Academic literature on the topic 'Dance event'

Tari Gambyong awalnya merupakan tari tunggal putri yang termasuk dalam tari tradisi gaya Surakarta. Pada perkembangannya, tari tunggal ini dapat ditarikan secara berkelompok, sehingga bisa menyesuaikan keinginan konsumen atau pun penyelenggara acara mengenai jumlah penari yang akan menarikannya. Tari Gambyong sering dijadikan sebagai pentas paket para seniman karena tari Gambyong sering ditarikan untuk pembukaan sebuah acara seperti gala dinner, penyambutan tamu, dan sebagainya. Maka tari Gambyong dapat digolongkan sebagai pertunjukan komersial karena dapat dipentaskan di acara besar maupun kecil. Karena sering dipentaskan pada berbagai acara, permintaan pada busana tari Gambyong pun bermacam-macam untuk menyesuaikan bentuk acara, sehingga terjadi keberagaman bentuk busana tari Gambyong pada masa kini. Artikel ini secara khusus membahas keberagaman bentuk busana tari Gambyong masa kini yang dipengaruhi oleh realita sosial, baik secara sengaja maupun tidak sengaja. Diversity of Gambyong Dance Dress: Social Construction on Gambyong Dance Dress in Yogyakarta Abstract Gambyong dance was originally a women's singles dance which was included in the Surakarta style traditional dance. In its development, this single dance can be danced in groups, so that it can adjust the wishes of consumers or event organizers regarding how many dancers will dance it. The Gambyong dance is often used as a stage for artists' packages because the Gambyong dance is often danced for the opening of an event such as a gala dinner, welcoming guests, and so on. So, the Gambyong dance can be classified as a commercial performance because it can be performed at both big and small events. Dances are often staged at various events, the demand for the Gambyong Dance dress also varies because it adjusts to the form of the event, so that there is a diversity of forms of the Gambyong dance dress today. This article specifically discusses the diversity of forms of contemporary Gambyong dance dress that are influenced by social reality, both intentionally and unintentionally.

Traditional art through music, dance and even traditional rituals becomes a symbol and identity of the community because it is a reflection of collective thoughts and also regional solidarity. Kebalai is a dance danced by the people of Rote and is very famous. The kebalai does not only contain dances but also songs in the form of rhymes which are performed together in every event, from big events such as when. The poetry uses the Rote regional language and the meaning of each song is different. This makes researchers interested in looking at oral literature through the songs from the balai and efforts to document the meaning of the poem from the kebalai entitled "Susue Lain" which means brotherly love. This study uses a hermeneutic study according to Ricoeur. The research method uses qualitative methods and literature studies, data collection techniques. Data collection in this study is by observing and unstructured interviews. The results of the Kebalai research are a dance that is often danced together by the people of Rote, in every event or activity that exists. The conclusion in this study is that Kebalai is a performing art, which in the way of interpreting it uses poetry to convey messages.

Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographer and teacher of great significance, and her contribution to the development of Norwegian theatre dance cannot be overestimated. She was active as dancer well into the 1910’s and “arranger of dance” up until she died in 1926. As a ballet teacher, she trained hundreds of dancers, including several of those who later went on to play a role in the Norwegian dance- and theatre scene. In many ways, Augusta Johannesén is representative of a versatile dancer that can be found on many European stages, the versatile ballet dancer that was also typical of the Nordic dance scene around the “fin de siècle”. She typically also struggled with stereotypical notion of the “ballerina”. This article focuses on only a part of her career, her first fifteen years in Norway. Between 1880 and 1895 she established herself in Kristiania, dancing at the Christiania Theater and later at the Eldorado. The article also forefront an especially important event in Norwegian Nordic dance history instigated by Johannesén: The establishment of a “Ny Norsk Ballet” (“New Norwegian Ballet”) at the Eldorado theatre in Kristiania in 1892. This is probably the very first attempt at creating a professional ballet company in Norway, and Augusta Johannesén’s contribution is only one of many ways she made a difference to professional theatre dance in Norway.

In this article, based on ethnographic research conducted at Mi’kmaw powwows throughout Atlantic Canada between 2004 and 2010, I will begin to address the lacuna in literature on First Nation children’s dances. I will describe the various children’s dances observed at powwows in Eastern Canada, as well as songs that are specifically used for children’s dances, contextualizing them within the traditional powwow event and in relation to emcee stage talk. I will also illuminate the socio-cultural functions of children’s dance at powwows and the relationship between dance and play. Finally, by focussing specifically on the living dance tradition of Mi’kmaq at cultural events in the Atlantic provinces, I will elucidate some of the forces that act upon informal culture, shaping and re-shaping it through time. This approach will highlight the relationship between popular culture and tradition in this context, revealing the emergent nature of lived traditions.

We used a combination of behavioral, computational vision and fMRI methods to examine human brain activity while viewing a 386 s video of a solo Bharatanatyam dance. A computational analysis provided us with a Motion Index (MI) quantifying the silhouette motion of the dancer throughout the dance. A behavioral analysis using 30 naïve observers provided us with the time points where observers were most likely to report event boundaries where one movement segment ended and another began. These behavioral and computational data were used to interpret the brain activity of a different set of 11 naïve observers who viewed the dance video while brain activity was measured using fMRI. Results showed that the Motion Index related to brain activity in a single cluster in the right Inferior Temporal Gyrus (ITG) in the vicinity of the Extrastriate Body Area (EBA). Perception of event boundaries in the video was related to the BA44 region of right Inferior Frontal Gyrus as well as extensive clusters of bilateral activity in the Inferior Occipital Gyrus which extended in the right hemisphere towards the posterior Superior Temporal Sulcus (pSTS).

ABSTRACT This study is a study of the existence of Poh Kipah dance in Lhokseumawe community. In this discussion using the theories relating to the topic of research is the theory of existence.The method used in this research is qualitative research method. The population in this study as well as a research sample of artists and dancers. Data collection techniques include literature study, interview, observation, and documentation.Based on the research that has been done, the existence of Poh Kipah dance which is seen from three time span, first from 1959-1979, Poh Kipah dance at this time become the beginning of the show performed as entertainment on the implementation to commemorate the Prophet's Maulid and the Circumcision. Where in the past this dance only has some movements such as hitting the fan into the palm of the hand, tapping the fan handle to the floor palm. Music accompaniment using internal music in the form of poetry in chant by syeh and in addition to the fan tap. The pattern of the floor from the beginning of entry has been sitting on the stage, with male dancers who numbered eight or the whole peoples, the clothing was only wearing bay clothing and wearing a cap, where in the dance held in the field and on the yard of the mosque, the purpose of dance Inn as an entertainment event at the Prophet's Maulid event. Second from 1979-1999, Poh Kipah dance in this period nothing changed from its existence in because at this time there is no data or documents that are clear for this dance performance. Third 1999-present, in this period the existence of this dance has undergone several changes that can be seen from the addition of varied motion, the music has been changed with the addition of musical instruments serune kale and rapai, in the composition of the accompaniment, from the side of the dancer has included a female dancer In the composition of the dance, this event is still still encountered in the entertainment event Prophet's Maulid and Circumcision but now we have found also in festivals, and Culture Week of Aceh. Keywords: Existence, Poh Kipah Dance In Lhokseumawe Society.

