Journal articles on the topic 'Dance movements'
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1
Pype, Katrien. "Dancing for God or the Devil: Pentecostal Discourse on Popular Dance in Kinshasa." Journal of Religion in Africa 36, no. 3-4 (2006): 296–318. http://dx.doi.org/10.1163/157006606778941968.
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AbstractThis article studies the dance poetics and politics of Christians in contemporary Kinshasa. For Kinois (inhabitants of Kinshasa), dance is one of the most important technologies to get in touch with an invisible Other, the divine or the occult. In sermons, and other modes of instruction, spiritual leaders inform their followers about the morality of songs and dances. These discourses reflect pentecostal thought, and trace back the purity of specific body movements to the choreography's source of inspiration. As the specific movements of so-called sacred dances borrow from a wide array of cultural worlds, ranging from traditional ritual dances and popular urban dance to biblical tales, the religious leaders state that not just the body movements, but also the space where people dance and the accompanying songs, define the Christian or pagan identity of the dancer. Therefore, both the reflections upon dance movements and the dance events within these churches will be discussed as moments in the construction of a Christian community.
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Kesiman, Made Windu Antara, I. Made Dendi Maysanjaya, I. Made Ardwi Pradnyana, I. Made Gede Sunarya, and Putu Hendra Suputra. "Revealing the Characteristics of Balinese Dance Maestros by Analyzing Silhouette Sequence Patterns Using Bag of Visual Movement with HoG and SIFT Features." Journal of ICT Research and Applications 15, no. 1 (July 6, 2021): 89–104. http://dx.doi.org/10.5614/itbj.ict.res.appl.2021.15.1.6.
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The aim of this research was to reveal and explore the characteristics of Balinese dance maestros by analyzing silhouette sequence patterns of Balinese dance movements. A method and complete scheme for the extraction and construction of silhouette features of Balinese dance movements are proposed to enable performing quantitative analysis of Balinese dance movement patterns. Two different feature extraction methods, namely the Histogram of Gradient (HoG) feature and the Scale Invariant Features Transform (SIFT) descriptor, were used to build the final feature, called the Bag of Visual Movement (BoVM) feature. This research also makes a technical contribution with the proposal of quantifying measures to analyze the movement patterns of Balinese dances and to create the profile and characteristics of dance maestros/creators. Eight Balinese dances from three different Balinese dance maestros were analyzed in this work. Based on the experimental results, the proposed method was able to visually detect and extract patterns from silhouette sequences of Balinese dance movements. Quantitatively, the pattern measures for profiling of Balinese dances and maestros revealed a number of significant characteristics of different dances and different maestros.
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Azizah, Rona Cita, Susanna Edelweiss, and Angelika Riyandari. "Representing Multicultural Semarang through Gambang Semarang’s Narrative." Celt: A Journal of Culture, English Language Teaching & Literature 18, no. 2 (December 29, 2018): 248. http://dx.doi.org/10.24167/celt.v18i2.1300.
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Dance is usually perceived as a structured movement done by a person or more and accompanied by music and in some cases songs. The attention on physical movement often neglects the narrative which may exist behind a dance. Dances often have stories which frame the sequence of movements done by the dancers. The stories in a dance have elements of literature such as theme, plot, characters, and setting. This paper which is part of an on-going research on Semarang traditional dance discusses the story told through the movements and costume of Gambang Semarang dance. Gambang Semarang is traditional performing arts from Semarang which originally consists of music, vocal, dance, and comedy. Gambang Semarang dance was a small part of Gambang Semarang performance, but it is often performed separately from the complete performance now. The dance is commonly accompanied by Gambang Semarang music which combines Javanese music instruments, gamelan, and Chinese music instruments. In some occasions, songs such as Gambang Semarang and Gado-Gado Semarang are presented along with the music. Gambang Semarang dance itself is often considered as Semarang’s identity as the dance tries to embrace the multicultural society of Semarang which are Javanese, Chinese, and Arabs through the dance movements and the costume worn by the dancer. Data were collected through interviews with key informants. The results of the interviews then were analyzed to find out the stories represented by Gambang Semarang. The findings show that dance movements and costumes of Gambang Semarang indeed represent multicultural Semarang.
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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping." Baltic Journal of Sport and Health Sciences 1, no. 120 (April 15, 2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.
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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz.
Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz.
Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found.
Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer.
Keywords: DanceSport, ballroom, kinematics, partnering, statistical parametric mapping.
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Andriani, Lia, and Arif Muchyidin. "POLA FRIEZE GROUP PADA GERAKAN TARI BUYUNG KUNINGAN." Jurnal Edukasi dan Sains Matematika (JES-MAT) 6, no. 2 (September 30, 2020): 81. http://dx.doi.org/10.25134/jes-mat.v6i2.2997.
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Buyung dance is rarely displayed and has begun to be unknown to the public. Also, children, today prefer foreign culture and dance. As a result, the existence of Buyung dance is only limited to recognition, without the benefits that can be felt. The absence of written guidelines in each of the Buyung dance movements is very interesting for researchers to analyze the relationship of the Buyung dance movements with mathematics. This type of research used in this study is qualitative research. In qualitative research, the instrument is the researcher himself and cannot be replaced by others. Data collection techniques used in this study through the method of observation, interviews, and documentation. Every hand movement of the dancers and movements between dancers to one another makes the movements of the dances neat and attractive following the Frieze Group, with four frieze patterns found in the dances of the pitchers.
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Schroedter, Stephanie. "Embodying Musical Space." Congress on Research in Dance Conference Proceedings 2012 (2012): 132–39. http://dx.doi.org/10.1017/cor.2012.17.
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The epoch-making dance reforms of the early twentieth century did not only lead to new dance techniques, styles, and movement concepts, but also to an intensive search for new dialogues between music/sound and dance/movement. These new interactions were notable for their reliance on pre-existing music that was usually not intended for dance. Analogous to the choreographers' search for new movements in new (sound) spaces, composers looked for a new physicality of sounds (musical gestures), as well as for new spaces inside and outside of these sounds. Following these mid-twentieth-century developments, choreographers have increasingly chosen “new music” for their creations—compositions beyond the classical repertoire. In my paper, I will explore the choreographic possibilities of “new (non-dance) music” by comparing two examples: Bill T. Jones' solo danced to Edgar Varèses' Ionisation and a solo created by Martin Schläpfer using György Ligeti's Ramification. These examples will serve as case studies to argue for my concept of “kinesthetic listening,” which can be applied to a more general approach to discussions of the embodiment of music. This concept includes not only the perspective of the choreographer and interpreter/dancer, but also the perception of the spectator/listener. As a precondition, music/sound is understood as movement: an audible but not visible, rather an imaginable/imaginary movement that can (but need not) interact with body movements. Body movements/dance, in turn, can interact with music according to different choreographic strategies. To analyze these choreomusical dialogues, a special combination of (and training in) listening to and watching movement is required—informed by models of analysis from musicology and dance studies as well as from phenomenology and cognitive sciences.
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Markarma, Muh Ridwan, Riyana Rizki Yuliatin, Hary Murcahtanto, Ummi Risti Ayuni Rahman, and Nur Aetin Mahi Sofiana. "Bentuk Dan Gerak Tari Tradisional Manuk Beberi." Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora 4, no. 1 (April 2, 2021): 35–42. http://dx.doi.org/10.31539/kaganga.v4i1.2007.
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The purpose of this study was to describe the various forms and movements of the Manuk Beberi dance. This research uses descriptive qualitative methods using theories related to the research topic. The theory used is the theory of symbols which is translated into discursive and presentational symbols. The results showed that the Manuk Beberi dance is a regional dance originating from Lombok, West Nusa Tenggara. The Manuk Beberi dance was created based on the story of Dewi Anjani's pet. This dance is danced by two male dancers with energetic movements that reflect the character of Dewi Anjani's pet chicken. The various movements of the Manuk Beberi dance are classified into discursive symbols and presentational symbols. Movements that are included in the discursive symbol are the movements of the Keber, Notok, Ngaeh and Bekupu. These movements have certain meanings based on the results of mutual agreement in an area. Meanwhile, other Manuk Beberi dance movements are included in the presentational symbol, namely movements that are only complementary and do not have a core meaning. In conclusion, the traditional dance of Manuk Beberi has four forms, namely, the traditional dance form, which is the pet movement of Dewi Anjani.
