Journal articles on the topic 'Dance disciplines'
To see the other types of publications on this topic, follow the link: Dance disciplines.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Dance disciplines.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Vukadinovic, Maja. "Psychological research in dance." Zbornik Matice srpske za drustvene nauke, no. 181 (2022): 47–61. http://dx.doi.org/10.2298/zmsdn2281047v.
Full textAbstract:
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.
2
Lepecki, André. "Dance Discourses: Keywords In Dance Research." Dance Research Journal 44, no. 1 (2012): 95–99. http://dx.doi.org/10.1017/s0149767712000010.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Prus, Dasa, and Petra Zaletel. "Body Asymmetries in Dancers of Different Dance Disciplines." International Journal of Morphology 40, no. 1 (February 2022): 270–76. http://dx.doi.org/10.4067/s0717-95022022000100270.
Full text
12
Kerr-Berry, Julie A. "Dance Teaching Techniques and Practices: Informing Other Disciplines." Journal of Dance Education 4, no. 3 (July 2004): 77–79. http://dx.doi.org/10.1080/15290824.2004.10387262.
Full text
13
Syvokon, Yuriy. "THEORETICAL ASPECTS OF MODERN TEACHING OF CLASSICAL DANCE IN HIGHER EDUCATIONAL PEDAGOGICAL INSTITUTIONS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 201–5. http://dx.doi.org/10.36550/2415-7988-2021-1-195-201-205.
Full textAbstract:
The article presents an analysis of the methods of teaching classical dance as a backbone knowledge in the process of teaching students of choreographic areas of universities of culture. The main task of higher education in the field of choreography is the formation of a «complete» model of a graduate in the unity of performing and pedagogical qualities. At the same time, in the context of introducing standards for teachers, the main task of the training is the question «How to teach to dance?», which puts forward the tasks of scientific understanding of the teaching methods as an important condition for the formation of the pedagogical competence of future graduates. The main methodological setting of the research is the presentation of modern practice of choreographic education and teaching classical dance as a system in which all elements are conditioned and subordinated to performing and pedagogical tasks. The relevance of studying the methods of teaching classical dance in higher educational institution is determined by the conditions of the modern stage, which is characterized by the introduction of educational standards as an expected result of the quality of training of future choreographers; expansion of the nomenclature of profiles and directions of choreographic training; introduction of professional standards for teachers in the field of choreographic art. Classical dance at all stages of formation and development of choreographic education in universities is the foundation of training future professionals in the field of dance, a discipline that forms the performing practical skills and abilities of the dancer; «Lexical» basis of the future choreographer-producer, creator of choreographic combinations, sketches, compositions and performances; scientific and theoretical foundation of methods of teaching choreographic disciplines. The possibility of successful implementation of tasks in accordance with the requirements of modern educational standards of training students-choreographers in higher education is due, inter alia, reliance on internal prerequisites for development, which are determined by historical traditions of teaching classical dance methods A. Ya. Vaganova. XX – early XXI century. researchers stand out as the most important in the development of classical dance.
14
Munnelly, Lisa. "Three Turns: A dialogue across disciplines." Drawing: Research, Theory, Practice 7, no. 2 (October 1, 2022): 299–312. http://dx.doi.org/10.1386/drtp_00097_1.
Full textAbstract:
On 21 February 2021 at 9.00 p.m., the performance Three Turns was featured as part of a curated series of works in The Performance Arcade (PA2021), a festival that brought together live art, music and performance on Wellington’s Waterfront. In a shipping container transformed into a temporary stage, three artists: a drawer, a dancer and a musician, celebrated the immediacy of their mediums. In an hour-long performance, a dialogue across disciplines was formed, a dialogue that evolved intuitively. Over three turns, each artist took the lead, with a note, a mark and a gesture offered up as provocation – forms, actions, colours and chords followed. The sonic surface, the stage and the page merged into a single space in which the artists explored velocity, rhythm and repetition. This encounter created a place where gravity and levity pushed and pulled, space was devoured and patterns emerged, accumulated and dissipated. The collaborative performance of Three Turns allowed three artists to form a dialogue across disciplines and ask: what new knowledge can emerge from a conversation between drawing, dance and music? This report, written in the first person from the drawer’s perspective, with contributions from The Dancer/Sacha Copland and The Musician/Simon Eastwood, reflects upon the event and posits that whilst on an individual level the performance produced new drawings, new sounds and new movements that individually had value, it was the relation between the three artists and their mediums, that emerged to be the most significant aspect of the work.
15
Rebelo, André, Maria João Valamatos, Sofia Franco, and Francisco Tavares. "Physical and Physiological Characteristics of Female Artistic Roller Skaters Based on Discipline and Level of Expertise." Polish Journal of Sport and Tourism 29, no. 1 (March 1, 2022): 30–38. http://dx.doi.org/10.2478/pjst-2022-0006.
Full textAbstract:
Abstract Introduction. In artistic roller skating, athletes use shoes fitted with small wheels to be used in rinks. The sport consists of seven disciplines characterized by different physical demands. Roller skaters are judged on content and manner of performance, and this includes the skater’s ability to do jumps, spins, and footwork. To date, no study has analyzed the different physical qualities in artistic roller skaters based on their skating discipline and skating level. Thus, the purpose of this study was to compare the body composition, flexibility, balance, reactive strength, maximal strength and aerobic capacity based on skating discipline and skating level. Material and methods. A total of 108 female athletes from the three individual disciplines (figures, freestyle, and solo dance) and three different levels (elite, sub-elite, and non-elite) volunteered to participate in this study. All subjects completed the sit-and-reach, front split, Y-Balance, countermovement jump, squat jump, drop jump, isometric mid-thigh pull and 20-metre multistage shuttle roller skate tests. Six multivariate analyses of variance were performed to identify differences between disciplines and levels. Statistical significance was set at p < 0.05. Results. The findings showed that freestyle skaters have less body fat, and higher levels of reactive and maximal strength than figure and solo dance skaters. Elite skaters demonstrate greater values of flexibility, balance, strength and aerobic capacity compared to their sub-elite and non-elite counterparts. Conclusions. The results of this study showed that there are differences between elite and non-elite athletes and between skating disciplines. Strength and conditioning professionals should take that into consideration when training these athletes.
