invisible and conventionally go “under the radar” of standard university dance education. The purpose of this paper is to add to existing theories of dance as an academic discipline and contributes to studies identifying and mapping graduate attributes across the academy. Design/methodology/approach The research project Making the Invisible Visible contextualises this paper. It has involved a two-year, cyclical data-gathering process, involving interviews with leading dance employers and academics, and surveys of students from diverse disciplines entering and completing full-time dance degrees. Findings Due to the centrality of embodiment in studio learning, dance is an unusual discipline within research on graduate attributes and holds a unique place in academia. The creative, embodied, collaborative activities typical to dance learning offer fresh insight to the literature on graduate attributes – both visible and invisible – all graduates from a given institution are expected to hold. Originality/value A narrative methodology is employed to present a series of amalgam characters manifesting specific ways in which invisible graduate attributes inform pedagogies, student–teacher relationships and student understandings of their professional skills.
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Delavaud-Roux, Marie-Hélène. "La Grèce antique connaissait déjà la Break Dance!" Dramaturgias, no. 7 (July 4, 2018): 529–40. http://dx.doi.org/10.26512/dramaturgias.v0i7.9536.

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Si la Break Dance, l'une des nombreuses disciplines du hip hop, est née au début des années 1970, dans le milieu urbain et défavorisé new-yorkais du quartier du Bronx, la Grèce antique connaissait déjà un amateur d'une discipline acrobatique que nous pourrions aujourd'hui qualifier de Break Dance. Ce per- sonnage, nommé Hippocleidès, se produisit dans les années 572-570 av. J.-C.1 à l'occasion d'une réunion organisée par le tyran de Sicyone pour remercier tous les aristocrates qui avaient prétendu à la main de sa fille et choisir son gen- dre. Hippocleidès fit scandale par sa danse, jugée très inconvenante et qui lui fit manquer le mariage escompté. Cette anecdote, rapportée par le célèbre his- torien Hérodote au milieu du Ve siècle av. J.-C., révèle la modernité de la Grèce antique en matière de pratiques orchestiques mais la comparaison ne peut pas être soutenue au-delà d'un certain point et ce pour plusieurs raisons. Hippocleidès, à la différence des premiers artistes de Break Dance, n'émerge pas d'un milieu défavorisé. Il est issu de la noblesse. Son exhibition est une improvisation mais ce n'est pas une danse de rue ou même une danse spécifiquement urbaine. Elle ne reflète en rien une pression sociale. Replaçons cette brillante chorégraphie dans son contexte pour mieux la comprendre. On rappellera qu'elle s'effectue dans le cadre de la préparation d'un mariage fastueux, avec un enjeu politique considérable, puis nous verrons qu'elle devient un prétexte pour écarter Hippocleidès car ce prétendant est incompatible avec la politique matrimoniale du tyran de Sicyone comme l'ont montré les travaux d'A. Duplouy.
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Dou, Yue. "The Application of Video Technology in Dance Courses." Art and Society 1, no. 3 (December 2022): 38–43. http://dx.doi.org/10.56397/as.2022.12.04.

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Photography and audiovisual products are used in many ways as a technological means of recording coherent things. The art of dance as both visual and aural art is a good match for the nature of photographic technology. This has led to the use of photography in dance training and dance documentation as a means of giving visual feedback to dancers. However, due to the reproducibility and high distribution of photography, there are still many challenges regarding copyright and user choice of photography. This article explores the challenges and applications of photographic technology in the art of dance from a variety of perspectives. It also discusses the development of photographic technology as a means of promoting the discipline of dance at a time when virtual teaching is widely used in all disciplines. Using the example of the covid-19 online dance course, it explores the advantages and disadvantages of its use in practice.
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Mohr, Hope, Larry Arrington, Gerald Casel, Gregory Dawson, Peiling Kao, Xandra Ibarra, and Margo Moritz. "Choreographic Transmission in an Expanded Field: Reflections on “Ten Artists Respond to Trisha Brown’s Locus”." TDR/The Drama Review 62, no. 2 (June 2018): 143–50. http://dx.doi.org/10.1162/dram_a_00754.