FLS2N is one of the most prestigious competency events in the West Sumatra region. The event provided a platform to continue to hone creativity and develop West Sumatra typical dances. Traditional Minangkabau values are one of the creative sources in packaging the dances that are presented in the competition stems at FLS2N. This study aims to analyze the extent to which the development of dance offerings in dance competition participants in West Sumatra Province. The focus of this research is the winners of the junior high school dance branch in 2019 in West Sumatra Province. This research is a qualitative research with a case study approach, with data collected through direct observation and interview techniques. The results of the study show that seen from critical fist, the dance performances of the winners of the competition at the West Sumatra Province level in 2019 still use motion patterns that tend to repeat old styles and forms. That is, choreologically, it tends not to be well developed. Meanwhile, there is still a tendency for many dance numbers to give less space to female dancers. It is an unfortunate fact that considering history shows that in fact female choreographers were the developers of contemporary Minangkabau dance

Saman and Bines dance is a traditional art from Gayo Lues, a very inherent existence in the supporting community as a dance that is specifically danced by men for Saman and women for Bines. In this article, the author describes the presentation of the arts at the Bejamu Saman cultural event. As a cultural heritage, the presentation of Saman and Bines in Bejamu Saman activities is the focus of research, how to present Saman and Bines in Bejamu Saman cultural events. This research uses qualitative methods, namely data that has been collected in the field regarding the Saman and Bines dance on Bejamu Saman activities and other data related to the object and focus of the research. The data obtained were then analyzed descriptively-analytically with a textual analysis approach. The purpose of this research was to describe the presentation form of the Saman and Bines dance in Bejamu Saman activities. So that the results of this research can be used as supporting material in future Saman and Bines dance research. Understand the differences in the presentation of Saman and Bines as a spectacle and or as a series of cultural activities. Obtain information related to Bejamu Saman, a cultural event of the Gayo Lues community that represents the social identity of the Gayo Lues community in a reflection of the nation's character.

Indonesia is a country with a variety of cultures and arts. Traditional art dance is one of Indonesia's arts which is one of the important aspects in supporting Indonesian culture and even tourism. Traditional dance has a special attraction to be enjoyed while staying in the midst of rapid development. Therefore, the writer makes a market application that connects the studios, dance groups, and dancers with traditional dancer tenants. TariPedia makes it easy for studio owners, service providers, and event organizers to market their services so that they can be more easily reached by the public and can increase sales of their services with the payment feature through the application. Therefore by developing TariPedia with Prototyping Method and Java Language in its development, TariPedia will continue facilitates the community, especially in the fields of traditional dance and at the same time modernizing regional arts.

In the Indigenous resistance movement that came to be known as “Idle No More,” round dances played a central role. From the beginning of the movement in western Canada in the winter of 2012–13, and as it spread across Turtle Island (North America) and throughout the world, round dances served to bring together Indigenous and non‐Indigenous activists with people in the streets. “At almost every event, we collectively embodied our diverse and ancient traditions in the round dance by taking the movement to the streets, malls and highways across Turtle Island” (The Kino‐nda‐niimi Collective 2014, 24). But why was the round dance important, and how does the dance work to support political resistance?

The diploma thesis deals with problems of event marketing and its position in the communication mix of the companies Karlovarské minerální vody, a.s. and EMCO spol. s.r.o.. First of all it describes basic theory aspects of event marketing. The practical part of the thesis faces the two brands application of event marketing strategy. According to defined aspects the thesis describes and weighs one of Mattoni events and one of Emco events.

With the increasing growth of cultural events both in Australia and internationally, there has also been an increase in event management studies; in theory and in practice. Although a series of related knowledge and skills required specifically by event managers has already been identified by many researchers (Perry et al., 1996; Getz, 2002 & Silvers et al., 2006) and generic event management models proposed, including ‘project management’ strategies in an event context (Getz, 2007), knowledge gaps still exist in relation to identifying specific types of events, especially for not-for-profit arts events. For events of a largely voluntary nature, insufficient resources are recognised as the most challenging; including finance, human resources and infrastructure. Therefore, the concepts and principles which are adopted by large scale commercial events may not be suitable for not-for-profit arts events aiming at providing professional network opportunities for artists. Building partnerships are identified as a key strategy in developing an effective event management model for this type of event. Using the 2008 World Dance Alliance Global Summit (WDAGS) in Brisbane 13-18 July, as a case study, the level, nature and relationship of key partners are investigated. Data is triangulated from interviews with organisers of the 2008 WDAGS, on-line and email surveys of delegates, participant observation and analysis of formal and informal documents, to produce a management model suited to this kind of event.

With the increasing growth of cultural events both in Australia and internationally, there has also been an increase in event management studies; in theory and in practice. Although a series of related knowledge and skills required specifically by event managers has already been identified by many researchers (Perry et al., 1996; Getz, 2002 & Silvers et al., 2006) and generic event management models proposed, including ‘project management’ strategies in an event context (Getz, 2007), knowledge gaps still exist in relation to identifying specific types of events, especially for not-for-profit arts events. For events of a largely voluntary nature, insufficient resources are recognised as the most challenging; including finance, human resources and infrastructure. Therefore, the concepts and principles which are adopted by large scale commercial events may not be suitable for not-for-profit arts events aiming at providing professional network opportunities for artists. Building partnerships are identified as a key strategy in developing an effective event management model for this type of event. Using the 2008 World Dance Alliance Global Summit (WDAGS) in Brisbane 13-18 July, as a case study, the level, nature and relationship of key partners are investigated. Data is triangulated from interviews with organisers of the 2008 WDAGS, on-line and email surveys of delegates, participant observation and analysis of formal and informal documents, to produce a management model suited to this kind of event.

This study used video feedback to compare the effectiveness of antecedent and consequent feedback. Video feedback was used to increase the performance of dance skills of young dancers. A multiple baseline across subjects with an embedded multi-element comparison was used for three female dancers between the ages of 10 and 11 years old. Antecedent video feedback was given immediately before the performance of a target behavior, and consequent video feedback was given immediately after a performance of a different dance skill. The results show that video feedback increased all targeted skills for subjects, however, there were no differentiated results when comparing antecedent and consequent feedback.