Keywords: Form, Manuk Beberi Dance, Motion
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Asriati, Afifah, Ahmad Kosasih, and Desfiarni Desfiarni. "Silat as the Source and Identity of the Minangkabau Ethnic Dance." Harmonia: Journal of Arts Research and Education 19, no. 1 (June 24, 2019): 71–83. http://dx.doi.org/10.15294/harmonia.v19i1.16106.
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This article is intended to get the concept of Minangkabau dance movement in the context of ethnic philosophical values. Today, ninik-mamak, cadiak pandai, and alim ulama in West Sumatra develop ideas about Minangkabau philosophy in all aspects of life. How this idea is reflected in dance movements? To answer this question, a qualitative method is used by taking six samples of popular Minangkabau traditional dance. The data were collected using Focus Group Discussion, observation, and interviews to confirm previous findings. Through the triangulation technique, it is expected to obtain credible data and be analyzed using the models of Miles and Haberman. The results of this study indicate that the basic movements of Minangkabau dance are silat movements. The martial arts movement is the basis of movement used by many traditional dances in Minangkabau. Every district has its unique cultural values and identities and these values are manifested in dance created by dance activists.
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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (May 2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.
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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.
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Dewi, Jauhari Kumara. "Nilai-nilai Pendidikan Karakter dalam Gerak Dasar Tari Kejei Bagi Anak Usia Sekolah Dasar." AR-RIAYAH : Jurnal Pendidikan Dasar 6, no. 1 (June 30, 2022): 115. http://dx.doi.org/10.29240/jpd.v6i1.4992.
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Education is one of leading sectors in the development of student character. Specifically, it aims to identify character values and integrate them into elementary school’s life. Kejei dance is one of the dances in which there are character values that have a role in shaping elementary school students’ character with God, themselves, others, and their nationality which expressed in every movement of the Kejei dance. The purpose of this study was to discover the meaning contained in the various basic movements of the Kejei dance in the process of shaping elementary students’ character. This research belonged to qualitative research with a narrative approach. Primary data sources are taken from observing the variety of movements of the Kejei dance. In other words, the data were collected through observation and interviews. Afterwards, the data gathered were analyzed through data reduction and conclusions. The results showed that the Kejei dance contains the meaning and value of character education which is reflected in several types of movements including Sembah Menari movement, Bederap Salah Pinggang movement, Metik Jari movement, Mateak Dayung movement, Sembah Penyudo movement, and Mendayung movement. In sum, the overall meanings of the basic movements of the Kejei dance show religious values, tolerance, discipline, and communication.
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Wahyono, Wahyono, and Benny Hutahayan. "Performance art strategy for tourism segmentation: (a Silat movement of Minangkabau ethnic group) in the event of tourism performance improvement." Journal of Islamic Marketing 11, no. 3 (October 16, 2019): 643–59. http://dx.doi.org/10.1108/jima-10-2017-0116.
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Purpose The purpose of this paper is to analyze the strategy of performance art, especially Silat Movement (as a source and identity of traditional dance movement of Minangkabau ethnic group), as a marketing medium of tourism, especially in West Sumatera Province. Design/methodology/approach This research used a qualitative approach among six cases of dance. Quantitative method was used to collect data about the dance movement of Minangkabau ethnic group, which is in accordance with the cultural value that they adopt. The data collecting technique used was focus group discussion, documentation, observation and interview. The case study method was used to conduct this research, focusing on the Silat dance movement as a medium to promote tourism. The research method is presented to generate a study that is in harmony with the background and the problem statement. This was a qualitative descriptive analysis research with the aim of providing a comprehensive illustration of performance art as a medium to promote tourism in West Sumatera. Findings Minangkabau ethnic dance movement, which is based on custom and religion, includes movements originating from the Silat movement. Movements in Minangkabau dance include Silat movements, such as attacking and fending off, rolling over, sawhorse posture and leg and hand movements. This is an original movement source and derives from cultural movements born from the fighter. That is why the Minangkabau dancer is a male; females were initially not allowed to dance because the movements are not suitable for them. Movement stylization suitable for a woman appears when she starts involving in dance movements in Minangkabau. Given the basis of culture and religion, the concept of suitable movements for a woman involves having no pelvic-rocking movements, erotic movements (with legs, hands and head) or other movements, such as rolling over, fighting and fending off. When male and female dancers perform together, they are not allowed to touch each other. Originality/value The movement in the dancing art of Minangkabau actually should be in harmony with, balanced on and based on the value of Adat Basandi Syarak, Syarak Basandi Kitabulah, which is the philosophy of the Minangkabau ethnic group. This means, a religious value must be seen in all expressions of dance movements of the Minangkabau ethnic group; no expression should contradict the values of the religious and customs value. A similar perception to the philosophy states that it is very helpful for Indonesian choreographer for the needs of aesthetic from the rich of Indonesian dance. Also, Hastuti and Supriyanti (2012) state that it can be a differentiator from the dance rules of Western thought patterns.
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Ni, Shasha, and Dawei Yao. "Sports Dance Action Recognition System Oriented to Human Motion Monitoring and Sensing." Wireless Communications and Mobile Computing 2021 (June 12, 2021): 1–10. http://dx.doi.org/10.1155/2021/5515352.
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Because of its high research value, action recognition has become a very popular research direction in recent years. However, the research on the combination of motion recognition technology and dance movements is still in its infancy. At the same time, due to the high complexity of dance movements and the problems of human body self-occlusion when performing dances, research on dance video action recognition has been caused. Progress is relatively slow. This article mainly introduces the research of sports dance action recognition system oriented to human motion monitoring and sensing, fully considers the abovementioned problems, and makes in-depth research and analysis on the current excellent action recognition research content in this field. This paper proposes a research method of sports dance movement recognition for human movement monitoring and sensing, including sports dance movement classification algorithm and sports dance movement preprocessing algorithm, which is used to conduct research experiments on sports dance movement recognition for human movement monitoring and sensing. The experimental results of this article show that the average recognition accuracy of the sports dance action recognition system for human motion monitoring and sensing is 92%, which can be used in daily sports dance training and competition.
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San Diego, Chiedel Joan Gula. "Hataw Subanen." ACPES Journal of Physical Education, Sport, and Health (AJPESH) 2, no. 1 (June 18, 2022): 15–23. http://dx.doi.org/10.15294/ajpesh.v2i1.56495.
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This study aimed to identify the basic Subanen dance steps as the basis for creating an inspired Subanen dance exercise routine. Dance exercise is a well-known activity for all ages. People are passionate about doing it for them to stay fit and healthy. A descriptive method of research was used in the study in which the observation method was utilized. Purposive sampling was used to ensure the authenticity of the dance steps, which were from the true-blooded Subanen dancers. Three pairs of dancers, three musicians, and one key informant were the respondents of the study. Based on the interview and observation results, stamping or “pasagagang” steps is the basic footwork, and twisting or moving the hands and wrist circularly like doing the “kumintang”, the basic hand movement of the dance. Most of the Subanen dances are in 4/4-time signature with the counting of 1, 2, 3, & 4. Their dances usually start with slow movements, then gradually change from moderately fast to fast. “Agong” is the commonly used musical instrument in accompanying their dances. Five basic steps were identified: praise, grace, prayer, casting, and courtship. Based on the basic dance steps, a dance exercise routine called “Hataw Subanen” was created. Thus, exercise does not only use modern dance movements but also traditional or indigenous dances/movements. Hataw Subanen not only promotes a fit and healthy life, but also preserves, enhances, and harnesses one’s indigenous culture and tradition.
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Zhai, Xianfeng. "Dance Movement Recognition Based on Feature Expression and Attribute Mining." Complexity 2021 (April 30, 2021): 1–12. http://dx.doi.org/10.1155/2021/9935900.