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The Locus project commissioned 10 Bay Area artists from multiple disciplines to learn Trisha Brown’s Locus and respond by creating their own pieces. It was the first time that the Trisha Brown Dance Company (TBDC) had allowed one of Brown’s dances to be transmitted beyond the company for the explicit purpose of inspiring new works.
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Rakočević, Selena. "Tracing the discipline: Eighty years of ethnochoreology in Serbia." New Sound, no. 42 (2013): 58–86. http://dx.doi.org/10.5937/newso1341058r.

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The interest for traditional dance research in Serbia is noted since the second part of the 19th century in various ethnographical sources. However, organized and scientifically grounded study was begun by the sisters Danica and Ljubica Janković marked by publishing of the first of totally eight volumes of the "Folk Dances" [Narodne igre] in 1934. All eight books of this edition published periodically until 1964 were highly acknowledged by the broader scientific communities in Europe and the USA. Dance research was continued by the following generation of researchers: Milica Ilijin, Olivera Mladenović, Slobodan Zečević, and Olivera Vasić. The next significant step toward developing dance research began in 1990 when the subject of ethnochoreology was added to the program of basic ethnomusicological studies at the Faculty of Music in Belgrade and shortly afterward in 1996 in the Academy of Arts in Novi Sad. Academic ethnochoreological education in both institutions was established by Olivera Vasić. The epistemological background of all traditional dance research in Serbia was anchored mostly in ethnography focused on the description of rural traditions and partly in traditional dance history. Its broader folkloristic framework has, more or less, strong national orientation. However, it could be said that, thanks to the lifelong professional commitment of the researchers, and a relatively unified methodology of their research, ethnochoreology maintained continuity as a scientific discipline since its early beginnings. The next significant milestone in the development of the discipline happened when traditional dance research was included in the PhD doctoral research projects within ethnomusicological studies at the Faculty of Music in Belgrade. Those projects, some of which are still in the ongoing process, are interdisciplinary and interlink ethnochoreology with ethnomusicology and related disciplines. This paper reexamines and reevaluates the eighty years long tradition of dance research in Serbia and positions its ontological, epistemological and methodological trajectories in the broader context of its relation to other social sciences/humanities in the contemporary era of interdisciplinarity and postdiciplinarity.
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Giersdorf, Jens Richard, and Yutian Wong. "Remobilizing Dance Studies." Dance Research Journal 48, no. 3 (December 2016): 70–84. http://dx.doi.org/10.1017/s0149767716000322.

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This essay uses as its case study the reconstruction of an East German Vietnamese socialist folk danceSpring in Vietnam(1969) to reflect on Randy Martin's 1998 conviction that Dance Studies has the potential to embody and materialize solutions to intellectual and political issues that have been left out of other academic disciplines. Written as a play script, the essays performs a remobilization of Dance Studies and its potential to reflect on its disciplinary authority.
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Dissertations / Theses on the topic "Dance disciplines"

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Quinn, Mallory Joanne. "Utilizing TAGteach to Enhance Proficiency in Dance Movements." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4751.

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The purpose of this study was to evaluate TAGteach as a training procedure to increase the fluency of three dance movements in a multiple baseline across behaviors design with 4 students of dance. Target behaviors included a pirouette/turn, kick, and a leap/jump, respective of the level of the class. A dance instructor was trained to implement the TAGteach procedure by the primary researcher. The targeted dance movements remained at a stable level during baseline and improved sequentially for each participant following the introduction of the TAGteach training. Implications for future research are discussed.
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James, Takema J. "Using Auditory Feedback to Improve Dance Movements of Children with Disabilities." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5708.

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Research incorporating behavior analysis to improve sports performance has shown that various feedback types (e.g., video feedback, public posting) can increase skills. Recently, auditory feedback has been shown to be effective. The purpose of this study was to evaluate the utility of auditory feedback to improve dance movements of children with disabilities using an ABAB design embedded in a multiple baseline across participants design. The target behaviors were fundamental dance skills, individualized to each student, and scored using a task analysis to calculate the percentage of correct steps. The results showed that auditory feedback was valuable in increasing the specific dance skill for each student. Although the skills decreased during the second baseline phase, the skills increased to their respective levels following treatment withdrawal.
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Burrington, David J. "Dancing Around Costuming: A Symbiotic Relationship of Disciplines, Costume Design for Dance 2011: Parallel and Intersect." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334347548.