Este trabalho discorre sobre os modos de formação no ensino superior de dança, debruçando-se sobre a dimensão da criação, na perspectiva da composição coreográfica e de seu estatuto nessa formação. Parte-se de uma prática pedagógica que desafia os alunos a criar a partir da contraconduta, que envolve conhecer seus modos de criar usuais e desafiar-se a fazer diferente. A criação, assim, não é entendida como um processo de autodescoberta, e sim como um processo de resistência a saberes que atravessam o sujeito da criação. Nisso, opera-se com a ideia de poder, conduta e governo de si. A partir da noção do cuidado de si dos gregos antigos, que Foucault estudou nos anos 1980, discutem-se quatro princípios para a prática pedagógica: contraconduta como crise; contraconduta como disponibilidade, contraconduta como inquietude; e contraconduta como relação ética. A pesquisa produziu material durante três semestres para análise. Esses registros consistem em escritos sobre o processo coreográfico de solos de dança dos alunos. Dito isso, a ideia da contraconduta expande-se para ser um conceito operatório de toda a tese, na qual se quer visualizar a trama por intermédio da qual os discursos sobre a dança assumem forma nos corpos em formação. A obra de Foucault serve como ferramenta para poder analisar os fios que constituem a teia de discursos na qual o jogo da contraconduta se forma e emerge por meio de enunciações que: demonstram territórios demarcados da dança; produzem entendimentos sobre a formação de base; repetem ideais de beleza; constituem filiação estética do professor de dança; entre outros. Portanto, o jogo dos enunciados em que os alunos se constituem e a multiplicidade de seus posicionamentos é relatado, tanto na sala de aula quanto nos próprios acontecimentos históricos da dança. Por fim, esta pesquisa defende a contraconduta da criação como um meio possível de constituir eticamente o sujeito da dança, além de defender o ensino superior como um espaço importante para esse tipo de trabalho.
This study deals with the way dance is taught in institutes of higher learning, being attentive on the process of creation, understood here as choreographic composition, as well as its relevance in the curriculum. Its point of departure is a pedagogical practice that challenges the students to be creative, based on the concept of counterconduct, which includes the knowledge of their usual ways of creation and challenges them to create in a different way. Thus, the act of creation is not to be understood as a process of selfdiscovery but as a process of resistance to knowledge already embedded which permeate the subject of creation. In this way, it operates with the idea of power, conduct and self-government. Taking as a point of departure the notion of selfcare of the ancient Greeks, which Foucault studied during the 80s, the four principles of the pedagogical praxis are studied: 1. counterconduct as crisis; 2. counterconduct as availability; 3. countercondut as restlessness; 4. counterconduct as ethical relationships. Data collected during three semesters were used as material to be analyzed. These materials consisted of written records of the creative process during the choreography of solos by dance students. As a result, the concept of counterconduct expanded itself to be an operational concept for the whole thesis, in which one tries to make visible the threads through which the discourses on dance take shape on the bodies of would-be dancers. Foucault’s work serves as a tool to analyze the game of counterconduct which is formed and emerges through concepts which demonstrate territories assigned to the dance, generate the understanding of basic training, repeat ideals of beauty, and constitute esthetical affiliations of dance instructors, among many other aspects to be considered. Therefore, the interplay of statements in which each student is constituted and the multiplicity of their positioning is recorded, as much in the classroom as in the very historical events of dance. Finally, this research supports the counterconduct of creation as a possible means of ethically constituting the subject of dance, as well as defending higher learning as an important territory for this kind of work.

This thesis centres on the 48 hour performance of Lad Broke in Liverpool on the 20th April 2012. This written component addresses a range of ideas that have emerged in relation to the event of durational performance including modes of inscription, the performing body and its position within a network of performance art and writing practice. By examining Lad Broke within the fields of art and wider cultural practices I am able to draw on ideas of duration that include narrative time, boredom and the effects of duration on the performing body and its spectators. I discuss duration within the context of music by examining rhythm, tempo and time signatures alongside the punk movement, where boredom and a need to act/react immediately remain significant factors in my performance and writing practice. I explore inscription as a physical act of writing, mark making and labour in order to position performance and writing as a combined practical and critical enquiry that intersects in the event of Lad Broke. I also examine notions of the inscribed body in relation to the writings of Michel De Certeau, where he describes the body as written by authority and the law. I refer to experimental writing in order to demonstrate how writing can reveal the materiality of duration and time passing, while also discussing the temporal structure of Lad Broke as a continuous present, displacing traditional narrative structures and emphasising the act of 'doing' rather than the production of a complete and finished object. The performing body is considered in a number of contexts that emerge in the performance of Lad Broke. Ideas around the labouring body are especially useful, where I draw on a lineage of labour practices that have informed my performance works. I look at ideas of labour in relation to wider cultural practice, raising questions around displaced masculinity and the role of the artist as cultural worker. I return to punk where alternative labouring practices position the body as a site of resistance and dissidence. This leads to a discussion of networks and the systems of dissemination that allow post sub-cultural groups to express themselves while evading a capitalist economy. I look at the zine as an art form that successfully provides a model of dissemination and autonomy which relates back to the formation of performance art networks, where the sharing of work displaces monetary exchange and subsumption into a capitalist economy. The event of Lad Broke is examined through a series of viewpoints including the performer, the writer and responsive representatives of the performance art network. The event is then offered to I a wider readership in the form of a zine, where the materials and leftovers of Lad Broke are reconfigured as a material response. The content and structure of this thesis discusses and argues for the performing body to be considered as a site of inscription resistant to the commodification of cultural practice. Yet, throughout this work, it is the immediacy of the live event which remains vital, an event which refuses to be recuperated through these written responses.

The main aim of theis thesis is to construct a critical concept of performance within a generic concept of art through a two-fold operation. Firstly, it reconstructs the development of a generic concept of performance - distinct from the performing arts - in the period of post-WWII art in North America by focusing on task-dance and the event-score as two emblematic artistic strategies of this period. Task-dance and event-score practices, it argues, had a central role in the practical transformation from a medium-specific to a generic concept of art. Secondly it examines the key philosophical concepts that are inseparable from a generic concept of art, and are necessary for the reconstruction of a generic concept of performance: 'practice', 'labour', 'autonomy', 'abstraction', 'medium', 'mediation', 'subject', 'object', 'structure' and 'abstraction'. The central argument of the thesis is that a critical reconstruction of the concept of performance within the context of post-WWII art must take into account a generic and a autonomous concept of art. The latter refers to a post-medium-specific concept of art, which is still autonomous in Theodor Adorno's understanding of the term: art as derived from, yet distinctively and formally separated from empirical reality. Embedded but formally abstracted from the social relations from which it comes, the category of 'performance', the thesis argues, is a practice of relations. It is a practice in the sensein which Karl Marx formulates practice in his early writings as social and sensuously empirical. It also refers to practice in the sense in which Marx articulates a radically new concept of the subject through this category. The thesis also aims to make a contribution to art theory through its critical methodology. It forces a reconsideration of performance within the framework of 'art in general', and more specifically, it emphasises dance's central role in this history. It employs a number of terms and categories central to task-dance and event-score practices that, it argues, are internal to the generic category performance as it operates within the context of a generic concept of art. The central problem from which this thesis sets out concerns the way in which the dominating concept of performance - derived from cultural theory - is used within art theory. Cutting across disciplines such as Cultural Studies, Performance Studies and Theatre Studies, this conception fails to distinguish between art and culture more generally, and between art and other modes of reality. In short, the thesis confronts a cultural concept of performance - and the related category of performativity - as well as its application to performance practices in art, with a critical one that is reconstructed through a different set of philosophical categories and methods. Chapter 1 argues that the development of a generic concept of art and performance is best described as a shift towards practice, primarily through Marx's account of this. Chapter 2 confronts art-theoretical conceptions of the event-score and task-dance, based in structuralism and pragmatism with Immanuel Kant, and demostrates how John Dewey;s notion of art relies on a conflated notion of Aristotle's practice/poiesis-distinction. Drawing on Husserl's 'phenomenological reduction' and Kant's 'acts of abstraction', Chapter 3 argues that they negation of a medium-specific conception of the object in event-score and task-dance practices constructed a new conception of the art object: the performative structure-object. Chapter 4 considers the role of negation in task-dance, in relation to Adorno's concept of autonomous art and Marx's notion of abstract labour. Chapter 5 demonstrates the way in which the performative-structure object is transcendental and performative, and argues that it must be understood as the practical condition for the generalisation of the category of performance within art.