16
Ragil, Ragil Tri Oktaviani, Sepbianti Rangga Patriani, and Isna Khuni Mu’alimah. "Pabbitte Passapu Dance as A Facility of Education In Bulukumba District." Proceedings of the International Seminar on Business, Education and Science 1 (October 17, 2022): 51–59. http://dx.doi.org/10.29407/int.v1i1.2510.
Full textAbstract:
Learning in various educational disciplines including art education has guidelines, methods and approaches to achieve learning objectives. Art education is one of the disciplines that really need to be taught to students. One of them is the Pabbite Passapu dance, which was born from the interior of the Kajang tribe, Bulukumba Regency, which was originally shown for ritual ceremonies, now it is developed as a means of entertainment, welcoming guests, and mandatory material for dance in several schools in Kajang. The research method in this article uses a qualitative descriptive method, with an interdisciplinary approach. Some of the schools in Kajang Luar, one of which is Madrasah Aliyah DDI Baburridha which applies the Pabbitte Passapu dance as a material that needs to be included in learning the arts and culture of dance. As for the application of dance which is taught by the drill method, the teacher demonstrates the dance moves and the students follow the movement. After the dance is taught, the students will be asked to do a small performance in the school field. This is so that all elements of the Kajang community do not forget their ancestral heritage. Pabbitte passapu dance which is an art of the Kajang tribe has a (physical) form and contains values. The Pabbitte Passapu dance form begins with the name, theme, type/type/nature, motion, accompaniment/music, number of dancers, as well as costumes and props.
17
Vass-Rhee, Freya. "Motion/Perception: William Forsythe's Spectatorial Shifts." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 206–11. http://dx.doi.org/10.1017/s2049125500000340.
Full textAbstract:
What do we mean when we talk about perception in/of dance? The movement of viewers of William Forsythe's dance and performance installation works affords perceptual change in multiple senses—sensory, cognitive, philosophical, aesthetic. This paper explores issues of action, perspective, and convention in the performance of dance spectatorship through a consideration of Forsythe's mobilized audiences. Moving within and between diverse disciplines, this paper simultaneously examines disciplinary specificity, variance, and crossover of the term “perception.”
18
Morris, Gay. "Dance Studies/Cultural Studies." Dance Research Journal 41, no. 1 (2009): 82–100. http://dx.doi.org/10.1017/s0149767700000541.
Full textAbstract:
In the mid-1990s several articles appeared in the dance literature calling for a greater alliance between dance scholarship and cultural studies. More recently, dance scholarship has come to be labeled “dance studies,” suggesting that such a link has occurred. Since interdisciplinarity is a key element of cultural studies, it is appropriate to investigate interdisciplinarity in dance studies by examining dance's relationship to cultural studies. This genealogical task, though, is not as straightforward as it might seem. Cultural studies' relationship to the disciplines has not been stable over its half-century of existence. Interdisciplinarity, tied so closely to cultural studies' idea of its own freedom and political mission, has proved difficult to hang onto—so difficult, in fact, that today some consider the field to be in crisis. To complicate matters further, dance and cultural studies developed along different paths; consequently, interdisciplinarity within dance studies is not always conceptualized in the way it is in cultural studies. Cultural studies was initially meant as a political and social intervention that purposefully avoided creating theories of its own, while dance research, long tied to the disciplines of history and anthropology, not only adopted many of the theories and methods of these fields but also developed theories and methods of its own as an aid in analyzing the human body in motion. Where and how, then, do dance and cultural studies meet on the grounds of interdisciplinarity? This is not an idle question; cultural studies has had a major impact on arts and humanities scholarship, and as cultural studies reaches a critical moment of reexamination, new questions arise as to the role of interdisciplinarity, both in cultural studies and in the fields it has so profoundly influenced.
19
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.
Full textAbstract:
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.
20
Bugg, Jessica. "Dancing dress: Experiencing and perceiving dress in movement." Scene 2, no. 1 (October 1, 2014): 67–80. http://dx.doi.org/10.1386/scene.2.1-2.67_1.
Full textAbstract:
Clothing design for dance is an area that has been little documented, particularly in relation to the experience and perception of the dancer. Contemporary dance and clothing can both be understood as fundamentally phenomenological and as such there is further potential to investigate the lived experience of wearing clothing in dance. This article approaches dress in the context of the moving and dancing body, and it aims to develop an understanding of the role of dress in dance by focusing on the sensory, embodied experience and perception of the performer. It addresses questions of how clothing is perceived in movement by the performer, how and if clothing’s design intention, materiality and form motivate physical response, and what conscious or unconscious cognitive processes may be at play in this interaction between the active body and clothing. The intention is to propose developed methods for designers across clothing disciplines to contribute in a meaningful way to the overall dance work. The article draws on an analysis of my practice-led research that employs embodied experience of dress to inform the design and development of clothing as communication and performance. The research has involved close collaboration with a dancer, analysis of recorded interviews, and visual documentation of design and movement. The research has produced data on the dancer’s experience and perception of garments in performance and this is discussed here in relation to writings on perception, performance, the body and cognition. The research is approached through theory and practice and draws on interviews, observation and lived experience. This article is developed from an earlier conference paper that investigated the role and developed potential of clothing in contemporary dance that was presented at the 4th Global Conference: Performance: Visual Aspects of Performance Practice, Inter-Disciplinary.Net, held in Oxford on 17–19 September 2013.