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Rowe, Andrew D. "Exploring the dance of team learning." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327121.

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Lissade, Yolette. "The Effect of an Arts-Based, Anger-Management Intervention for Girls Displaying Aggressive Behavior Who Are Being Reared Without Their Fathers." Thesis, NSUWorks, 2015. https://nsuworks.nova.edu/fse_etd/25.

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This arts-based intervention program was designed to reduce anxiety and aggressive behavior in adolescent girls who were being reared without their fathers during the period of 2010–2015. The research questions were designed to investigate the scope, frequency, and severity of the problem of increased aggressive behavior and anxiety by girls being reared without their fathers; to evaluate the effectiveness of an arts-based intervention in reducing aggressive behavior and anxiety in girls being reared without their fathers; to investigate the ways that the use of an arts-based intervention might improve feelings about family relationships for single mothers and girls being reared without their fathers; and to gather observations and perceptions of all participants of the arts-based intervention regarding its impact on aggressive girls being reared without their fathers. Eight children between the ages of 8 and 17 completed the study. Data collection consisted of administering the following surveys: the Adolescent Anger Rating Scale, the Children’s Aggression Scale, the Parent Adolescent Relationship Questionnaire, and a confirmation interview with parents. An anger-management intervention utilizing the arts as an outlet for self-expression was implemented during the winter 2013 semester. Results showed the implementation fostered peer collaboration and resulted in reduced anger and aggression as well as increased communication and family cohesion. Expression through the arts, coupled with anger-management training, enabled girls to cope with their anger rather than acting out.
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Dallman, Paula Ann 1949. "PRELIMINARY ASSESSMENT OF CONDITIONING PRACTICES IN SUPPORT OF MULTIPLE DISCIPLINE DANCE TRAINING (FLEXIBILITY)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/276391.

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Williams, Tamara Lynn. "Dance/movement therapy and architecture : an investigation of modern dance as an informative discipline and theories of the body in architectural design." Thesis, Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/21612.

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Abels, Kimberly Town. "Reconsidering writing across the curriculum : language as a contested site in the discipline of dance." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1287417137.

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Massot-Leprince, Miryam. "Enseigner une discipline sans la maîtriser : exemple de la danse à l'école primaire." Nantes, 2014. http://www.theses.fr/2014NANT3003.

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Notre recherche tente de comprendre comment, dans le cadre de leur polyvalence, les professeurs des écoles s'y prennent pour enseigner une discipline qu'ils ne maîtrisent pas. Pour réaliser notre investigation sur le terrain, nous avons analysé l'enseignement de la danse à l'école primaire aux confins de l'Education physique et sportive et de l'Education artistique. Comment et à partir de quels savoirs de l'enseignant, les professeurs des Ecoles transforment-ils une discipline en contenu d'enseignement ? Comment décident-ils de ce qui est à enseigner ? Comment se le représentent-ils et le représentent-ils à leurs élèves ? Quelles sont les sources du savoir professoral ? Notre recherche s'ancre dans un système d'actions en référence à celui de Vermesch qui place l'action vécue au centre d'un système d'informations. Ce sont les savoirs institutionnels, pédagogiques et didactiques et les intentions qui font l'objet de nos interrogations. Le travail des enseignants sera alors observé au regard des travaux de la psychologie du travail (Clot) et de l'analyse des gestes professionnels enseignants (Bucheton). D'un point de vue méthodologique, une étude quantitative nous a permis de découvrir des relations entre les pratiques sportives, artistiques et culturelles des professeurs des Ecoles et leur positionnement par rapport à l'enseignement de la danse et une analyse qualitative de l'activité de trois enseignants en position d'enseignement de la danse nous à amener à distinguer des typologies. L'articulation des deux systèmes produits nous a permis de proposer un modèle permettant l'étude des implications de la socialisation culturelle primaire sur les démarches d'enseignement.
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Jacobs-Percer, Jonnie Lynn. "Does the Discipline of Ballet Give Its Serious Students Transferability Into High Academic Achievement?" University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337007363.