This work introduces CEST, a Cognitive Event based Semiautomatic Technique for behavior segmentation. The technique was inspired by an everyday cognitive process. Humans, in fact, make sense of what happens to them by breaking the continuous stream of activity into smaller units, through a process known as segmentation. A cognitive theory, the Event Segmentation Theory, provides a computational and neurophysiological account of this process, describing how the detection of changes in the current situation drive boundary perception. CEST was designed with the aim of providing affective researchers with a tool to semi-automatically segment behavior. Researchers investigating behavior, as a matter of fact, often need to parse their research data into simpler units, either manually or automatically. To perform segmentation, the technique combines manual annotations and the output of change-point detection algorithms, techniques from time-series research that afford the detection of abrupt changes in time-series. CEST is inherently multidisciplinary: it is, to the best of our knowledge, the first attempt to adopt a cognitive science perspective on the issue of (semi) automatic behavior segmentation. CEST is a general-purpose technique, as it aims at providing a tool for segmenting behavior across research areas. In this manuscript, we detail the theories behind the design of CEST and the results of two experimental studies aimed at assessing the feasibility of the approach on both single and group scenarios. Most importantly, we present the results of the evaluation of CEST on a data-set of dance performances. We explore seven different techniques for change-point detection that could be leveraged to achieve semi-automatic segmentation through CEST and illustrate how two different bayesian algorithms led to the highest scores. Upon selecting the best algorithms, we measured the effect of the temporal grain of the analysis on the performance. Overall, our results support the idea of a semiautomatic segmentation technique for behavior segmentation. The output of the analysis mirrors cognitive science research on segmentation and on event structure perception. The work also tackles new challenges that may arise from our approach.

In my diploma thesis I would like to focus on dance battles events and on the street dance life style as it's the topic of my diploma thesis. I have been very close of the street dance world, as a dancer and an observer, since I witnessed countless dance battles, concerts, camps, workshops and so on - which gave me the knowledge to express myself on this topic and gave my perspective in both ways: from up to the stage and audience. I was always very curios and wanted to share with, such as: how does the street dance events looks like, what's happening there, what kind people attending it, what is the motivation for dancers, djs, choreographers, producers etc…? Where those events are happening and how often is them happening? My curiosity crossed the Czech Republic border, I wanted to know more from outside of my country. I believe that having the knowledge of what's going on abroad gives you power of discuss and compare things with confidence and comfortability. Mainly my research methods were observing and interviewing, then field diaries, video documentation, collecting as much information as possible from people that lives in this world nonstop, which gave me so much knowledge from inside, how they behave, how they communicate, their attitude etc. This scenario always fascinated me and after attending to many events, battles, meetings and jam sessions (as a dancer and observer), I was able to collect different point of views from another dancers, choreographers and guests and compare it with my own thoughts regarding to it, using my countless notes and hours of recording interviews, those tools combined gave me so much information.

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This thesis discusses the concept of contemporary dance as event and realization of an experience in which life is intensified and transformed into a single space-time. Thus, the contemporary in dance is not determined by chronological factor, but as a suspended art where past, present and future crosses each other. The work is composed of different analytical essays. Its parts are offered as movable possibilities of combination, portions that are intertwined, flowing movements. It is a relational and transitory map of doings and sayings related to dance, in which, mainly, the arguments of Gilles Deleuze, Félix Guattari, Giorgio Agamben, Josette Feral and José Gil are essential. The first part is dedicated to problematize different corporealities: identifies games with the variation and plasticity of the body, such as attempts to produce new modes of perception and affection. In this sense, it presents the method Percepção Física, developed by director Alejandro Ahmed with Grupo Cena 11 Cia. de Dança. And also discusses performances of dancers and coreographers such as Eduardo Fukushima (SP) and Micheline Torres (RJ), whose bodies are permanently conceived as a becoming-other. Next, dance is investigated from a theoretical perspective of theatricality, that is, dance is understood as an artistic act that transform reality and violation of ordinary life. It is considered that theatricality results from dynamic perceptions the look that links the observed, either subject or object, to an observer, and only thus, gives rise to fiction. To search for different possibilities of action in the contemporary scene, creations capable of producing surprising effects related to the habitual, as well, displacements and deviations, are analysed. Artists and companies such as Vanilto Lakka (MG), Erika Rosendo (SC) and Cena 11 are considered
Esta tese discute a noção de dança contemporânea como acontecimento e realização de uma experiência em que a vida é intensificada e transformada num tempo-espaço único. Sendo assim, o contemporâneo na dança não é determinado por um valor cronológico, mas como arte suspensa em que passado, presente e futuro se atravessam. O trabalho é composto por diferentes ensaios analíticos. Suas partes se oferecem como possibilidades móveis de combinação, porções que se interpenetram, movimentos que circulam. Trata-se de um mapa relacional e transitório de fazeres-dizeres ligados a dança, em que, principalmente, os argumentos de Gilles Deleuze, Félix Guattari, Giorgio Agamben, Josette Feral e José Gil são imprescindíveis. Um primeiro momento é dedicado a problematizar diferentes corporeidades: identifica jogos com a variação e plasticidade do corpo, como tentativas de se produzir novos modos de percepção e afecção. Neste sentido, apresenta uma pesquisa do método Percepção Física, desenvolvido pelo diretor Alejandro Ahmed junto ao Grupo Cena 11 Cia. de Dança (SC). E, ainda, discute atuações dos intérpretes e criadores Eduardo Fukushima (SP) e Micheline Torres (RJ), cujos corpos são pensados de modo contínuo como devir-outro. No espaço seguinte, a dança é investigada a partir da perspectiva teórica da teatralidade, ou seja, a dança é compreendida enquanto ato artístico de transformação do real e violação do cotidiano. Considera-se que a teatralidade resulta de dinâmicas perceptivas - do olhar que une um observado, seja sujeito ou objeto, a um observador, e somente assim, faz emergir a ficção. Para pesquisar diferentes possibilidades de ação da contemporaneidade na cena, criações que fabricam efeitos de estranhamento em relação ao familiar, bem como, deslocamentos e desvios, são analisadas. Artistas e grupos como Vanilto Lakka (MG), Erika Rosendo (SC) e Cena 11 são considerados

Note taking is a choreographic writing practice that implies processes of thinking, projecting and rejecting ideas. Note by note, a complex scenery of movement emerges through reflexive practices of writing, which are designed for a performative event. This article explores different forms of choreographic notation from the perspective of their performative dimensions and draws on approaches from literary theory, procedures of drafting and drawing, as well as considerations of writing as a thought process. The emphasis will be on specific examples of contemporary dance.