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There are complex posture changes in dance movements, which lead to the low accuracy of dance movement recognition. And none of the current motion recognition uses the dancer’s attributes. The attribute feature of dancer is the important high-level semantic information in the action recognition. Therefore, a dance movement recognition algorithm based on feature expression and attribute mining is designed to learn the complicated and changeable dancer movements. Firstly, the original image information is compressed by the time-domain fusion module, and the information of action and attitude can be expressed completely. Then, a two-way feature extraction network is designed, which extracts the details of the actions along the way and takes the sequence image as the input of the network. Then, in order to enhance the expression ability of attribute features, a multibranch spatial channel attention integration module (MBSC) based on an attention mechanism is designed to extract the features of each attribute. Finally, using the semantic inference and information transfer function of the graph convolution network, the relationship between attribute features and dancer features can be mined and deduced, and more expressive action features can be obtained; thus, high-performance dance motion recognition is realized. The test and analysis results on the data set show that the algorithm can recognize the dance movement and improve the accuracy of the dance movement recognition effectively, thus realizing the movement correction function of the dancer.
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Marini, Sarwindah, Yurindra, Kiswanto, and Anthonia Julia Cancera. "Website Administrasi Dance Sanggar Senam Dengan Model FAST." JURNAL FASILKOM 12, no. 1 (May 1, 2022): 8–13. http://dx.doi.org/10.37859/jf.v12i1.3527.
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Modern dance or dance today, is developing very quickly along with the times. Modern Dance originated in Europe, in 1930. The United States became the center of Modern Dance for experimentation. Modern Dance has several types of movements such as: Break Dance, Hip - Hop Dance, Popping Dance, Locking Dance, Ballroom Dance, and Shuffle Dance. These types of dances are different but after being performed, they are almost the same. Although the movements created have no explanation when expressed, many people like the movement. Dance Dances which are trending among young people are much liked by the public. At the sportsman level, there is a big influence in Indonesia. One of the popular enthusiasts in the community such as Modern Dance. The problems that often occur in Modern Dance are many people, namely information about how the lack of promotion so that many people do not know information about Dance. So we need a website to create a Dance information system. The goal is to facilitate the promotion of dance information. In developing this Dance information system website, it is necessary to analyze and design a website using the UML concept, Database Design with MySql. The result to be achieved is to implement a Dance Information System Website
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Khairunnisa, Yussy Talitha, Ely Triasih Rahayu, and Muammar Kadafi. "Struktur dan Makna Tarian Yosakoi." Jurnal SAKURA : Sastra, Bahasa, Kebudayaan dan Pranata Jepang 4, no. 1 (February 28, 2022): 118. http://dx.doi.org/10.24843/js.2022.v04.i01.p10.
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The purpose of this study was to determine the structure and meaning of movements contained in the yosakoi dance. The yosakoi dance is a traditional dance that was first introduced in 1954 in Kochi prefecture. The kochi yosakoi dance was first performed in a summer festival, with the basic dance was called seicho. Seicho yosakoi is danced with the yosakoi naruko odori song and uses a musical instrument called naruko. Besides at Kochi prefecture, yosakoi also has expanded to the Hokkaido area. Yosakoi dance in Hokkaido is known as yosakoi soran. Yosakoi soran was first created by Hasegawa Gaku in 1992. Different from kochi yosakoi, yosakoi soran was first introduced with the traditional song soran bushi. The type of this study was descriptive qualitative. The data source of this study was the movement of yosakoi dancers, namely the Iroha and Yuujou Taiko groups. The method of this study used literature study, observation and interview. The data analysis technique was conducted by analyzing the movement structure and meaning of the seicho and soran bushi dances based on the semiotic concept of Roland Barthes. The results of this study showed that there were 5 movement structures in the seicho yosakoi dance that contained connotative meanings, and there were 14 movement structures in the soran bushi dance. The conclusion from the structure and meaning of these two dances are that they only have connotative meanings. In the seicho dance, it contains the meaning of an invitation for people to come and have fun during the summer at the yosakoi festival. While in soran bushi, this dance has the meaning of describing how fishermen go to sea to catch fish.
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Marsan, Nur Sekreningsih, and Mia Juliana Siregar. "Menghidupkan Identitas Kepulauan Riau Melalui Seni Tari Tradisional." Gondang: Jurnal Seni dan Budaya 5, no. 1 (April 6, 2021): 40. http://dx.doi.org/10.24114/gondang.v5i1.20964.
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This article was created with the aim of seeing the extent of the identity of Riau Islands through the art of dance known in the community and trying to revive the identity of traditional dance through documentation of the dance movement itself. Thus, the problem in this research is focused on traditional dance movements that are indeed the identity of Riau Islands identifiers, namely malay dance movements. This research was conducted by exploring the roots of the dance from art actors directly through interviews and documenting them. Through the collection of dance movement information is then documented so that it can be seen or read by all people. So that traditional dance as the identity of Riau Islands is well documented. Based on the results of the rersponden assessment, 61% stated that knowing and knowing the traditional dance of Riau Islands, the rest stated that less knowing the traditional dance. Art performances can only be enjoyed on certain occasions. To overcome this, one way to bring traditional dance identity to life is to gather information related to traditional dances and document them in the form of photos, videos and books, increasing the frequency of dance performances.
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Peng, Yuan. "Research on Dance Teaching Based on Motion Capture System." Mathematical Problems in Engineering 2022 (May 10, 2022): 1–8. http://dx.doi.org/10.1155/2022/1455849.
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Ethnic dance is a part of minority culture and an important chapter of intangible cultural heritage. Because the art of dance does not exist in a certain physical form in a certain environment, it is difficult to record and preserve dance. In traditional recording work, dancers' dance movements are mostly recorded through text, photos, videos, etc. However, these methods can only record and preserve dance movements in a two-dimensional manner from a limited number of angles and cannot achieve accurate and comprehensive record protection of dance poses. Moreover, data preserved by traditional methods can only be simply copied and transferred, and cannot be exploited, developed, or innovated. Therefore, motion capture technology can be applied to the protection of ethnic dance art, and motion capture technology can be used to obtain 3D gestures of ethnic minority dance spaces, restore and optimize digital movements, such as establishing a national dance art movement technology database, and combine the protection of the original ecological cultural atmosphere. It can accurately and comprehensively preserve the essence of ethnic minority dance art and provide effective reference for many ethnic minority dances with ethnic characteristics, digital protection of sports, and the future.
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Permata, Maghfirah Murni Bintang, Rika Wirandi, and Berliana Denada. "Bentuk Penyajian Tari Sining Pada Masyarakat Gayo Aceh Tengah." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 2 (December 2, 2020): 493–505. http://dx.doi.org/10.34007/jehss.v3i2.351.
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This paper aims to describe the form of presentation of the sining dance in the Gayo community of Central Aceh Regency. Sining dance is a dance whose form of movement is inspired by nature. The movements are pure and use a lot of mimitive movements. This dance is also one of the traditional dances that was extinct and was then made a revitalization effort by the Central Aceh Kuta Dance Studio. This study focuses the problem on the form of presentation of the Sining Dance. To analyze the problem, Soedarsono used the theory of presentation forms, which said that, the form of presentation in dance has an understanding of how to present a dance as a whole, including the main elements or elements that support dance. These elements consist of dance movements, floor design, make-up, costumes, performance venues, props, and accompaniment music. This research uses qualitative research methods. This study concludes that the movements contained in the sining dance are mimitive and spontaneous movements, and tend to describe balance. Using a gayo openwork costume, accompanied by traditional music and traditional Gayo musical instruments. With two adult male dancers. Using upuh ulen-ulen cloth. Using a props made of pile board measuring 1.6 meters high. The shape of the board which is used as the main property is adopted from the Bere Numah shape. Meanwhile, the sining dance performance venue is currently adjusting to the location of the show provided, both on stage and in the open field area.
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Nugroho, Slamet. "Makna Tarian Sufi Perspektif Komunitas Tari Sufi Dervishe Pekalongan." JOUSIP: Journal of Sufism and Psychotherapy 1, no. 1 (June 10, 2021): 69–84. http://dx.doi.org/10.28918/jousip.v1i1.3880.
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Spiritual dance has a deep meaning. One of the Sufi dancers from Dervishe Pekalongan revealed that there are many meanings contained in the dance, one of which is love. The dancer must present love in his heart and in every breath only for Allah, from feelings of love it is hoped that all Sufi dancers can accept and live all life in the world with great love for Allah. Based on this, it is studied about the Meaning of Sufi Dance from the Perspective of the Sufi Dance Community Dervishe Pekalongan. This research is a type of qualitative research. The main target of the research is how to implement the meaning of Sufi dance in the daily life of the Sufi Dance community of Dervishe Pekalongan. The results show that in Sufi dances there are attributes used by the dancers and the movements they perform, including: Sikke, tennur, black belt, and Khuff. The meaning of Sufi dance in the perspective of the Sufi dance community of Dervishe Pekalongan consists of two descriptions, namely the meaning of the attributes and the meaning of the movement.