21
IYENGAR, SLOKA, CHANDANA R. HOSUR, MANSI THAKKAR, DRASHTI MEHTA, and VIBHAKAR KOTAK. "Reflections on Bharatanatyam and Neuroscience. A Dance Studies Perspective." International Review of Social Research 11, no. 1 (December 14, 2021): 288–97. http://dx.doi.org/10.48154/irsr.2021.0027.
Full textAbstract:
Building on recent interest in the convergence of arts and sciences, we propose specific areas of intersection between the disciplines of Bharatanatyam, a classical Indian dance, and neuroscience. We present personal reflections by practitioners of both disciplines and propose that Bharatanatyam can be used to understand and explain brain functioning and that neuroscience can help analyze the dancing Bharatanatyam brain. We explore conceptual areas of convergence between the two fields as well as specific points of connection using language acquisition, rhythm, music, and cognition as examples. We conjecture that Bharatanatyam training and practice support long-term neuronal plasticity in various parts of the brain, including but not limited to the hippocampus, motor, premotor cortex, and the cerebellum. The beginning of the study of the intersection between these disciplines will pave the way for additional allied fields of rich thinking, exploration and potentially, therapy.
22
Masing, Elo. "Movement in Sound/Sound in Movement: A Musician's Point of View." Congress on Research in Dance Conference Proceedings 2012 (2012): 97–102. http://dx.doi.org/10.1017/cor.2012.13.
Full textAbstract:
The paper provides an account of an innovative collaborative work between composer/violinist Elo Masing, choreographer/dancer Jean Lee, and the Kreutzer String Quartet. The project challenges the conventions of music and dance collaboration by proposing a fundamentally new way of working across disciplines, establishing a profound interrelation between movement and sound production.The work so far has mostly involved developing a new notation system for string instruments and dancer suitable for recording the sounds and movements the work in progress will primarily be based on. The paper will, at this stage, demonstrate only a fraction of the various possibilities of this new way of musician–dancer collaboration that is estimated to span over the next couple of years. The idea for the piece dates back to June 2010, when a structured improvisation was created in collaboration between Elo Masing and Jean Lee, commissioned for a conference at Roehampton University.The innovative aspect of the project is manifested in the development of choreography and music together from the very beginning, using new sound and movement languages discovered in interdisciplinary improvisation sessions. In the center of the collaboration lies the definition of the roles of the musician and the dancer as equal, with equally complex compositional material and interchanging ideas. That means composing music and dance simultaneously and letting them influence each other.The new notation system for string instruments focuses on the movements of string players, thus creating a possibility for relating music to dance in a more tangible and visual rather than conceptual and abstract way.
23
Leșe, Ana-Cristina. "Physical Education - Active Support of the Stage Movement (The Training of the Bodily Expression)." Timisoara Physical Education and Rehabilitation Journal 10, no. 19 (December 1, 2017): 63–66. http://dx.doi.org/10.1515/tperj-2017-0018.
Full textAbstract:
Abstract The teaching discipline entitled the Training of the body expression sums those activities that imply the body and which come in varied forms, both as motor structures and as functional features. In the following, we will try to bring arguments in support of the idea that body education (Physical Education) should be the starting point for the Stage Movement (The training of the body expression), first of all, but also for other disciplines of movement, included in the Actor’s Art curriculum (pantomime, fencing, dance).
24
Elkins, Leslie, and Andrew Buss. "Dance and Data: Crossing Disciplines in Search of Common Methodology." Design Principles and Practices: An International Journal—Annual Review 2, no. 2 (2008): 73–78. http://dx.doi.org/10.18848/1833-1874/cgp/v02i02/38245.
Full text
25
Järvinen, Hanna. "Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde." Dance Research Journal 46, no. 1 (April 2014): 96–103. http://dx.doi.org/10.1017/s0149767714000084.
Full textAbstract:
From the outset, I have to admit I am partial to new scholarship on the Ballets Russes, particularly interdisciplinary scholarship that offers new perspectives on staged dance as an art form. Hence, two recent books on a company famous for striving for the total work of art effect sounded like an absolute feast. I may have set my expectations high, but these books actually exemplify how easily dance becomes secondary to music and set design in discussions of past performance, and how “interdisciplinary” studies often are anything but. In both books, the analyses offered of dance are, for a dance scholar, implausible, specious, even outright incomprehensible, and the dance-related topic emerges as servile to agendas of other disciplines, namely those of music and art history.
26
Yang, Liu, and Zhengxi Qian. "Characteristics and Influence of Multimedia Technology on Dance Choreography." Journal of Contemporary Educational Research 6, no. 1 (January 20, 2022): 52–55. http://dx.doi.org/10.26689/jcer.v6i1.2842.
Full textAbstract:
In contemporary times, with the development of multimedia technology, especially in consideration of the advantages of multimedia technology in performance, dance, as an expressive art, is bound to be concatenated with multimedia technology to enrich its form of display. The influence of multimedia technology in dance choreography on dance works and the effect of multimedia technology itself on dance choreography are worth further discussion. There is no doubt that with the application of multimedia technology in the dance field, choreographers have more open and creative ideas. Perhaps, in view of the role of multimedia technology in dance creation, the involvement of various disciplines and different technologies in dance choreography would expand in the future. However, it is necessary to consider the integration of new technologies, especially the negative impact of their improper use on the expression of dance works. Therefore, this study aims to explore the elements and relations between multimedia technology and dance choreography in the new era, seek for methods and rules of multimedia technology in dance creation, pursue its positive significance, and provide certain theoretical reference for the creation of dance works through multimedia technology.