In any sport, competition is the quintessence of activity, the objective way to capitalize on the performance capacity of the practitioners, by comparison with themselves or others. The pandemic generated by Covid 19 deprived the dance sport of everything that meant a specific competitive context: zonal, national, international competitions, the joy of all categories of participants, from children to seniors, to meet on the dance floor, the emotion in the stands of parents and supporters of the competitors and, especially, the special show that almost no other sport offers during sporting events. It was obvious to everyone involved in Romanian dance sports (and not only) that all the restrictions imposed by the pandemic will limit the specific activity for an indefinite period, so a group of IT specialists, specialists in managing the organization of dance sports competitions sought and they found solutions to survive of the phenomenon called dance sports. Thus, by involving the above-mentioned categories, an online platform was born that allows the organization of evaluation seminars, dance festivals, sports competitions, examinations and promotion congresses. In this way, the motivation to practice dance sports can be maintained for athletes, specialists and adjudicators during this period. In this paper, we want to present a platform that aims to revive the competitive activity and, moreover, to bring a stain of normalcy in this strange and difficult period for everyone involved in dance sports. The online platform consists of several modules (competition administration, filming operator, arbitration, streaming show). The final product is a festival/competition that is broadcast live either on the YouTube channel or on the organizer's website.

ThisworkdiscussesdanceandthecognitivedevelopmentofchildreninEarlyChildhoodEducation.ForDancetobecomeeffective,weintendtounderstandthatteachersbecomecreators and authors of their own practices to promote learning at this level of education.Themainobjectiveistoinvestigatewhetherthepracticeofdanceinaschoolenvironment,specificallythroughclassicalballet,collaborateswiththecognitivedevelopmentof childrenaged2to5years, helping inthe learningprocessintheclassroom. As a methodological strategy, a systematic literature review was carried outwith an analysis of periodicals published in Portuguese, between the years 2012 to 2020,usingtheacademicgoogle,scielo,bvs,andPubMeddatabases.Ourstudywascarriedoutbetween February and November 2020. In this sense, we understand that dance enablesthedevelopmentofthestudent'sattention,perception,reasoning,memoryandimagination,contributingtocognitivedevelopmentatatimewhenitisnecessarytorelatemovements to rhythms, asit is precisely at this stage that experiences and experienceshappen. that will be recorded for the rest of your life, even if you are not initially awareof it. The results showed that dance is a valuable tool in cognitive development, as thestudent isled to think, understand and solve problems when performing the specificmovementsofthisdancepractice.Ourworkisofimportantnecessityduetothefactthatthere are still few studies that deal specifically with the practice of classical ballet andcognitive development, thus becoming one more research document necessary for futurestudies. We conclude that dance contributes to the cognitive development of students asanalternativepracticethroughitsrhythms,steps,exercises,choreographicsequencesandcreativity.

This article describes the situation with fire safety at Riga schools regarding their compliance with the fire safety requirements set in Latvia for accommodation of people in schools. The objective of the current paper was to research and evaluate the compliance with the requirements of regulatory enactments regarding the accommodation in Riga schools and analyse the actual fire safety situation during accommodation of participants of the Dance and Song Festivals in Riga schools. The research was conducted in spring of 2018, prior to the Dance and Song Festival, assessing the compliance of 60 accommodation sites with the Latvian regulatory enactments on fire safety. During the Dance and Song Festival, it was planned to organise accommodation places in schools for 24 000 persons – participants of the festival events in the city of Riga. Ensuring fire safety at public facilities is a topical issue for any country, since the fulfilment of fire safety requirements is important not only in cases, when school premises are intended to be used for temporary accommodation of participants of the Dance and Song Festivals for a period not exceeding a week, but also in cases when children have to stay in school premises every day to receive the knowledge they will need in their future lives and the fulfilment of fire safety regulations is an important condition for providing the overall safety.

In this research, the strength increasing effect of nitriding was investigated on a small series of spur gears with a module of 1 mm. The nitriding process was simulated in ANSYS FEM software with DANTE heat treatment external add-on. Only a simplified transient heat treatment model was created to study the basics and the effects of nitriding on spur gears. As a result, the nitrogen distributions, the hardness of the gear tooth flanks, the residual stresses and deformations were calculated with DANTE. Approximate surface endurance limit could be calculated analytically for the analysed spur gears according to the local endurance limit formula of Kloos and Velten. As the surface endurance limit value increased because of the nitriding process, the calculated allowable torque of the driving gear also increased. Even though the higher allowable torque and the initial residual stress increased the contact stress of the gear pairs, the calculated contact stress remains acceptable.

<p>Wrocław in Poland and San Sebastian in Spain were awarded the title “European Capital of Culture 2016”. The project “Bridge Builders” was one of many events organised within the cultural programme organised under this patronage taking place in Wrocław in 2015. For one day 27 bridges were converted into theatre scenes, concert spaces and art studios. Visitors had an opportunity to experience cinematography, dance, theatre, literature, and spatial installations. The project “Bridge Builders” is presented in this paper in many of its offerings. A particular attention is given to the project “Zwierzyniecki Bridge Copy – Paste”. Within this project, a 1:4 scaled model of a steel arch bridge – Zwierzyniecki Bridge, was designed, constructed and taken on a journey around the city. The whole process of realization of this undertaking is presented, starting from the design specifications, through concept design, detail design and construction, to transport of the bridge model to its final destination. Selected technical challenges and their solutions are discussed, pertaining to material selection, load effects and construction.</p>

In the past few decades a new approach to ethical principles known as ‘particularism’ has become fashionable among moral philosophers. According to the particularist the progress in the field of ethics, is from monism (the view that there is only one moral principle), through pluralism (the view that there are many), to particularism (the view that there are none). Jonathan Dancy advocates a radical particularist theory: arguing against a variety of univer- salist–pluralist doctrines, he maintains that there are no moral principles; and, even if there are, our ethical decisions are highly context-dependent, made case by case, without the sup- port of such principles. In this paper, drawing on a number of theoretical concepts used in science as well as the philosophy of science, and making use of Fethullah Gülen’s insights, I try to develop a mod- erate universalist–pluralist model in defence of universal ethical values and principles. This model, I argue, is less vulnerable to Dancy’s criticisms and better equipped, in comparison to Dancy’s own model, to deal with particular moral cases. While particularism in ethics leads to relativism and leaves moral agents with no clear guidelines, the model developed here could serve all moral agents, regardless of credal or cultural association and socio-political outlook, in making sound and commendable moral judgements.