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Septiana Putri, Mila, and Nerosti Nerosti. "ANALISIS GERAK DAN KARAKTER TARI KAIN DI PAUAH V KECAMATAN PAUAH KOTA PADANG." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 203. http://dx.doi.org/10.24036/jsu.v9i1.109595.
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This study aims to analyze the variety of movements and characters of Kain Dance in Pauh V, Pauh district, Padang city. This isa qualitative research using a descriptive analysis method. The object of the research wasKain Dance in Pauh V, Pauh district, Padang city.This research focused on the analysis of movements and characters. The data were collected through observation, interview, and documentation. The data analysis was conducted in the form of description, and the data were validated by using triangulation technique by comparing the observation data to the data from interview and documentation. The results of the study generally show that Kain dance is a traditional art performed in batagak gala event in Pauh V, Pauh district, Padang City. Kain dance is danced by 2 men, who face to face perform eight kinds of movements: salam pembuka, sambah, gantuang sabalah, rantak tigo, malapia, mailak, kalatiak, mangepo. The floor pattern of Kain dance is a straight line pattern, and the dancers always face each other from the beginning to the end of the dance.The dominant movement is the silat movement in the form of a defensive attack with the characteristic of Rantak Tigomotion. The analysis found in the movement of Kain Dance can be seen from the elements of motion: energy, space, and time. The quality of strong motions with the use of powerful movement intensity is carried out at a fast tempo.This dance is accompanied by a large volume of movement depicting the character of a man who is dashing and temperament. The temperament character contained in Kain Dance is expressed in the attack and block movements. The music which accompanies Kain Dance is two mancak drums. Kain dance is performed at the groom's house in front of the aisle at night in a day before the wedding party. The dancers wear black shirt, endong pants, deta for a headband, and sasampiang attached to the dancer's waist.Keywords: Motion Analysis, Character, Kain Dance
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DN, Rr Ruth Hertami, Dilinar Adlin, and Deo Demonta Panggabean. "GROUP DEVELOPMENT PLAY IN THE DANCE MOVEMENT." Journal of Community Research and Service 2, no. 2 (May 9, 2019): 206. http://dx.doi.org/10.24114/jcrs.v2i2.13147.
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AbstractThe movement that had been carried out in Early Childhood Education (PAUD) in the Cahaya and Manca playgroups in Delitua village was only on gymnastics or sports. The most basic cause is the absence of competent teachers in the field of dance movement. In addition, the available teachers do not understand optimally about how to provide dance material that is right at the age of the children in the playgroup. Based on this situation, the proposed team through the Coaching of Playgroups in Dance Motion, fostering and strengthening dance activities for children Light playgroups, as well as four teachers in the Manca playgroup. The method applied is guidance and stabilization of mastery of dance movements for the age of children, namely: (1) Butterfly dance which includes hand, foot, head, shoulder and hip movements, and (2) Flower Party dance which includes motion hands, feet, head, shoulders, and hips. Through this guidance and consolidation, 2 (two) new dances appeared, which were appropriate for the age of the children and packaged in audiovisual media, so that they could be used as learning media in the two playgroups.Keywords: Playgroup, Butterfly dance, Flower Party dance.
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Skublewska-Paszkowska, Maria, Pawel Powroznik, Jakub Smolka, Marek Milosz, Edyta Lukasik, Dilbar Mukhamedova, and Elzbieta Milosz. "Methodology of 3D Scanning of Intangible Cultural Heritage—The Example of Lazgi Dance." Applied Sciences 11, no. 23 (December 6, 2021): 11568. http://dx.doi.org/10.3390/app112311568.
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Traditional dance is one of the key elements of Intangible Culture Heritage (ICH). Many scientific papers concern analysis of dance sequences, classification and recognition of movements, making ICH data public, creating and visualising 3D models or software solutions for learning folklore dances. These works make it possible to preserve this disappearing art. The aim of this article is to propose a methodology for scanning folklore dances. The methodology was developed on the basis of capturing 3D data via an optical motion capture system with a full body Plug-in Gait model that allows for kinematic and kinetic analysis of motion sequences. An additional element of this research was the development of a hand model with which it is possible to precisely analyse the fingers, which play a significant role in many dances. The present methodology was verified on the basis of the Lazgi dance, included in the UNESCO ICH list. The obtained results of movement biomechanics for the dance sequence and the angles of the fingers indicate that it is universal and can be applied to dances that involve the upper and lower body parts, including hand movements.
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Sayfullaeva, Ra'no, Hulkar Hamroeva, and Tomaris Azam Butunbaeva. "Language of Uzbek national dance art movements." Linguistics and Culture Review 5, S4 (December 15, 2021): 2427–38. http://dx.doi.org/10.21744/lingcure.v5ns4.1992.
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This article examines the national-cultural lines of Uzbek dance, the language of subject dances, and their movements. Therefore, along with many other intangible cultural heritage values, it is necessary to pass on to future generations the rich experience accumulated in the art of Uzbek national dance. "Preservation of the art of dance, which embodies national values, customs, and traditions, as an ancient source of our spirituality and culture, the restoration of its disappearing forms and movements, terms, the nature of dance, its structure, performance features, objects, clothing, and jewelry. The scientific study of the role of performance in complement, refinement, and bleaching is one of the urgent tasks facing the executive choreographer, organizer, and researchers working in the field of dance. To this end, one of the important issues facing the scientific community is to improve the textual and video recording system of dance performances, as well as the creation of special terminology.
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Choo, Nayoung, and Gwilyun An. "A Study on the Change Process of Halmi Dance in the Act of Halmi and Yeonggam of the Mask Dance Suyeong Yaryu." National Gugak Center 46 (October 31, 2022): 219–36. http://dx.doi.org/10.29028/jngc.2022.46.219.
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This study aims to discuss the direction of preservation through transmission education by examining the changes in the halmi (grandmom) dance of Suyeong yaryu , a national intangible cultural heritage. For this purpose, four performance video materials are comparatively analyzed, based on literature review, and personal interviews with transmission educators and trainees of Suyeong yaru are conducted.
Through this process, the following results are derived. First, the solo dance time of the halmi dance was very short at 40 seconds in the beginning, but gradually increased to 6 minutes at the end. Second, dance movements increased. For example, the movement of twisting a thread and pulling out fine hairs was added instead of looking at the mirror in the face trimming movement. The composition of the solo dance of the halmi dance increased from 6 to 8 dance movements. Third, in practicing dance movements, the individuality of the performers was distinct. In the early days, dance movements were performed in a complex manner, but after the dance notation was established, each dance was performed independently. As the musicians' beats slowed down towards the latter stages, the performers' dance movements were also changed to more leisurely use of the beats.
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Gates, Peter, Fred M. Discenzo, Jin Hyun Kim, Zachary Lemke, Joan Meggitt, and Angela L. Ridgel. "Analysis of Movement Entropy during Community Dance Programs for People with Parkinson’s Disease and Older Adults: A Cohort Study." International Journal of Environmental Research and Public Health 19, no. 2 (January 7, 2022): 655. http://dx.doi.org/10.3390/ijerph19020655.
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Dance therapy can improve motor skills, balance, posture, and gait in people diagnosed with Parkinson’s disease (PD) and healthy older adults (OA). It is not clear how specific movement patterns during dance promote these benefits. The purpose of this cohort study was to identify differences and complexity in dance movement patterns among different dance styles for PD and OA participants in community dance programs using approximate entropy (ApEn) analysis. The hypothesis was that PD participants will show greater ApEn during dance than OA participants and that the unique dance style of tango with more pronounced foot technique and sharp direction changes will show greater ApEn than smoother dance types such as foxtrot and waltz characterized by gradual changes in direction and gliding movement with rise and fall. Individuals participated in one-hour community dance classes. Movement data were captured using porTable 3D motion capture sensors attached to the arms, torso and legs. Classes were also video recorded to assist in analyzing the dance steps. Movement patterns were captured and ApEn was calculated to quantify the complexity of movements. Participants with PD had greater ApEn in right knee flexion during dance movements than left knee flexion (p = 0.02), greater ApEn of right than left hip flexion (p = 0.05), and greater left hip rotation than right (p = 0.03). There was no significant difference in ApEn of body movements (p > 0.4) or mean body movements (p > 0.3) at any body-segment in OA. ApEn analysis is valuable for quantifying the degree of control and predictability of dance movements and could be used as another tool to assess the movement control of dancers and aid in the development of dance therapies.