27
Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.
Full textAbstract:
Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
28
Bakka, Egil, and Gediminas Karoblis. "Writing A Dance: Epistemology for Dance Research." Yearbook for Traditional Music 42 (2010): 167–93. http://dx.doi.org/10.1017/s0740155800012704.
Full textAbstract:
Over several years the authors of this article have had intensive discussions to find common ground in the topic they both specialize in: dance. Egil Bakka is a Norwegian ethnochoreologist, specializing in Nordic traditional dance/folk dance; Gediminas Karoblis is a Lithuanian philosopher, specializing in phenomenology and ballroom dancing. Our starting point was a philosophical question about the notion of dance knowledge and a shared worry about the empirical basis for many academic works on dance that other colleagues have also pointed to (Hoerburger 1959; Lange 1983; Adshead-Lansdale 1994; Grau 1998; Farnell 1999; Fügedi 2003). Bakka then brought up the widespread reservation against the use of film/video for the documentation and analysis of dance. We continued with a wish to clarify to ourselves the epistemological basis for research in dance, and somewhere along the way we started writing this article. We experienced that a dialogue in which methodological issues in dance research were confronted with philosophical scrutiny brought about a number of interesting perspectives. We hope that our exercise may be of interest to a broader audience. The aim is to explore how our different disciplinary points of departure—philosophy and ethnochoreology—can be brought to interact in creating a deeper understanding of our topic, rather than comparing the disciplines or discussing their differences.
29
Gambogi, Tiago. "Dance, theatre and artivism on a planet in transformation." Journal of Dance & Somatic Practices 13, no. 1 (December 1, 2021): 179–88. http://dx.doi.org/10.1386/jdsp_00056_1.
Full text
30
Kvetsko, Olga Ya. "Pedagogical Fundamentals of Methods of Teaching Choreographic Disciplines." Scientific Bulletin of Mukachevo State University Series “Pedagogy and Psychology” 6, no. 2 (December 28, 2020): 145–52. http://dx.doi.org/10.52534/msu-pp.6(2).2020.145-152.
Full textAbstract:
The study of art disciplines has its specific features and, in some ways, differs from other educational subjects. Choreographic disciplines are closely related to pedagogy and psychology and form an integral part of the development of the future leader of the amateur choreographic team, teacher of choreographic disciplines, choreographer, dancer. The study explores the problem of development of didactic fundamentals at teaching choreographic disciplines by means of which not only skill of future teachers, but also performing skill of dancers develops. The purpose of this study is to investigate the influence of pedagogical foundations on the process of teaching choreographic disciplines and creative choreographic work on the development of adolescents. According to the results of the study, different approaches to the problem of becoming the future leader of an amateur choreographic group, a teacher of choreographic disciplines, a choreographer, an artist of a dance ensemble are described. The study covered the essence of pedagogical fundamentals of methods of teaching choreographic disciplines that motivate students to professional self-improvement; the study also argued the need for the development of internal motivation for professional growth in future teachers of choreography. Studying the influence of creative choreographic work on the development of adolescents' personality, the results of empirical research on the relevance of the needs of students of the Professional College of Culture and Arts (city of Kalush) in professional self-improvement, motives of professional self-improvement, and analysis of professional competence. The practical significance of this study lies in the research of the fundamentals of pedagogical methods of choreographic disciplines to further improve this process, as well as to improve the skills of teachers
31
Hutchinson, Sydney. "Introduction." Journal of American Folklore 122, no. 486 (October 1, 2009): 378–90. http://dx.doi.org/10.2307/40390078.
Full textAbstract:
Abstract Dance has long played an important role in the construction of Latin American national identities, and growing interest in the body as a focus of research has created a new impetus for dance ethnology. Nevertheless, academia in the United States as well as in many other countries has been slow to accept dance studies, in spite of the important roles that dance has played in the early development of the disciplines of anthropology and ethnomusicology. This introduction discusses the history of dance in the fields of folklore and ethnomusicology and then considers the contributions of this special issue of the Journal of American Folklore to debates about transnationalism, globalization, changing ethnic identities, and gender roles. Conflict between insider and outsider perspectives on such issues can be partially resolved, it is suggested, through participatory or reflexive methods. Dance ethnography is thus shown to be an essential tool for the study of changing social realities in Latin America today.
32
Tkachenko, Mariia. "THE ROLE OF THE CHOREOGRAPHIC COMPONENT IN THE SYSTEM OF ARTISTIC DISCIPLINES OF THE EDUCATIONAL PROCESS OF ART SCHOOLS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 205–8. http://dx.doi.org/10.36550/2415-7988-2021-1-195-205-208.