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Books on the topic "Dance disciplines"

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E, McCombs Maxwell, ed. Research in mass communication: A practical guide. Boston: Bedford/St. Martin's, 2000.

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Jordan, Stephanie. Dancing back: Current debates and the discipline. London: Roehampton Institute, 1995.

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Schultz, Huxman Susan, ed. The rhetorical act: Thinking, speaking, and writing critically. 3rd ed. Belmont, CA, USA: Thomson/Wadsworth, 2003.

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The rhetorical act. 2nd ed. Belmont, Calif: Wadsworth Pub. Co., 1996.

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Grau, Andrée, and Georgiana Wierre-Gore. Anthropologie de la danse: Genèse et construction d'une discipline. Pantin: Centre national de la danse, 2005.

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1923-, Brockett Oscar Gross, and Ball Robert J, eds. Plays for the theatre: A drama anthology. 9th ed. Boston: Thomson/Wadsworth, 2008.

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Cecilia, Nocilli, and Pontremoli Alessandro, eds. La disciplina coreologica in Europa: Problemi e prospettive. Roma: Aracne, 2010.

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Follia e disciplina: Lo spettacolo dell'isteria. Milano: Mimesis, 2014.

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Kenzie, Robert J. Mac. Setting limits in the classroom: How to move beyond the classroom dance of discipline. Rocklin, CA: Prima Pub., 1996.

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Setting limits in the classroom: How to move beyond the dance of discipline in today's classrooms. 2nd ed. Roseville, Calif: Prima Pub., 2003.

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Book chapters on the topic "Dance disciplines"

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Carter, Alexandra. "Destabilising the discipline." In Rethinking Dance History, 114–22. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2017. | Revised edition of: Rethinking dance history : a reader / edited by Alexandra Carter. 2004.: Routledge, 2017. http://dx.doi.org/10.4324/9781315544854-11.

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Wong, Yutian. "Discipline and Asian American Dance." In Choreography and Corporeality, 225–45. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-54653-1_14.

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Houliston, Victor. "Releasing the Prisoners of Hope: Dante’s Purgatorio Breaks the Chains of the Born Frees." In Studi e saggi, 117–29. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-458-8.07.

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Beginning with a tribute to the late Chris 'Zithulele' Mann, a poet and activist who was deeply immersed in Dante, this chapter comments on some of the patterns that emerge from the creative contributions of the Dantessa students. Two authors affirm and explore ideas of black womanhood by appealing to Beatrice and Francesca, potentially combining the two figures. Several authors are acutely aware of the purgatorial condition of post-apartheid South Africa, suggesting a long and arduous march to freedom. The image of flight recurs: thrice, madly, into the inferno and once, temporarily, in limbo. These lively responses to La Commedia prompt the question: what kind of literary studies is proper to purgatory, and elicit a tentative reply, urging a re-invention of the discipline of letters.
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Calvo-Merino, Beatriz. "Dance, Expertise, and Sensorimotor Aesthetics." In Brain, Beauty, and Art, 199–202. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197513620.003.0039.

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The article reviewed in this chapter discusses how questions initially originated in cognitive neuroscience can be answered with collaborations with nonscientific disciplines, such as performing arts. The author describes the first study that showed dancer’s brain activity when observing dance movements. By investigating how the expert brain works, they demonstrated the important role of sensorimotor processing for movement perception, emotion perception, and aesthetic judgment. This work opened a channel of communication between neuroscientists and performing artists, enabling conversations that have generated novel questions of interest to both disciplines. The chapter discusses three fundamental insights: the importance of prior experience for perception, the importance of motor representations for perception, and the existence of a system for embodied aesthetics. Finally, the author provides some consideration on neuroscientists’ capacity to dissect the aesthetic experience and how this knowledge can be absorbed by the performing artist during the artistic and choreographic process.
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Ritter, Julia M. "Designing Differently with Dance." In Tandem Dances, 70–102. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051303.003.0003.