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Liu, Xiao Lei. "Dance Movement Recognition Based on Multimodal Environmental Monitoring Data." Journal of Environmental and Public Health 2022 (July 19, 2022): 1–8. http://dx.doi.org/10.1155/2022/1568930.
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Fine motion recognition is a challenging topic in computer vision, and it has been a trendy research direction in recent years. This study combines motion recognition technology with dance movements and the problems such as the high complexity of dance movements and fully considers the human body’s self-occlusion. The excellent motion recognition content in the dance field was studied and analyzed. A compelling feature extraction method was proposed for the dance video dataset, segmented video, and accumulated edge feature operation. By extracting directional gradient histogram features, a set of directional gradient histogram feature vectors is used to characterize the shape features of the dance video movements. A dance movement recognition method is adopted based on the fusion direction gradient histogram feature, optical flow direction histogram feature, and audio signature feature. Three components are combined for dance movement recognition by a multicore learning method. Experimental results show that the cumulative edge feature algorithm proposed in this study outperforms traditional models in the recognition results of HOG features extracted from images. After adding edge features, the description of the dance movement shape is more effective. The algorithm can guarantee a specific recognition rate of complex dance movements. The results also verify the effectiveness of the movement recognition algorithm in this study for dance movement recognition.
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McCormick, John, Steph Hutchison, Adam Nash, Kim Vincs, Saeid Nahavandi, and Douglas Creighton. "Learning to replace a human: A virtual performing agent." International Journal of Virtual Reality 15, no. 1 (January 1, 2015): 18–22. http://dx.doi.org/10.20870/ijvr.2015.15.1.2865.
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In this paper we describe two artworks, Recognition, an outdoor interactive installation and Instrumental a live dance performance. In both works a performing agent has learnt sequences of movement from a dancer and uses these to stand in for a human performer. The agent uses an Artificial Neural Network to learn to dance from the human dancer and can perform in the human's stead. In Recognition the agent's movement is used when there are no humans present in order to keep continuity of the installation. In Instrumental the agent becomes a performing partner of a live human dancer, able to recognize the dancers movement and synthesize movement sequences based on the human dancer's movements.
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Tian, Jing, and Xiaoqiang Yang. "Dance Movement Recognition Based on Modified GMM-Based Motion Target Detection Algorithm." Security and Communication Networks 2022 (August 22, 2022): 1–12. http://dx.doi.org/10.1155/2022/6023784.
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Under the synergistic development of social economy and science and technology, the intelligent teaching of dance has become more and more popular. This teaching method can not only decompose dance movements more specifically, which is easy for students to understand and master, but also get rid of the time and space limitation in traditional dance teaching and provide more independent learning opportunities for students. The problem of low accuracy of dance movement recognition due to complex gesture changes in dance movements is addressed. To this end, this paper proposes a modified motion target detection algorithm based on GMM. The dance movement recognition algorithm first extracts the features of dance movements through a feature pyramid network, then uses a multi-feature fusion module to fuse multiple features to improve the algorithm’s estimation of complex postures, and finally completes the recognition of dance movements. Experiments show that our method can maintain a certain recognition rate in the case where the background and target are easily confused, and can effectively improve the dance action recognition accuracy, thus realizing the action correction function for dancers. This also verifies the effectiveness of the action recognition algorithm for dance movement recognition.
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Thomas, Karen Kartomi. "Dimensions of Dance with Reference to Song Lyrics: Improvisatory Processes and Practices in Indonesian Malay Mendu Theatre Performance." Dance Research 36, no. 2 (November 2018): 253–68. http://dx.doi.org/10.3366/drs.2018.0240.
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In this article, I analyse the creative process of dance in Malay mendu theatre staged in Indonesia's northern Riau Islands, based on fieldwork I conducted in 1984 and 2013. I describe and compare the four main motifs that made up most of the theatre's dances (referring specifically to upper body movements, the height of the forearms and hands, the direction of the eye gaze, the number of beats per movement), and deconstruct the five integrated, improvisatory mechanisms of the dance system (repetition, modification, retrogrades, looping, and controlled free-timing) by which actors generated their dances; thereby devising a choreology of Malay theatrical dance. Four performance parameters – motivic sequencing, improvisation, reflexive-cueing, and the dance-lyrics dynamic – were employed to guide and control these mechanisms. This case study aims to show how analysing a creative dance method benefits from an ethnographic research approach. 1
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Azaglo, Alex Kwasi, Alice Korkor Ebeheakey, Benjamin Quarshie, and Prosper Kwaku Asiedu. "Conceptualizing the stylistic body movements in contemporary Ghanaian dances as performance art form." Journal of African History, Culture and Arts 2, no. 1 (April 25, 2022): 61–74. http://dx.doi.org/10.57040/jahca.v2i1.104.
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This paper attempts to conceptualize the stylistic body movements in contemporary Ghanaian dances through the aesthetic lenses of performance art. The expressiveness of performance art forms is frequently praised for the emotions we have toward them. These feelings are derived from the symbolic connotations and functionalities of the arts in life. Through an exploratory design of qualitative inquiry, the researchers focus on a contextual dialogue on the aesthetic visual presentations of selected contemporary Ghanaian dances as performance art forms. The critical content analysis of music videos was espoused to examine the stylistic body movements and gestures coded in some contemporary Ghanaian dances such as Azonto, Twerking, Kupe, Pilolo and Shoo as part of an empirical artistic study. Instruments for data collection were observation, document analysis and photography for the contextual visual content analyses grounded in semiotic and aesthetic theoretical discourse. This study again relied heavily on secondary data from recorded communication including music videos, books, transcripts, websites, newspaper articles, journal articles and the like to make objective inferences. The findings indicate that dance is the communication that occurs via the conduit of the dancer's body that ruptures individuals' independent existence and generates a sense of finitude. Whereas some of the dances make aggressively erotic visual statements, others are mere expressive gestural and body movements to simply entertain a targeted audience. The result further shows that, the contemporary Ghanaian dance performances transcend beyond mere entertainment but rather are an embodiment of body language emerging from the indigenous dance symbolisms. Teaching learners to perceive visual aesthetic qualities and symbolic interpretations in dance performances will deepen the appreciation of Ghanaian dance performances not just as entertainment but as another medium for expression to transmit their inherent messages. It is suggested that, these dance forms should be formalized as indigenous knowledge in a quest to blend tradition with modernity in our creative endeavours. This knowledge should be propagated through creative arts education in Ghanaian schools. Other performance art components displayed in contemporary Ghanaian dances including body painting, facial expressions, costumology and fashion accessories present another lacuna for further research by future researchers. Key words: aesthetics, dance, therapy, performance art, body, movement
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Adlin, Dilinar, Ruth Hertami, and Aqsa Mulya. "Characteristics of East Sumatran Malay Dance as a New Dance Creation Engineering Foundation." Britain International of Linguistics Arts and Education (BIoLAE) Journal 4, no. 2 (August 13, 2022): 115–22. http://dx.doi.org/10.33258/biolae.v4i2.706.
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Malay Dance is one of the local content dances from North Sumatra Province - Indonesia. It is important that Malay dance is well understood by various groups, both students and the general public as art connoisseurs. Understanding of Malay dance aims to increase insight and comprehensive knowledge related to Malay dance and its characteristics. Thus, through a deep understanding of the characteristics of Malay dance, the skills to create new dances become more creative. This study aims to formulate or formulate the characteristics of Malay Dance as the foundation for engineering new dance creations. The results showed that the characteristics of Malay dance were grouped intointo three major parts, namely: a) head movement group which includes four (4) kinds of motion; b) group of hand movements which includes fourteen (14) kinds of motion; and c) group of footwork which is divided into eleven (11) kinds of motion. All of these characteristics become the foundation for engineering the creation of a new Malay dance by using the elements of energy, space, and time as a foothold.