Full textAbstract:
The system of artistic and aesthetic education with the help of various arts, elevation of rhythm and choreography in a bright pedagogical theory and practice was laid in the early 20's of the XX century. All the accumulated experience in this field contributed to the improvement of the content of choreographic training and led to the process of separating professional art education from amateur and the creation of appropriate educational institutions for children. Choreographic creativity is one of the means of comprehensive development of students studying at the school of arts. Performing cognitive and educational functions, choreographic art is inseparable from its aesthetic function: choreography lessons promote the development of visual, auditory and motor forms of sensory and emotional perception of the world. Students learn to convey the movements of the various nature of music, its dynamics, tempo, to change the movement in connection with the change of parts of a piece of music, to begin with the beginning of music. The success of artistic and aesthetic education of children by means of choreography is due to the synthesizing nature of choreography, which combines music, rhythm, dance, fine arts, theater and plastic movements. The educational program for the specialty «Choreography» (today) is designed for eight years of study. Choreographic training of students of the choreographic department includes the following profile disciplines: classical dance, folk-stage dance, modern pop dance, gymnastics. Elective disciplines can also be chosen: historical and everyday dance, concert number staging, sports and ballroom dancing, duet dance. Related subjects: drawing, music, art history. The basis of the content of teaching choreographic art, regardless of the type and genre of choreography, is the involvement of students in active motor activity, which by nature is divided into: executive, improvisational, creative [development potential]. Students have the opportunity to realize themselves in the creative laboratories of art schools - choreographic groups and ensembles.
33
Bourassa, Nicole. "The Classroom as Studio—The Studio as Classroom." LEARNing Landscapes 2, no. 1 (February 1, 2008): 115–25. http://dx.doi.org/10.36510/learnland.v2i1.278.
Full textAbstract:
In this article a studio approach to teaching is examined. Based on her own pedagogical experience, the author shows how the "classroom as studio" and "studio as classroom" become a home for rich learning both within and beyond the classroom walls. She observes that through the skills, work ethic, processes, and discipline inherent to the arts, students develop the competencies that transfer easily across disciplines. Further, she demonstrates that the creative and natural language of movement and dance, in conjunction with a supportive studio atmosphere, can serve as a strong pedagogical equalizer that enables each student to flourish in an uninhibited way.
34
Giersdorf, Jens Richard. "Trio ACanonical." Dance Research Journal 41, no. 2 (2009): 19–24. http://dx.doi.org/10.1017/s0149767700000620.
Full textAbstract:
Despite Yvonne Rainer's subversive refusal to stageTrio Aas a spectacle, to have it represent or narrate social structures, or to engage with the audience in a traditional manner, the landmarks of canonization have all been put upon it. The Banes-produced 1978 film of Rainer dancingTrio Awas recently exhibited while the dance was performed live simultaneously by Pat Catterson, Jimmy Robert, and Ian White at the Museum of Modern Art,theinstitution that determines what constitutes important modernist and contemporary art in the United States and, indeed, the Western world. In conjunction with Rainer's famousNO Manifesto, Trio Aappears in nearly every publication on so-called postmodern dance and art. Moreover, the key documentary on postmodern danceBeyond the Mainstream—containingTrio A—is screened in most dance history courses when postmodern dance is discussed. As a result, the choreography became not only a staple on syllabi in dance departments but also in disciplines such as gender studies, film and art history, or communications. Even Susan Au'sBallet and Modern Dance, a conservative historical text utilized in many dance history classes, definesTrio Aas “one of the most influential works in the modern dance repertoire” (Au 2002, 155).
35
Zaletel, Petra, and Tanja Kajtna. "Motivational structure of female and male dancers of different dance disciplines." Acta Gymnica 50, no. 2 (September 28, 2020): 68–76. http://dx.doi.org/10.5507/ag.2020.010.
Full text
36
Clarance, Annabel. "A Method for Computerizing the Choreographic Process and Its Place in the Modern Dance World." Congress on Research in Dance Conference Proceedings 2012 (2012): 22–47. http://dx.doi.org/10.1017/cor.2012.4.
Full textAbstract:
In the world of modern dance, people are constantly looking for new and different ways to explore the choreographic process and how dance can be related to other academic disciplines. Recently there have been great strides made to connect modern dance and the world of mathematics. “Synchronous objects” is a study that was done at Ohio State University where a choreographed dance was converted into easily manipulated data, thus bringing significant advances to the math–dance connection. However, this study was a one-way transaction, from dance to data. It leaves mathematicians everywhere wondering how to transform their knowledge of formulas into an expression of the body. To satisfy the urges of these dance-minded mathematicians, we have developed two methods of creating choreography from a simple fractal formula. The first method uses fractal landscapes as a coordinate map of the stage and Labanotation as the translation key (the reverse of the synchronous objects project), and the second uses the basic Labanotation figures as the “objects” with which fractals are generated. These methods, stemming completely from a computer algorithm, will allow people not well versed in dance to create new and exciting pieces of choreography by making simple decisions about the fractal equation.
37
Morton, Jennie. "The Integration of Voice and Dance Techniques in Musical Theatre: Anatomical Considerations." Medical Problems of Performing Artists 30, no. 2 (June 1, 2015): 71–77. http://dx.doi.org/10.21091/mppa.2015.2012.
Full textAbstract:
Musical theatre performers are required to be proficient in the three artistic disciplines of dancing, singing, and acting, although in today's modern productions, there is often a requirement to incorporate other skills such as acrobatics and the playing of an instrument. This article focuses on the issues faced by performers when dancing and voicing simultaneously, as it is between these two disciplines where we see the greatest pedagogical divide in terms of breath management and muscle recruitment patterns. The traditional teaching methods of dance and voice techniques are examined, areas of conflict highlighted, and solutions proposed through an exploration of the relevant anatomy.
38
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.
Full textAbstract:
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.
39
Mehaffey, Rachel. "Exploring Rhetorical Agency in University Dance Students." Congress on Research in Dance Conference Proceedings 2015 (2015): 102–10. http://dx.doi.org/10.1017/cor.2015.18.