In Colombia, the phenomenon of forced displacement from the territory of origin by ethnic minorities and inhabitants of rural areas is macroscopic; pressure by armed and economic actors, abandonment by institutional entities induces them to find refuge in no man's land. In the anonymity and informality of the extreme margins of large cities, this vulnerable population builds a primary refuge and seeks life opportunities on land without infrastructure or public services (DANE, 2015; UN_Habitat, 2016; UNHCR, 2019). In these slums there are precarious health conditions, low temperatures associated with cold winds, which generate different pathologies in their occupants. The settlement typology, based on terraces and vertical slopes, constitutes a further factor of seismic vulnerability and due to mass removal. The Tocaimita Oriental settlement (2900 m.a.s.l.) shows a complex reality of lucid awareness and determination, of community cohesion where the aims of having a “decent” home underlie the legalization of the settlements and their individual and group recognition. Forced displacement is necessary and always painful (Hannigan, O'Donnell, & O'Keeffe, 2016). In the last three decades, 36.2% of the Colombian population has left their identity territory for the largest cities in the country; in Bogotá alone there are approximately 1,393,140 people who live in the extreme urban periphery, in full illegality (UNHCR, 2017). The sad dream of this form of freedom implies leaving threats behind and satisfying needs that the very fact of staying alive demands (Shedlin, Decena, & Noboa H. & Betancourt, 2014). This is an extreme exercise of self-determination that entails abandonment, escape from conditions of hunger, pain, fear, need (Türk, 2017) in the face of death threats and extreme poverty (Centro Nacional de Memoria Histórica, 2015); the need to exist, the possibility of being able to decide in a constrained framework implies the loss of the social support base (Bobada, 2010), social, physical and economic vulnerability. Resettlement represents a new beginning with the expectation of finding housing, employment, health, education, public services (Braubach, 2011) however, the displaced, left to themselves, in turn abandon institutional rules; count on their own means and found extremely precarious illegal settlements waiting for institutional responses. Bogotá is chosen as a destination because it presents multidimensional poverty levels that are clearly lower than the rest of the country (DANE, 2017) and provides greater opportunities even in informality. En Colombia es macroscópico el fenómeno del desplazamiento forzoso del territorio de origen por parte de minorías étnicas y habitantes de áreas rurales; presiones por actores armados y económicos, abandono por las entidades institucionales los induce a encontrar refugio en tierras de nadie. En el anonimato y la informalidad de los márgenes extremos de grandes ciudades, esta población vulnerada construye un refugio primario y busca oportunidades de vida en terrenos sin infraestructuras ni servicios públicos (DANE, 2015; UN_Habitat, 2016; UNHCR, 2019). En estos tugurios se viven precarias condiciones de salud, bajas temperaturas asociadas a vientos fríos, lo que genera diferentes patologías en sus ocupantes. La tipología de asentamiento, a partir de terrazas y taludes verticales, constituye un ulterior factor de vulnerabilidad sísmica y por remoción de masa. El asentamiento de Tocaimita Oriental (2900 m.s.n.m.) muestra una realidad compleja de lúcida consciencia y determinación, de cohesión comunitaria donde los fines de tener una vivienda “digna” subyacen a la legalización de los asentamientos y su reconocimiento individual y grupal. El desplazamiento forzoso es necesario y siempre doloroso (Hannigan, O’Donnell, & O’Keeffe, 2016). En las tres últimas décadas el 36.2% de la población colombiana ha abandonado su territorio identitario hacia las mayores ciudades del país; en la sola Bogotá son aproximadamente 1.393.140 las personas que viven en la extrema periferia urbana, en plena ilegalidad (UNHCR, 2017). El sueño triste de esta forma de libertad implica dejar a sus espaldas amenazas y satisfacer necesidades que demanda el mismo hecho de mantenerse vivos (Shedlin, Decena, & Noboa H. y Betancourt, 2014). Es este un ejercicio extremo de libre determinación que conlleva el abandono, el escape de condiciones de hambre, dolor, miedo, necesidad (Türk, 2017) frente a amenazas de muerte y pobreza extrema (Centro Nacional de Memoria Histórica, 2015); la necesidad de existir, la posibilidad de poder decidir en un marco de constricción implica la pérdida de la base social de apoyo (Bobada, 2010), vulnerabilidad social, física y económica. El reasentamiento representa un nuevo inicio con la expectativa de encontrar vivienda, empleo, salud, educación, servicios públicos (Braubach, 2011) sin embargo, los desplazados, abandonados a sí mismos, abandonan a su vez las reglas institucionales; contar en sus propios medios y fundan asentamientos ilegales extremadamente precarios esperando respuestas institucionales. Bogotá es elegida como destino por presentar niveles de pobreza multidimensional netamente inferiores al resto del país (DANE, 2017) y proporciona mayores oportunidades aun en la informalidad.

Objectives. Although the health benefits of physical activity are well described for the general population, less is known about the benefits and harms of physical activity in people dependent upon, partially dependent upon, or at risk for needing a wheelchair. This systematic review summarizes the evidence for physical activity in people with multiple sclerosis, cerebral palsy, and spinal cord injury regardless of current use or nonuse of a wheelchair. Data sources. We searched MEDLINE®, CINAHL®, PsycINFO®, Cochrane CENTRAL, Embase®, and Rehabilitation and Sports Medicine Source from 2008 through November 2020, reference lists, and clinical trial registries. Review methods. Predefined criteria were used to select randomized controlled trials, quasiexperimental nonrandomized trials, and cohort studies that addressed the benefits and harms of observed physical activity (at least 10 sessions on 10 different days of movement using more energy than rest) in participants with multiple sclerosis, cerebral palsy, and spinal cord injury. Individual study quality (risk of bias) and the strength of bodies of evidence for key outcomes were assessed using prespecified methods. Dual review procedures were used. Effects were analyzed by etiology of impairment and physical activity modality, such as treadmill, aquatic exercises, and yoga, using qualitative, and when appropriate, quantitative synthesis using random effects meta-analyses. Results. We included 146 randomized controlled trials, 15 quasiexperimental nonrandomized trials, and 7 cohort studies (168 studies in 197 publications). More studies enrolled participants with multiple sclerosis (44%) than other conditions, followed by cerebral palsy (38%) and spinal cord injury (18%). Most studies were rated fair quality (moderate risk of bias). The majority of the evidence was rated low strength. • In participants with multiple sclerosis, walking ability may be improved with treadmill training and multimodal exercise regimens that include strength training; function may be improved with treadmill training, balance exercises, and motion gaming; balance is likely improved with postural control exercises (which may also reduce risk of falls) and may be improved with aquatic exercises, robot-assisted gait training, treadmill training, motion gaming, and multimodal exercises; activities of daily living may be improved with aquatic therapy; sleep may be improved with aerobic exercises; aerobic fitness may be improved with multimodal exercises; and female sexual function may be improved with aquatic exercise. • In participants with cerebral palsy, balance may be improved with hippotherapy and motion gaming, and function may be improved with cycling, treadmill training, and hippotherapy. • In participants with spinal cord injury, evidence suggested that activities of daily living may be improved with robot-assisted gait training. • When randomized controlled trials were pooled across types of exercise, physical activity interventions were found to improve walking in multiple sclerosis and likely improve balance and depression in multiple sclerosis. Physical activity may improve function and aerobic fitness in people with cerebral palsy or spinal cord injury. When studies of populations with multiple sclerosis and cerebral palsy were combined, evidence indicated dance may improve function. • Evidence on long-term health outcomes was not found for any analysis groups. For intermediate outcomes such as blood pressure, lipid profile, and blood glucose, there was insufficient evidence from which to draw conclusions. There was inadequate reporting of adverse events in many trials. Conclusions. Physical activity was associated with improvements in walking ability, general function, balance (including fall risk), depression, sleep, activities of daily living, female sexual function, and aerobic capacity, depending on population enrolled and type of exercise utilized. No studies reported long-term cardiovascular or metabolic disease health outcomes. Future trials could alter these findings; further research is needed to examine health outcomes, and to understand the magnitude and clinical importance of benefits seen in intermediate outcomes.