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Park, So-Hyun, Gwang-Soo Hong, Sun-Woo Park, Aziz Nasridinov, In-Ja Park, Byung-Kyu Kim, and Young-Ho Park. "A feasibility study of ballet education using measurement and analysis on partial features of still scenes." International Journal of Distributed Sensor Networks 12, no. 12 (December 2016): 155014771668179. http://dx.doi.org/10.1177/1550147716681794.
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There have been a number of dance and ballet education systems using different multimedia devices. One of the well-known multimedia devices is Kinect which uses multiple built-in sensors. We focus on Kinect-based dance and ballet education systems. Existing systems that use Kinect cannot properly recognize the turnout movement. We propose the use of a lower body joint point estimation algorithm and a closest foot points estimation algorithm that can efficiently perform image localization for recognition of basic ballet movements. In addition, in order to evaluate correct ballet movements, we propose a method that extracts partial features from still scenes and performs measurements for knee and foot positions. The proposed method is the first ballet education system that properly measures movements of a ballet dancer.
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Sulistianingsih, Kadek Ferna, Made Rizky Krisna Desiana, Kadek Putri Suartini, and Kadek Suranata. "Meningkatkan Keterampilan Menari Bali Siswa Tunarungu dengan Media Kamus Tari Rejang Dewa." JURNAL PENDIDIKAN DASAR NUSANTARA 5, no. 1 (August 4, 2019): 47. http://dx.doi.org/10.29407/jpdn.v5i1.13018.
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This study aims to improve the dancing skills of deaf students with the help of a medium of Balinese dance dictionary for class IV students of SD Negeri 2 Bengkala. This type of research is qualitative research. Data collection of this research is carried out through a process of documentation, interviews and tests in the form of practice. Based on the results of the final analysis that has been done, it can be seen that the percentage of the dancing skills of the two deaf students is different. Research using the Dictionary of Dance Media can greatly provide a positive influence in improving dancing skills in deaf students. This can be seen from the contents of the dance dictionary inserting interesting images and codes that make it easier for students to understand the application of dance. In the media this dance dictionary will contain an image of the movements that exist in the dance that will be danced, namely the Rejang Dewa dance. The pictures of the movement will be made and displayed in stages in accordance with the flow of movement in the dance. In addition to images, in this dictionary will also contain writing like the codes in each of these movements. For deaf children, to master the elements of motion, space, energy, time, and expression, which includes position, level, range, direction, position, and speed of movement and formation, is not too difficult. By looking at the model (dance teacher) they can gradually imitate well. One of the main difficulties that is often faced is the fact that children find it difficult to adjust precisely between movements and rhythms Through the media the dance dictionary is expected to have the ability of students to develop their interests and talents in teruma dance in deaf children, but in practice, researchers find differences the ability of students' interests and talents is very different in two deaf students. The difference is seen from the enthusiasm and interest of deaf students to take part in the application of the Rejang Dewa Dance. So, there is an increase in the dancing ability of deaf students with the help of the Rejang Dewa Dance Dictionary which uses hand and foot codes in its application
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Bhavana, Sivayokan. "Understanding the Theoretical Framework of Choreography in Bharatanatyam: An Overview." Integrated Journal for Research in Arts and Humanities 2, no. 5 (September 15, 2022): 50–57. http://dx.doi.org/10.55544/ijrah.2.5.9.
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Bharatanatyam is one of the oldest classical dance forms which are in practice today. It has three divisions within itself: Nritham, Nrithyam, and Natyam. Nritham is the pure dance or rhythmic movement of the body, Nrithyam is the part of the dance that conveys emotions, and Natyam is the dramatic representation of dance. For any piece of dance, choreography is important. Choreography, being the art of designing dance, includes inventing or arranging movement and choosing dramatic structures to organize and present it to the audience. Effective choreography comes from the understanding of different elements of movement and the aspects of designing movements. Effective choreography is crucial not just for pieces of a traditional Bharatanatya repertoire, like a Varnam, Patham, or Thillana, but also for dance dramas. However, choreographing a dance drama slightly differs as it incorporates drama elements in addition to dance elements. This paper discusses the theories used in choreography and the elements and aspects that are important in the choreography of any item in a traditional Bharatanatya repertoire. It then discusses how these theories are used in the choreography of dance dramas. Further, this paper postulates that understanding the theoretical framework of choreography can contribute to creating visually compelling and harmonious strings of movements, by bridging the gap between the science behind the body movements and the artistic quality of such movements.
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Yan, Ming, and Zhe He. "Dance Action Recognition Model Using Deep Learning Network in Streaming Media Environment." Journal of Environmental and Public Health 2022 (September 12, 2022): 1–10. http://dx.doi.org/10.1155/2022/8955326.
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Dance movement recognition is a video technology that has a significant impact on intelligent applications and is widely applied in many industries. In the training of intelligent dance assistants, this method can be used. Dancers’ postures can be reconstructed by taking the features out of their images. Examine and correct dancers’ postures in order to recognise their dance movements. The most crucial aspect of this technology is effectively extracting features, and deep learning is currently one of the best ways to do this for video features. In this paper, the dance movement recognition method is studied using a convolution neural network based on a deep learning network. The deep-learning-network-based convolution neural network is also used to conduct a simulation test, confirming the viability of this method for the recognition of dance movements. Due to the addition of manually extracted time-domain optical flow information, the convolution neural network’s accuracy in recognising dance movements has increased by 30.65% and 19.49% for InceptionV3 and 3D-CNN networks, respectively. It is evident from this that the convolution neural network suggested in this paper is more effective at identifying dance movements. Dance movements will continue to develop quickly thanks to the improvement of the in-depth recognition system for them. This technology has a wide range of applications in the instruction and practise of dance movements, and this research has promising application potential.
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Kuzmenko, Galina A., Tatyana K. Kim, and Elizaveta A. Badanova. "Psychological and Pedagogical Characteristic of 5-6-year-old Children’s Perception of the Tempo-Rhythmic Structure of Movements When Reflecting Musical Image in Modern Dance Classes." Volga Region Pedagogical Search 2, no. 40 (2022): 52–59. http://dx.doi.org/10.33065/2307-1052-2022-2-40-52-59.
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The article is devoted to psychological and pedagogical analysis of 5-6-year-old children’s perception of the tempo-rhythmic structure of movements when reflecting the musical image of modern dances. Musical perception of the tempo-rhythmic structure of movements determines the development of interests and aesthetic feelings in children, forms their musical culture. It has been established that a holistic musical image of a dance composition is formed when the child, through understanding and feeling the image, comes to the conclusion that music and movements are closely related and determine the form and content of the latter. The harmonious perception of basic and background components - music and motor actions allows children to reveal the musical image of movement composition in dance. As a result of the experimental study, the difficulties of musical perception and its reflection in movements were determined, the conditions for the formation of the tempo-rhythmic structure of movements on the basis of the development of a musical image providing musical diversity of movements were identified. The revealed correlation, cluster, factor organization of characteristics of performance of dance composition by children of 5-6 years of age make it possible to assert the importance of the investigated components and determines the development of the content of training sessions focused on the consistent and continuous formation of relevant abilities that provide children with the quality of implementation of dance activities.
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Kempe, Marisa, and Thomas Heinen. "Aesthetic Perception of Stage Setups in Dance." European Journal of Sport Sciences 1, no. 4 (August 31, 2022): 29–35. http://dx.doi.org/10.24018/ejsport.2022.1.4.30.