Full textAbstract:
This paper details the theoretical frameworks, methods, and preliminary results from a year-long study of rhetorical agency in undergraduate dance majors. Over the course of two semesters at a BFA Dance Performance and Choreography program, I facilitated a series of extracurricular dance labs for a group of five first- and second-year students. Throughout the academic year, I interviewed the dancers, recorded the lab sessions, and collected free-writes from the participants. This wealth of data can shed light on the relationship between conceiving dancers-as-authors and the emergence of agentic personal narratives in university students. This study offers implications for future research on rhetorical agency as a pedagogical or compositional tool, as a lens for hearing and sharing dancers’ narratives, or as a means to explore authorship in other disciplines.
40
Bigus, Olga, Dmytro Bazela, Miroslav Keba, Tetiana Vynokurova, Vira Poklad, and Andriy Krys. "Features of choreography teacher activities in COVID-19 pandemic conditions and distance learning." International journal of health sciences 6, no. 1 (February 17, 2022): 312–21. http://dx.doi.org/10.53730/ijhs.v6n1.4214.
Full textAbstract:
The aim of the study in highlight the practical experience of organizing distance learning of choreographers at the Kyiv Municipal Ukrainian Academy of Dance named after Serge Lifar. Practical Significance lies in using the research results in the educational process in teaching disciplines of the choreographic cycle “Theory and methods of working with the choreographic team”, “History of choreographic art”, “Theory and methods of teaching choreographic disciplines at higher educational institutions” for students of the educational program “Choreography" at the Kyiv Municipal Ukrainian Academy of Dance named after Serge Lifar. The approbation of modern forms of organizing distance learning and its daily analysis in conditions dictated by real events makes it possible to state that it is convenient to work with students-choreographers in practical classes using video communication in the mobile applications Viber, Messenger on Facebook and Instagram, as well as in the mode of video conferences in the Zoom program.
41
Supendi, Eko, and Satriana Didiek Isnanta. "STUDI PENCIPTAAN KARYA SITE SPECIFIC DANCE “HELAI KERTAS”." Acintya Jurnal Penelitian Seni Budaya 12, no. 1 (July 27, 2020): 33–43. http://dx.doi.org/10.33153/acy.v12i1.3140.
Full textAbstract:
ABSTRACTDance has experienced extraordinary development. Now, dance is no longer in the area of fairies but has entered the modern civilization, the tradition is shifted to the industry and academic. This is because of the role of academic dancers who conduct the research, both creation studies and scientific studies. Dance has become the object of laboratories in the studios of art academics in Indonesia and various parts of the world, so that dance laboratories and studios have emerged in various places in Indonesia. Now dance is not only seen as practicing soul, dance is no longer limited to the beauty of aesthetic invisible , but dance also has explored other art worlds, such as theater and fine arts.Now it is difficult to distinguish between dance and theater performance. The above phenomenon often becomes a trend of artists. Art observers call it a contemporary phenomenon. Contemporary phenomena continue to develop in artists and academic world. Contemporary art is critical towards social problems around it as well as the art itself. Contemporary spirit does not only break the ice of one art discipline but also across art disciplines. Almost all elements of dance are explored and developed, one of which is site specific dance. A genre of contemporary dance that focuses on creating dance works using special places.This study uses an artistic research method. The researchers as well as the creators of site specific dance works is in the lobby of the H.U office Solopos. The research stages are in accordance with the stages of artistic research.Keywords: site specific dance, space, body, time, dance. ABSTRAK Seni tari telah mengalami perkembangan yang luar biasa. Sekarang, tari tidak lagi berada di wilayah peri-peri, tetapi telah masuk ke sentrum peradaban modern, dari kantong-kantong tradisi bergeser ke kantong-kantong industri dan akademik. Hal tersebut tidak lepas dari peran penari akademik yang melakukan riset, baik studi penciptaan maupun kajian ilmiah. Tari telah menjadi objek laboratorium di studio-studio akademisi seni di Indonesia dan berbagai belahan dunia, sehingga bermunculan laboratorium-laboratorium dan studio tari di berbagai tempat di Indonesia.Tari saat ini dipandang tidak saja berolah sukma, tari tidak lagi sebatas keindahan estetika yang kasat mata, tetapi tari sudah menjelajah dunia seni lainnya, seperti teater dan seni rupa.Sekarang sulit membedakan antara penyajian tari dan teater. Fenomena di atas sering menjadi trend para seniman individual. Kalangan pengamat seni menyebut fenomena tersebut sebagai fenomena kontemporer. Fenomena kontemporer terus berkembang dalam kalangan seniman dan lingkungan akademik. Seni kontemporer selain kritis terhadap persoalan sosial yang ada di sekitarnya juga kritis kepada seninya sendiri. Spirit kontemporer tidak hanya mendobrak kebekuan sekat –sekat satu disiplin seni, tetapi juga lintas disiplin seni. Hampir semua elemen tari dieksplorasi dan dikembangkan, salah satunya adalah site specific dance. Sebuah genre seni tari kontemporer yang fokus kepada penciptaan karya tari menggunakan tempat-tempat yang khusus.Penelitian ini menggunakan metode penelitian artistik, dimana peneliti sekaligus pencipta karya site specific dance di lobi kantor H.U. Solopos yang tahapan penelitiannya sesuai dengan tahapan riset artistik. Kata kunci: site specific dance, ruang, ketubuhan, waktu, tari.
42
Miletic, Alen, Radmila Kostic, Ana Bozanic, and Durdica Miletic. "Pain Status Monitoring in Adolescent Dancers." Medical Problems of Performing Artists 24, no. 3 (September 1, 2009): 119–23. http://dx.doi.org/10.21091/mppa.2009.3026.