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Chapter 2 brings to light the fact that although choreography has been overlooked in discussions of immersive performance, it has in fact long been invisibly operating as a strategy for immersing spectators in these productions. Drawing upon interviews with practitioners of immersive productions, the author examines how the compositional tools of dance are being adapted and combined with tools from other disciplines to create choreographic structures for both dancers and spectators. The chapter also considers the ethical and political implications of creating productions that seemingly offer spectators opportunities to perceive performances as singular and customized when in fact the choreography is functioning as a powerful mechanism to guide experience.
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DeNaro, Anthony “YNOT”, and Mary Fogarty. "Make the Letters Dance." In The Oxford Handbook of Hip Hop Dance Studies, 457—C24.N**. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190247867.013.30.

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Abstract Writing (“Aerosol Art”) is more than an inspiration for some Hip Hop dance practitioners. For those that combine the various elements in Hip Hop, the relationship between them is the generative impulse for creation. In the quest to create a personal signature in the city, Hip Hop arts express not only the visual name but also the rhythm of the letters, and how their movement connects to space and time. YNOT’s output as a B-boy is the result of investigations into other art forms and cultural backgrounds. The chapter identifies some of the practices of iconic artists that inspired YNOT’s output, such as RAMM:ELL:ZEE, Donald “DONDI” White, Jeffrey “DOZE” Green, and Jorge “POP MASTER” FABEL. It discusses how art schools are often places to gather and experiment and have contributed to creativity in Hip Hop culture. Understanding and relating the structures of art forms can deepen art practices and help decolonize disciplines. This chapter examines Hip Hop methodologies while showing how the integrity of this work is connected to knowledge of self and openness to divergent experiences.
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Fragoso Susunaga, Claudia, and Alejandra Olvera Rabadán. "Categorías estéticas y nuevos conceptos de la teoría de las artes escénicas contemporáneas." In Lo estético en el arte, el diseño y la vida cotidiana, 22–32. Universidad Autónoma Metropolitana. Unidad Azcapotzalco., 2021. http://dx.doi.org/10.24275/uama.7049.8984.

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Art theory is a discipline that has displaced aesthetics in the work of studying art, because it has been constructed from the new epistemologies generated from contemporary art and therefore has the necessary tools to account for it. Art theory is nourished and linked to many other disciplines, but unlike aesthetics, its object of research is always art, which gives it a conceptual and methodological warp generated specifically for the study of the contemporary artistic phenomenon. This text analyses the disarticulation of the automatic association between aesthetics and art, the notion of event in the performing arts, the integration of cognitive processes in the contemporary artwork, the imbrication of the work with reality and the body, issues that dance theory studies in a particular way.
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Stray, Christopher. "Bernard Lightman and Bennett Zon (eds), Victorian Culture and the Origin of Disciplines. (New York and London: Routledge, 2020), xiii+320pp. ISBN: 978036228422." In History of Universities: Volume XXXIV/2, 199–201. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192857545.003.0015.

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This chapter analyzes the twelve essays arranged in Bernard Lightman and Bennett Zon's Victorian Culture and the Origin of Disciplines. The book covers a wide range of academic subjects: mathematics, zoology, child psychology, history, anthropology, archaeology, classics, art history, dance history and musicology. The first section is on professional validation, in which Lightman investigates the connection, and tension, between the emergence of new specialized disciplines and the continuing concern to see science as a unity, while the second section deals with university education. The third section is concerned with society journals, such as David Lowther's piece that explores the ferocious struggles between rival British natural history journals in the second quarter of the nineteenth century. The remaining three chapters discusses literary genres, disciplinary boundaries, and interdisciplinarity.
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Ritter, Julia M. "Introduction." In Tandem Dances, 1–30. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051303.003.0001.