1.1 Macroeconomic summary Economic recovery has consistently outperformed the technical staff’s expectations following a steep decline in activity in the second quarter of 2020. At the same time, total and core inflation rates have fallen and remain at low levels, suggesting that a significant element of the reactivation of Colombia’s economy has been related to recovery in potential GDP. This would support the technical staff’s diagnosis of weak aggregate demand and ample excess capacity. The most recently available data on 2020 growth suggests a contraction in economic activity of 6.8%, lower than estimates from January’s Monetary Policy Report (-7.2%). High-frequency indicators suggest that economic performance was significantly more dynamic than expected in January, despite mobility restrictions and quarantine measures. This has also come amid declines in total and core inflation, the latter of which was below January projections if controlling for certain relative price changes. This suggests that the unexpected strength of recent growth contains elements of demand, and that excess capacity, while significant, could be lower than previously estimated. Nevertheless, uncertainty over the measurement of excess capacity continues to be unusually high and marked both by variations in the way different economic sectors and spending components have been affected by the pandemic, and by uneven price behavior. The size of excess capacity, and in particular the evolution of the pandemic in forthcoming quarters, constitute substantial risks to the macroeconomic forecast presented in this report. Despite the unexpected strength of the recovery, the technical staff continues to project ample excess capacity that is expected to remain on the forecast horizon, alongside core inflation that will likely remain below the target. Domestic demand remains below 2019 levels amid unusually significant uncertainty over the size of excess capacity in the economy. High national unemployment (14.6% for February 2021) reflects a loose labor market, while observed total and core inflation continue to be below 2%. Inflationary pressures from the exchange rate are expected to continue to be low, with relatively little pass-through on inflation. This would be compatible with a negative output gap. Excess productive capacity and the expectation of core inflation below the 3% target on the forecast horizon provide a basis for an expansive monetary policy posture. The technical staff’s assessment of certain shocks and their expected effects on the economy, as well as the presence of several sources of uncertainty and related assumptions about their potential macroeconomic impacts, remain a feature of this report. The coronavirus pandemic, in particular, continues to affect the public health environment, and the reopening of Colombia’s economy remains incomplete. The technical staff’s assessment is that the COVID-19 shock has affected both aggregate demand and supply, but that the impact on demand has been deeper and more persistent. Given this persistence, the central forecast accounts for a gradual tightening of the output gap in the absence of new waves of contagion, and as vaccination campaigns progress. The central forecast continues to include an expected increase of total and core inflation rates in the second quarter of 2021, alongside the lapse of the temporary price relief measures put in place in 2020. Additional COVID-19 outbreaks (of uncertain duration and intensity) represent a significant risk factor that could affect these projections. Additionally, the forecast continues to include an upward trend in sovereign risk premiums, reflected by higher levels of public debt that in the wake of the pandemic are likely to persist on the forecast horizon, even in the context of a fiscal adjustment. At the same time, the projection accounts for the shortterm effects on private domestic demand from a fiscal adjustment along the lines of the one currently being proposed by the national government. This would be compatible with a gradual recovery of private domestic demand in 2022. The size and characteristics of the fiscal adjustment that is ultimately implemented, as well as the corresponding market response, represent another source of forecast uncertainty. Newly available information offers evidence of the potential for significant changes to the macroeconomic scenario, though without altering the general diagnosis described above. The most recent data on inflation, growth, fiscal policy, and international financial conditions suggests a more dynamic economy than previously expected. However, a third wave of the pandemic has delayed the re-opening of Colombia’s economy and brought with it a deceleration in economic activity. Detailed descriptions of these considerations and subsequent changes to the macroeconomic forecast are presented below. The expected annual decline in GDP (-0.3%) in the first quarter of 2021 appears to have been less pronounced than projected in January (-4.8%). Partial closures in January to address a second wave of COVID-19 appear to have had a less significant negative impact on the economy than previously estimated. This is reflected in figures related to mobility, energy demand, industry and retail sales, foreign trade, commercial transactions from selected banks, and the national statistics agency’s (DANE) economic tracking indicator (ISE). Output is now expected to have declined annually in the first quarter by 0.3%. Private consumption likely continued to recover, registering levels somewhat above those from the previous year, while public consumption likely increased significantly. While a recovery in investment in both housing and in other buildings and structures is expected, overall investment levels in this case likely continued to be low, and gross fixed capital formation is expected to continue to show significant annual declines. Imports likely recovered to again outpace exports, though both are expected to register significant annual declines. Economic activity that outpaced projections, an increase in oil prices and other export products, and an expected increase in public spending this year account for the upward revision to the 2021 growth forecast (from 4.6% with a range between 2% and 6% in January, to 6.0% with a range between 3% and 7% in April). As a result, the output gap is expected to be smaller and to tighten more rapidly than projected in the previous report, though it is still expected to remain in negative territory on the forecast horizon. Wide forecast intervals reflect the fact that the future evolution of the COVID-19 pandemic remains a significant source of uncertainty on these projections. The delay in the recovery of economic activity as a result of the resurgence of COVID-19 in the first quarter appears to have been less significant than projected in the January report. The central forecast scenario expects this improved performance to continue in 2021 alongside increased consumer and business confidence. Low real interest rates and an active credit supply would also support this dynamic, and the overall conditions would be expected to spur a recovery in consumption and investment. Increased growth in public spending and public works based on the national government’s spending plan (Plan Financiero del Gobierno) are other factors to consider. Additionally, an expected recovery in global demand and higher projected prices for oil and coffee would further contribute to improved external revenues and would favor investment, in particular in the oil sector. Given the above, the technical staff’s 2021 growth forecast has been revised upward from 4.6% in January (range from 2% to 6%) to 6.0% in April (range from 3% to 7%). These projections account for the potential for the third wave of COVID-19 to have a larger and more persistent effect on the economy than the previous wave, while also supposing that there will not be any additional significant waves of the pandemic and that mobility restrictions will be relaxed as a result. Economic growth in 2022 is expected to be 3%, with a range between 1% and 5%. This figure would be lower than projected in the January report (3.6% with a range between 2% and 6%), due to a higher base of comparison given the upward revision to expected GDP in 2021. This forecast also takes into account the likely effects on private demand of a fiscal adjustment of the size currently being proposed by the national government, and which would come into effect in 2022. Excess in productive capacity is now expected to be lower than estimated in January but continues to be