Full textAbstract:
Various dance techniques and performances have different effects on the biomechanics of the body and may lead to different injury profiles. Few studies have analyzed the risk of injury associated with particular types of dance, especially in adolescents when accelerated growth compounds the risk of injury. Ninety-six female dancers with international competitive dance experience from four Balkan European countries were selected from a population of 347 adolescent dancers for this study. Their average age was 13.8 yrs (range, 12 to 16). The subjects were divided into four groups according to their dance styles: cheerleading, dance show, disco dance, and standard and Latin dance. The first aim of the study was to identify differences between the various dance style groups in body mass index (BMI) and dance sport involvement. According to Wilks' test (oneway MANOVA), there was a significant multivariate effect (F = 13.8; p < 0.001) between the four dance groups. The dancers belonging to the disco group started systematic training earlier than the other dancers, the standard and Latin dancers practiced the most intensively, and the show dancers had considerably lower BMI than the disco dancers. The second aim of the study was to define the pain status in 14 body regions for dancers in the various dance styles by monitoring their pain status with the SEFIP questionnaire. The most common locations for pain were the calves (43.7%), knees (32.7%), and ankles (27.2%). According to the χ2 test, cheerleading dancers reported a significantly higher frequency of knee injuries, and standard and Latin dancers reported a significantly higher frequency of toe injuries. The specific way in which some dance disciplines are practiced and their dance techniques do induce characteristic injuries.
43
Giersdorf, Jens Richard. "Dance Studies in the International Academy: Genealogy of a Disciplinary Formation." Dance Research Journal 41, no. 1 (2009): 23–44. http://dx.doi.org/10.1017/s0149767700000516.
Full textAbstract:
For the past thirteen years, I have been traveling to the United States from my home country of Germany, first as a graduate student in California and later as a professor living in New York. Every time I pass through immigration, I am asked a series of questions regarding my final destination and my occupation. The latter always leads to some confusion, because when I am asked what I do, my accent seems to turn “dance history” into “dentistry.” Forced by phonetics to use the term “dance studies,” when confronted by the blank face of the customs officer, I inevitably embark on an explanation of what “dance studies” might be. Just in the moment when I finally see some comprehension of my profession lighting up the officer's face, the question is asked: “And we pay you to do this?”I constantly find myself in the position of having to explain my work. Usually I avoid a long-winded, defensive justification by comparing dance studies to one of its neighboring disciplines: “It is like art history, just writing about dance instead of paintings.” That usually does the trick, but it leaves a foul taste in my mouth. I know that dance studies isn't like art history and I certainly don't want it to be.
44
Zafeiroudi, Aglaia, Athanasia Chatzipanteli, Anna Christina Athanasiou, Ioannis Tsartsapakis, Aikaterini Kopanou, and Charilaos Kouthouris. "Exploring Self-Compassion among Recreational Dancers: Differences Between Tango and Ballet - Dance Teaching Implications Through Somatic and Embodied Disciplines." Journal of Educational and Social Research 12, no. 6 (November 5, 2022): 1. http://dx.doi.org/10.36941/jesr-2022-0140.
Full textAbstract:
Self-compassion is considered a protective factor that promotes positive psychology, happiness, emotional regulation and embodiment. Self‐compassion offers an approach wherein individuals in dance can pursue optimal participation and performance without compromising health and well‐being. The present study aimed to explore self-compassion among recreational dancers and discover possible differences between tango and ballet. More specifically the study examined: i) the levels of self-compassion in recreational tango and ballet dancers; ii) differences in self-compassion according to demographic characteristics; and iii) differences between tango and ballet dancers. The research was based on several adults from various cities in Greece who participated in tango and ballet for recreational reasons during their leisure time. One hundred and ninety-one dancers (20 men and 171 women), between the ages of 17 and 62, completed the self-compassion scale of Mantzios, Wilson and Giannou (2015), which consists of twenty-six items. The answers were given on a five-point Likert scale, while the reliability of the scale was successfully tested. In addition, the questionnaire contained the collection of other data such as demographic characteristics. According to the first aim, the high scores on self-compassion among recreational dancers showed a relationship between self-compassion and dance, and a positive influence of ballet and tango practice. The second hypothesis was partially confirmed as statistically significant differences emerged only between the age groups with those over forty years of age to show higher levels of self-compassion. Regarding the third aim of the research, differences were found between types of dance. Tango participants showed higher levels of self-compassion than ballet participants. Specific dance teaching interventions are discussed based on somatic and embodiment theory, to create healthier mental, emotional and behavioral patterns for dancers, schools, academies or companies.
Received: 2 August 2022 / Accepted: 20 October 2022 / Published: 5 November 2022
45
Foster, Susan Leigh. "Why Is There Always Energy for Dancing?" Dance Research Journal 48, no. 3 (December 2016): 12–26. http://dx.doi.org/10.1017/s0149767716000383.
Full textAbstract:
This essay undertakes to illuminate the work of Randy Martin by surveying a range of theories offering hypothetical answers to the question of why dance seems to generate more energy than it demands, an experience often reported by those who engage in it. Coming from the disparate disciplines of social history, psychology, neurobiology, phenomenology, and aesthetics, these theories do not necessarily conflict with one another nor do they agree about dance's energizing capacity. Taken together, however, they lend greater insight into Martin's concept of “mobilization,” and the analysis of them answers Martin's call to evaluate dance from within the presumption of conditions of abundance rather than scarcity.
46
Supiarza, Hery, and Ria Sabaria. "Short Dance Film: Construction of the Arts and Design Project Subject during COVID-19 Pandemic." Humaniora 13, no. 2 (May 19, 2022): 137–43. http://dx.doi.org/10.21512/humaniora.v13i2.7908.