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Dance as moving art is an adequate medium for exploring visual perception and the aesthetic value of movements. The aesthetic experience in dance movements and performances was investigated over the last two decades. Still, research on stage setups in dance is severely underrepresented despite their importance in dance choreographies. The study aimed to assess dancers (hip-hop and modern dance) and non-dancers' aesthetic evaluation of three different prototypical movements performed on five prototypical stage setups. N=27 dancers (hip-hop and modern) and non-dancers evaluated various movements performed on different stage setups on their perceived aesthetic. It was hypothesized that symmetrical stage setups and a fast movement or a movement with a wide form were generally preferred. It was furthermore expected that dancers and non-dancers, as well as dancers from different styles, differ in their aesthetic perception of stage setups and dance movements. Results revealed that the movement contract-release and the stage setup V were generally evaluated as most aesthetic. Nevertheless, while hip-hop dancers and non-dancers preferred a free stage setup as the least aesthetic, modern dancers preferred a bloc setup as the least aesthetic. It can be concluded that there is a general preference for movements comprising a large amplitude and range of motions and for stage setups that contain symmetry and a wide form. Thus, symmetry seems essential when developing stage setups in dance. This can be used as a tool trying to delight the observer as well as trying to play with contrast and convergence throughout a whole dance performance.
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Cusack, Carole M. "The Contemporary Context of Gurdjieff’s Movements." Religion and the Arts 21, no. 1-2 (2017): 96–122. http://dx.doi.org/10.1163/15685292-02101004.
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The “sacred dances” or “Movements” were first revealed by George Ivanovitch Gurdjieff (c. 1866–1949) in 1919 in Tiflis (Tblisi), the site of the first foundation of his Institute for the Harmonious Development of Man. The proximate cause of this new teaching technique has been hypothesized to be Jeanne de Salzmann (1889–1990), an instructor of the Eurhythmics method of music education developed by Émile Jaques-Dalcroze (1865–1950). Jeanne and her husband Alexandre met at Jaques-Dalcroze’s Institute at Hellerau in 1913, and became pupils of Gurdjieff in 1919. It was to her Dalcroze class that Gurdjieff first taught Movements. Esoteric systems of dance and musical education proliferated at the time. Gurdjieff was deeply interested in music, theater, and art. When Pyotr Demianovich Ouspensky (1878–1947) met him in 1915 he spoke of dances he had seen in Eastern temples, and was working on a never-performed ballet, The Struggle of the Magicians. This article argues that body-based disciplines introduced by esoteric teachers with Theosophically-inflected systems are a significant phenomenon in the early twentieth century and that Gurdjieff’s Movements, while distinct from other dance systems, emerged in the same esoteric melting-pot and manifest common features and themes with the esoteric dance of Rudolf Steiner, Rudolf von Laban, Peter Deunov, and others.
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Sinaga, Theodora. "Music Composition of Accompaniment for Fusion Dance 8 Ethnics of North Sumatera." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 2 (May 15, 2019): 321–27. http://dx.doi.org/10.33258/birci.v2i2.266.
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This study aims to examine the process of creating musical accompaniment to dance composition and the function of music in a composition of dance works. This study is conducted by using qualitative descriptive method and systematic data analysis by using the concept of dance music creation theory to deepen and interpret data specifically, the answer are found that the process of creating a composition of dance accompaniment music with the theme of a combination of eight North Sumatra ethnic groups are as follows; 1) The creation process of the dance music is a process that involves intensely between dance stylists and dancers with music stylists along with music players, in adjusting between the gestures of the dancers and the form of music as a dance accompaniment. 2) Some important things done by the music stylist (composer) in the process of composing dance accompaniment music include; a) Conduct pre-composition, b) Perform initial composition, 3) Revise composition, 3) Perform final composition. 3) The function of music in dance works includes; a) Music functions in asserting movements in dance. b) Music functions as a marker in changing dance movements, c) Music functions as a marker of atmosphere in dance. d) Music functions to strengthen the emotions of dancer. e) Music functions to strengthen the picture of the atmosphere in parts of dance composition. f) Music functions to regulate the tempo, rhythm and dynamics of dance movements. g) Music functions to emphasize the accentuations of dance movements. h) Music functions as an introduction to the climax of dance work.
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Sudaryanti, Endang Tri, Kusniati Nursika Sahara, and Rohmalina Rohmalina. "MENINGKATKAN MOTORIK KASAR USIA PRASEKOLAH MELALUI GERAKAN TARI PADA KELOMPOK B TK NURANI." CERIA (Cerdas Energik Responsif Inovatif Adaptif) 1, no. 3 (July 31, 2018): 48. http://dx.doi.org/10.22460/ceria.v1i3.p48-51.
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This research is aimed at increasing rough motor on early childhood. At early childhood, There are a lot of developmental aspects that must be stimulated and one of this is the rough motor movement. Children’s rough motor movement is the ability of children in moving using big muscles. Nowadays there are schools that focused more on the smooth motor movement such as writing, cutting and others that is due to factors of parents and demands of calistung (reading, writing, and counting) to enter the basic education unit. Rough motor movements become abandoned, but researcher intended to increase children’s motor movement, not only in smooth motor movement but also rough motor movement. One of the activity to increase children’s rough motor movement is through dance activities for childrens. Through this dance movement, children’s rough motor movement can be stimulated and children is given varied instruction, not only doing basic movements such as jumping, running and others but the childrens are also able to perform other dance movements accompanied with music. Therefore children is not only learning but also able to recognize fun dance movements.
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Salosaari, Paula. "Perception and Movement Imagery as Tools in Performative Acts Combining Live Music and Dance." Nordic Journal of Dance 4, no. 1 (June 1, 2013): 16–27. http://dx.doi.org/10.2478/njd-2013-0003.
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Abstract In this article I discuss movement imagery and perceptual strategies as tools in enhancing performative acts of playing music and composing performance material combining music and dance. In my earlier research I have introduced the concept of multiple embodiment in classical ballet and developed co-authored choreography with dancers. The concept of multiple embodiment in ballet suggests treating the fixed vocabulary as qualitatively open and therefore a basis for interpretation, improvisation and composition of new dance material. Directing the dancer’s experience in an open-ended way with movement imagery and perceptual strategies gave the performer new, sometimes surprising information about performance possibilities and thereby enhanced interpretation of dance material. (Salosaari 2001) Movement imagery has helped creating open-ended tasks in dance and thus enabled co-authoring in dance making projects. (Salosaari 2007; Salosaari 2009). Not only dance, but other art forms as well, are embodied. In playing a musical instrument, the sound is made using body movements. In workshops with a musician and a dancer, reported in this article, I ask whether the tools created for dance creation would work also in music making. I ask whether movement imagery and perceptual strategies can initiate music interpretation and improvisation?
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Mu, Jin. "Pose Estimation-Assisted Dance Tracking System Based on Convolutional Neural Network." Computational Intelligence and Neuroscience 2022 (June 3, 2022): 1–10. http://dx.doi.org/10.1155/2022/2301395.
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In the field of music-driven, computer-assisted dance movement generation, traditional music movement adaptations and statistical mapping models have the following problems: Firstly, the dance sequences generated by the model are not powerful enough to fit the music itself. Secondly, the integrity of the dance movements produced is not sufficient. Thirdly, it is necessary to improve the suppleness and rationality of long-term dance sequences. Fourthly, traditional models cannot produce new dance movements. How to create smooth and complete dance gesture sequences after music is a problem that needs to be investigated in this paper. To address these problems, we design a deep learning dance generation algorithm to extract the association between sound and movement characteristics. During the feature extraction phase, rhythmic features extracted from music and audio beat features are used as musical features, and coordinates of the main points of human bones extracted from dance videos are used for training as movement characteristics. During the model building phase, the model’s generator module is used to achieve a basic mapping of music and dance movements and to generate gentle dance gestures. The identification module is used to achieve consistency between dance and music. The self-encoder module is used to make the audio function more representative. Experimental results on the DeepFashion dataset show that the generated model can synthesize the new view of the target person in any human posture of a given posture, complete the transformation of different postures of the same person, and retain the external features and clothing textures of the target person. Using a whole-to-detail generation strategy can improve the final video composition. For the problem of incoherent character movements in video synthesis, we propose to optimize the character movements by using a generative adversarial network, specifically by inserting generated motion compensation frames into the incoherent movement sequences to improve the smoothness of the synthesized video.
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Wang, Yunchen. "Research on Dance Movement Recognition Based on Multi-Source Information." Mathematical Problems in Engineering 2022 (April 23, 2022): 1–10. http://dx.doi.org/10.1155/2022/5257165.