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The Introduction lays out the main aim of the project—to uncover choreography’s role in immersive productions—and suggests that two specific challenges must be addressed in order to do so. The first challenge concerns the ways that dance and theater have long been maintained as separate academic disciplines and continue to be disconnected in the research surrounding contemporary performance, including participatory forms such as immersive theater. The second challenge when foregrounding choreography’s role in immersive productions is to address the questions about power and control. By recognizing the generative interplays within immersive productions—tensions between agency and control, between performer and spectator, between scriptedness and improvisation—we are able to understand choreography’s nuanced role as a primary mechanism for shaping audience participation to effectively engender immersion as an affective outcome.
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"Scene Changes and Key Changes: Disciplines and Identities in HE Dance, Drama and Music: Paul Kleiman." In Tribes and Territories in the 21st Century, 142–53. Routledge, 2012. http://dx.doi.org/10.4324/9780203136935-22.

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Conference papers on the topic "Dance disciplines"

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Aryanto, Kadek Yota Ernanda, I. Nengah Suandi, I. Wayan Mudana, Ni Luh Partami, and I. Made Bandem. "The Development of Android-Based Balinese Dance Dictionary." In Proceedings of the 3rd International Conference on Innovative Research Across Disciplines (ICIRAD 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200115.031.

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2

Gantchevа, Giurka. "DYNAMICS IN THE DIFFICULTY IN RHYTHMIC GYMNASTICS COMPETITIVE ROUTINES." In INTERNATIONAL SCIENTIFIC CONGRESS “APPLIED SPORTS SCIENCES”. Scientific Publishing House NSA Press, 2022. http://dx.doi.org/10.37393/icass2022/72.

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ABSTRACT Rhythmic gymnastics, like other sports disciplines called “artistic”, is continuously developing in a sports-technical sense. Gymnastics varieties, such as “dance gymnastics”, “rhythmical gymnastics”, “expressive gymnastics”, and “plastic and stage expression gymnastics” have lost their individuality but different elements of their means of expression find their place in the requirements for composition. The efforts of the specialists in this sport are aimed at preserving the identity of this sports discipline, namely, using various musical accompaniments and a wide range of dance movements combined with complex exercises. The aim of the research was to trace the development of the difficulty in routines and a retrospect of the main indicators for making competitive routines for the period 1963-2021 was made with the use of a theoretical and synthesis method. The evaluation of dance elements and complex exercises in competitive programs of gymnasts was in the very first Code of Rules known. There are three different components – difficulty of the exercises, general impression, and accuracy of execution. The general changes in the difficulty of the exercises can be clearly seen if we divide the Codes of Rules into the following periods: 1) 1963-1971, 2) 1976-1984, 3) 1997-2005, and 4) 2009-2021. The changes are due to two major factors: - objective – perfection of the training process, emergence of new exercises, gymnasts’ exclusive motor abilities; choreographs, musicians, dancer’ participation in gymnasts’ preparation; - subjective – creation and modification of the rules by members of rhythmic gymnastics technical committee who are representatives of different schools and cultures, with different concepts about the development of the future image of this sport. The retrospect of the requirements in the competitive rules shows that the greatest transformation of rhythmic gymnastics is in its turning into a complex sport.
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Siswantari, Heni, and Mira Setia Wati. "Dance Learning for Children with Moderate Mental Retardation at the Pembina State Special Education School of Yogyakarta." In Proceedings of the 3rd International Conference on Innovative Research Across Disciplines (ICIRAD 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200115.063.

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4

Савостьянов, Александр Иванович, and Татьяна Николаевна Мацаренко. "METHODOLOGY OF TEACHING THE DISCIPLINE "DANCE" AT THE ACTOR'S DEPARTMENTS OF THEATER UNIVERSITIES." In Science. Research. Practice (Наука. Исследования. Практика): сборник статей международной научной конференции (Санкт-Петербург, Октябрь 2022). Crossref, 2022. http://dx.doi.org/10.37539/221026.2022.69.42.002.

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В статье рассматривается дисциплина «Танец», как профессионально важный курс в системе воспитания и обучения современного актера. The article considered the discipline "Dance" as a professionally important course in the system of education and training of a modern actor.
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