Full textAbstract:
The research discussed short dance films as the product of the Arts and Design Project subject at FPSD Universitas Pendidikan Indonesia during the COVID-19 pandemic. The importance of a collaborative learning model between two disciplines, dance and film, had emerged the notion of creating an art product. The research aimed to create dance film products as a form of student constructive idea. With the participatory action research method, the data were collected and validated to be analyzed and then embodied in the form of a dance film product. The research was applied to 53 students in collaboration between the Department of Dance Education and the Film and Television Study Program, divided into eight small groups of six to seven members. The action stages of the research were: (1) observation and analysis; (2) collection of ideas and notions in the form of a script; (3) testing; (4) shooting; (5) product. The research finds that: (1) through a collaborative learning model, the subject of Arts and Design Project could be implemented to create a dance film product, short dance film; and (2) during the COVID-19 pandemic, collaborative learning could enable students to keep productive to create the product of their learning result. As an advantage, the research result can be used as a learning sample of production-based subjects during the pandemic where the learning and teaching activity should be done at home.
47
Jordan, Stephanie. "Moving “Choreomusically”: Between Theory and Practice." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (September 21, 2012): 11–19. http://dx.doi.org/10.7202/1012345ar.
Full textAbstract:
Since the late 20th century, we have witnessed the development of a new interdisciplinary field called ‘choreomusicology’ or ‘choreomusical studies’. In this article, consideration is first given to the histories of the two disciplines music and dance. Their respective lineages are discussed in terms of how each is different, yet how together, they inform the new field. The focus then is on choreomusical analysis, using examples from western theatre dance. Frameworks for analysis are discussed, first, how intermedia research can inform choreomusical theory, then rhythmic strategies, when a flexible concept of parallelism and counterpoint is illustrated through two Stravinsky settings: Pina Bausch’s – Das Frühlingsopfer (Rite of Spring, 1975) and Bronislava Nijinska’s Les Noces (1923). Following discussion of musical embodiment through dance, the theory of conceptual blending is outlined and used in analysis of the Lament from Mark Morris’s setting of Purcell’s Dido and Aeneas (1989).
48
Winters, Allison F. "Emotion, Embodiment, and Mirror Neurons in Dance/Movement Therapy: A Connection Across Disciplines." American Journal of Dance Therapy 30, no. 2 (October 21, 2008): 84–105. http://dx.doi.org/10.1007/s10465-008-9054-y.
Full text
49
Rakocevic, Selena. "Music, dance and memory: Towards deliberation of field research of dance." Muzikologija, no. 19 (2015): 51–64. http://dx.doi.org/10.2298/muz1519051r.
Full textAbstract:
Although ethnochoreology and ethnomusicology as related academic disciplines have decades-long histories, reviewing and redefining their basic epistemological and methodological principles remained one of the main focuses of disciplinary discussion. Most ethnochoreologists and ethnomusicologist agrees that ?field? work (in all its traditional and contemporary forms) remains an essential and constitutive quality of their research and disciplinary fields. The inherent interdisciplinary networking of ethnochoreology and ethnomusicology starts from the theoretical premise that the relationship between the kinetic and musical components of dance is not only unbreakable, but also interactive, and that complex and dynamic manifestations of dance performances represents an expressive medium through which a particular community constructs and represents itself. Since the importance of the individual experience of researchers has been ephasized during the last few decades, a comprehensive method of participant observation remains a central and unifying aspect of fieldwork, both in ethnochoreology and ethnomusicology. Based on field research of musical and dance practices of the village of Svinica (Svini?a) in Romania, this paper reviews the application and combination of various methods of field research (observation, participation in the performance process, filming, interviews and writing field notes) as the primary tools for the acquisition and shaping of scientific knowledge about dance and music. Issues that will be discussed include the following questions: What are the advantages of personal kinetic/auditory experience during simultaneous perception of dance movement and dance music? How can different methods of field research be combined in order to improve cognitive processes? Are there border areas between ethnochoreological and ethnomusicological fieldwork? Does the variety of methods of field research represents a weakness of the interdisciplinary approach or its advantage? On which information recorded during the fieldwork does a researcher usually build his post-field ethnochoreological/ethnomusical narratives? Through discussion of all these issues, particular emphasis will therefore be placed on the consideration of processes of memorization (visual, auditory and kinetic) when applying the method of participation in the dance performance.
50
MONTVILAITE, SIGITA, RASA PROKUROTIENE, and EGLE KANCAUSKAITE. "THE STUDY PROGRAMME OF DANCE PEDAGOGY AND ITS RENEWAL CONTEXTS." Quantum Journal of Social Sciences and Humanities 3, no. 1 (April 17, 2022): 77–85. http://dx.doi.org/10.55197/qjssh.v3i1.119.
Full textAbstract:
The article discusses the study programme of dance pedagogy and its renewal contexts. Additionally, the study analyzes dance programmes of Scandinavian countries, which are well evaluated and appreciated. The dance programmes are analyzed based on comparison with the situation in Lithuania, i.e. study programme of dance pedagogy at Vilnius College (University of Applied Sciences), which has a purpose to educate and prepare a pedagogue who is capable to attain education results provided in general education programs, to provide scholars with an opportunity to develop and educate the basis of moral, social, cultural, and civic qualities, acquire general and specific competencies and get the chance to try these competencies in various professional activities, so as to decide the prospects of future career. With the aim to evaluate the quality of the study programme of dance pedagogy in Scandinavia and Lithuania, its efficiency, effectiveness, and compliance with European standards, the documents that regulate teacher training, and course descriptions are analyzed. In addition, it is attempted to examine whether graduates of these countries are satisfied with study programmes and wherewith the programme is special. While analyzing the content of study programmes, the opinion and evaluation of graduates are of particular importance seeking continuous improvement while applying new and relevant disciplines.