significant and affected by high levels of uncertainty, as reflected in the wide forecast intervals. The possibility of new waves of the virus (of uncertain intensity and duration) represents a significant downward risk to projected GDP growth, and is signaled by the lower limits of the ranges provided in this report. Inflation (1.51%) and inflation excluding food and regulated items (0.94%) declined in March compared to December, continuing below the 3% target. The decline in inflation in this period was below projections, explained in large part by unanticipated increases in the costs of certain foods (3.92%) and regulated items (1.52%). An increase in international food and shipping prices, increased foreign demand for beef, and specific upward pressures on perishable food supplies appear to explain a lower-than-expected deceleration in the consumer price index (CPI) for foods. An unexpected increase in regulated items prices came amid unanticipated increases in international fuel prices, on some utilities rates, and for regulated education prices. The decline in annual inflation excluding food and regulated items between December and March was in line with projections from January, though this included downward pressure from a significant reduction in telecommunications rates due to the imminent entry of a new operator. When controlling for the effects of this relative price change, inflation excluding food and regulated items exceeds levels forecast in the previous report. Within this indicator of core inflation, the CPI for goods (1.05%) accelerated due to a reversion of the effects of the VAT-free day in November, which was largely accounted for in February, and possibly by the transmission of a recent depreciation of the peso on domestic prices for certain items (electric and household appliances). For their part, services prices decelerated and showed the lowest rate of annual growth (0.89%) among the large consumer baskets in the CPI. Within the services basket, the annual change in rental prices continued to decline, while those services that continue to experience the most significant restrictions on returning to normal operations (tourism, cinemas, nightlife, etc.) continued to register significant price declines. As previously mentioned, telephone rates also fell significantly due to increased competition in the market. Total inflation is expected to continue to be affected by ample excesses in productive capacity for the remainder of 2021 and 2022, though less so than projected in January. As a result, convergence to the inflation target is now expected to be somewhat faster than estimated in the previous report, assuming the absence of significant additional outbreaks of COVID-19. The technical staff’s year-end inflation projections for 2021 and 2022 have increased, suggesting figures around 3% due largely to variation in food and regulated items prices. The projection for inflation excluding food and regulated items also increased, but remains below 3%. Price relief measures on indirect taxes implemented in 2020 are expected to lapse in the second quarter of 2021, generating a one-off effect on prices and temporarily affecting inflation excluding food and regulated items. However, indexation to low levels of past inflation, weak demand, and ample excess productive capacity are expected to keep core inflation below the target, near 2.3% at the end of 2021 (previously 2.1%). The reversion in 2021 of the effects of some price relief measures on utility rates from 2020 should lead to an increase in the CPI for regulated items in the second half of this year. Annual price changes are now expected to be higher than estimated in the January report due to an increased expected path for fuel prices and unanticipated increases in regulated education prices. The projection for the CPI for foods has increased compared to the previous report, taking into account certain factors that were not anticipated in January (a less favorable agricultural cycle, increased pressure from international prices, and transport costs). Given the above, year-end annual inflation for 2021 and 2022 is now expected to be 3% and 2.8%, respectively, which would be above projections from January (2.3% and 2,7%). For its part, expected inflation based on analyst surveys suggests year-end inflation in 2021 and 2022 of 2.8% and 3.1%, respectively. There remains significant uncertainty surrounding the inflation forecasts included in this report due to several factors: 1) the evolution of the pandemic; 2) the difficulty in evaluating the size and persistence of excess productive capacity; 3) the timing and manner in which price relief measures will lapse; and 4) the future behavior of food prices. Projected 2021 growth in foreign demand (4.4% to 5.2%) and the supposed average oil price (USD 53 to USD 61 per Brent benchmark barrel) were both revised upward. An increase in long-term international interest rates has been reflected in a depreciation of the peso and could result in relatively tighter external financial conditions for emerging market economies, including Colombia. Average growth among Colombia’s trade partners was greater than expected in the fourth quarter of 2020. This, together with a sizable fiscal stimulus approved in the United States and the onset of a massive global vaccination campaign, largely explains the projected increase in foreign demand growth in 2021. The resilience of the goods market in the face of global crisis and an expected normalization in international trade are additional factors. These considerations and the expected continuation of a gradual reduction of mobility restrictions abroad suggest that Colombia’s trade partners could grow on average by 5.2% in 2021 and around 3.4% in 2022. The improved prospects for global economic growth have led to an increase in current and expected oil prices. Production interruptions due to a heavy winter, reduced inventories, and increased supply restrictions instituted by producing countries have also contributed to the increase. Meanwhile, market forecasts and recent Federal Reserve pronouncements suggest that the benchmark interest rate in the U.S. will remain stable for the next two years. Nevertheless, a significant increase in public spending in the country has fostered expectations for greater growth and inflation, as well as increased uncertainty over the moment in which a normalization of monetary policy might begin. This has been reflected in an increase in long-term interest rates. In this context, emerging market economies in the region, including Colombia, have registered increases in sovereign risk premiums and long-term domestic interest rates, and a depreciation of local currencies against the dollar. Recent outbreaks of COVID-19 in several of these economies; limits on vaccine supply and the slow pace of immunization campaigns in some countries; a significant increase in public debt; and tensions between the United States and China, among other factors, all add to a high level of uncertainty surrounding interest rate spreads, external financing conditions, and the future performance of risk premiums. The impact that this environment could have on the exchange rate and on domestic financing conditions represent risks to the macroeconomic and monetary policy forecasts. Domestic financial conditions continue to favor recovery in economic activity. The transmission of reductions to the policy interest rate on credit rates has been significant. The banking portfolio continues to recover amid circumstances that have affected both the supply and demand for loans, and in which some credit risks have materialized. Preferential and ordinary commercial interest rates have fallen to a similar degree as the benchmark interest rate. As is generally the case, this transmission has come at a slower pace for consumer credit rates, and has been further delayed in the case of mortgage rates. Commercial credit levels stabilized above pre-pandemic levels in March, following an increase resulting from significant liquidity requirements for businesses in the second quarter of 2020. The consumer credit portfolio continued to recover and has now surpassed February 2020 levels, though overall growth in the portfolio remains low. At the same time, portfolio projections and default indicators have increased, and credit establishment earnings have come down. Despite this, credit disbursements continue to recover and solvency indicators remain well above regulatory minimums. 1.2 Monetary policy decision In its meetings in March and April the BDBR left the benchmark interest rate unchanged at 1.75%.