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A huge number of scientific research institutions and scholars are now researching this topic in depth, with promising results. Meanwhile, research development in dance visual frequency movement detection is rather modest due to the high complexity of dance movement and the challenges of human body self-shielding in dance performance. Aiming at the problem of the combination of motion recognition and dance video, the feature extraction, representation, and motion recognition methods based on dance video are emphatically studied. This paper studies an effective feature extraction method according to the characteristics of dance movements. Firstly, each dance movement video in the data set is separated into equal sections, and the edge characteristics of all video pictures in each segment are gathered into one image, from which the direction gradient histogram features are extracted. Secondly, a group of directional gradient histogram feature vectors is used to represent the local appearance information and shape features of the video dance moves. In view of the existing problem of heterogeneous feature fusion, this paper chooses the multi-core learning method to fuse the three kinds of features for dance movement recognition. Finally, the effectiveness of the proposed dance movement detection algorithm is tested using the Dance DB data set from the University of Cyprus and the Folk Dance data set from my laboratory. Experimental results show that the proposed algorithm can maintain a certain recognition rate for relatively complex dance movements and can still ensure a certain accuracy when the background and target are easily confused. This also confirms the efficacy of the movement recognition system used in this paper for recognizing dance movements.
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Linggih, Nyoman. "Sasolahan Sanghyang Oncesrawa At Penataran Sasih Temple, Desa Pakraman Pejeng Tampaksiring District, Gianyar Regency." Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies 3, no. 2 (October 31, 2019): 191. http://dx.doi.org/10.25078/ijhsrs.v3i2.892.
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<p>The Sanghyang Oncesrawa dance is not just a mere spectacle dance, this dance is in a state of unconsciousness, dancing on a burning fire and even though there are no signs of burning the body parts of the dancers. This dance is not a show or show off strength. The Sanghyang Oncesrawa dance is motivated by the loss of a beloved horse, the king of Bali, namely Sri Gajah Waktera with the title Sri Asta Sura Ratna Bumi Banten, a white hairy horse with a very powerful black tail named kuda oncesrawa. King Bedahulu's favorite horses disappeared and never came again. To commemorate the horse named Oncesrawa, the Sanghyang Oncesrawa Dance was performed in the Sasih Penataran Temple. This dance is classified as the art of sacred dance and when dancing mattress, moves agile (dangkrik-dingkrik = Balinese language) like horse movements. The research was conducted to multiply, raise, explore, socialize, religious dances, especially the Sanghyang Oncesrawa Dance, which so far still many people do not understand correctly. Qualitative research was carried out in the Sasih Penataran Temple through a cultural approach with data sources from figures, dance artists, <em>pemangku, serati</em>, library and photos. The results of the research analysis showed that the Sanghyang Oncersrawa dance is a sacred dance that is only danced on <em>piodalan</em> / large ceremonies (Ngusaba Nyatur), dances on coals in a trance state, bringing <em>pratima / arca / pralingga</em> of Sanghyang Oncesrawa, dances in a row while kicking a burning fire. The Sanghyang Oncesrawa dance has a function, namely; religious, sanctification, social and aesthetic. Sanghyang Oncesrawa dance has religious, sanctification, social, and aesthetic meaning.</p>
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Vītola, Sandra. "Promoting Awareness of the Body's Centre in Classical and Modern Dance Training." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 453. http://dx.doi.org/10.17770/sie2015vol2.420.
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<p><em>Based on dance theorist insights into the basic components that determine performance of movements in dance, the article analyses promotion of a sense of bodily centre in classical and modern dance training. The most significant condition for a dancer to be able to fit within the confines of the proposed tasks in dance is to govern own body, which is made easier through an understanding of the body’s centre of gravity. Promoting an awareness of muscle activity being fixated within the central point of the body develops an understanding of movements around this point among dancers, which leads to easier control over performed movements. </em></p><p><em>The article aims to analyse the awareness of the body’s centre among dancers and to justify its significance in classical and modern dance training. The article applies the theoretical research method – it characterises classical and modern dance and analyses the sense of body centre in dance. </em></p><p> </p>
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Zhang, Dixin. "The Application of Dance Movement Skill Feature Recognition in Dance Teaching Movement Analysis." Advances in Multimedia 2022 (September 13, 2022): 1–11. http://dx.doi.org/10.1155/2022/5485827.
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In order to improve the effect of dance teaching action analysis, this paper uses dance action skill feature identification method to analyze dance teaching action and combines teaching and technology to simulate dance action. Moreover, this paper conducts dynamic modeling of dance movements and analyzes the typical properties of several dynamic modeling techniques. At the same time, this paper takes the double-joint dance movement limb as the control object for comparative analysis. The comparison shows that the fractional sliding mode approaching law has better smoothing properties. In addition, this paper selects the control method combining fractional calculus and sliding mode control theory to improve the tracking speed and following effect of the double joints of dance movements. Finally, this paper studies the variance virtual spindle cross-coupling control method based on fractional-order sliding mode to further improve the synchronization accuracy of dance movement limb joints. From the experimental data, it can be seen that the application effect of dance movement skill feature recognition in dance teaching movement analysis is very good.
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Preston, Carrie J. "Modernism's Dancing Marionettes: Oskar Schlemmer, Michel Fokine, and Ito Michio." Modernist Cultures 9, no. 1 (May 2014): 115–33. http://dx.doi.org/10.3366/mod.2014.0077.
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Marionettes have inspired dance productions for centuries. In the early twentieth century, choreographers used the figure of the puppet to negotiate tensions between modern mechanization, national folk traditions, and expressive human movement. Modernism's dancing marionettes leap across national borders and genres of dance to appear in Michel Fokine's Petrouchka (1911), the Marionette Dance (1916) of Japanese-born modern dancer Ito Michio, and Bauhaus artist Oskar Schlemmer's Das Triadische Ballett (Triadic Ballet, 1922). All were influenced by modernist marionette theories that referenced Heinrich von Kleist and Gordon Craig. Ballet, modern, and avant-garde dance are often considered separate trajectories in modernism, but their use of the dancing marionette demonstrates a common impulse to explore the relation between machine and human movements.
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Dyah Nugrahaningsih, Ruth Hertami, Dilinar Adlin, and Inggit Prastiawan. "Terang Bulan Dance in Karo Society Aesthetic Analysis." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 4 (November 5, 2020): 3270–93. http://dx.doi.org/10.33258/birci.v3i4.1361.
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Terang Bulan dance is one of the regional creations which is traditionally used by the Karo people in North Sumatra Province. The title of the dance follows the title of the song used as a dance accompaniment song. This dance presents a dramatic effect through the form and variety of movements that are in harmony with the accompanying song. The explanation of the aesthetic value contained in this dance is based on the concept and technique of movement or how to perform the movements which are divided into four parts. The whole movement expresses the aesthetic value content that is manifested in caution, calmness, which emphasizes courtesy in every move.
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Zemskova-Ryabaya, Anna Viktorovna. "Studying positive impact of kizomba on human life." Vestnik of Astrakhan State Technical University 2022, no. 1 (May 31, 2022): 82–88. http://dx.doi.org/10.24143/1812-9498-2022-1-82-88.
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Dance is part of a culture that brings positive emotions. Dances are divided into several types: ballet, ballroom, historical, folk, club, erotic, modern, street, modern ballet, Latin American. Latin American dances are of two types: ballroom and social. Social dance is a special form of communication, an opportunity to organize leisure and pastime. Kizomba belongs to social dances and is practiced on various dance floors and open airs. Kizomba has come from African Angola, but it developed on the dance floors of Latin America, gradually absorbing ele-ments of Cuban, Brazilian and European dances. Thanks to measured and smooth movements, kizomba is easy to master, and practicing it one can become a famous kizombist. The features of kizomba include the correct invita-tion to dance and the correct end of the dance, the ability to correctly build a sequence of fast and slow steps, a smooth change in the direction of the dance, and a general base of movements. It is the basic steps that help to master kizomba correctly, and thanks to the knowledge gained in the lessons and on the YouTube channel, opportunities for learning new dance techniques are given in details. There are several styles of kizomba: Passada, Tarraxinha, Ventoinha, Quadrinha. Kizomba helps to relax after a working day, has a beneficial effect on both mental and physical state of a person. Positive emotions during the dance arise due to the release of endorphins - hormones of happiness, which have a positive effect on the inner world, liberating a person. Kizomba helps to strengthen the body, develops flexibility, strength and endurance.