Relevant bibliographies by topics / Dance movies

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Dance movies'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Dance movies"

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Levine, Debra. "Theodore Kosloff & Cecil B. DeMille." Experiment 20, no. 1 (October 27, 2014): 146–95. http://dx.doi.org/10.1163/2211730x-12341262.

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The essay explores a rare and unknown 40-year professional and personal relationship between Russian ballet dancer Theodore Kosloff (1882-1956) and Hollywood director Cecil B. DeMille (1881-1959) told through the prism of the making of DeMille’s Madam Satan (mgm 1930). It tracks Kosloff’s colorful career as a dance entrepreneur, from his Bolshoi Ballet beginnings, to his appearance in the premiere Paris season of Diaghilev’s Ballets Russes, to his eventual relocation to Los Angeles where, starting in 1916, he was an acclaimed character actor in nearly 30 silent movies, primarily directed by DeMille. At the outset of the Depression, with the advent of sound in cinema, DeMille relied upon Kosloff as an artistic advisor to bring to fruition Madam Satan his first and only movie musical. The essay analyzes the high-art roots of Kosloff’s bizarre and exceptional ballet mécanique, Madam Satan’s central dance number staged in a moored zeppelin.
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Jang, Seon Hee, and Frank E. Pollick. "Experience Influences Brain Mechanisms of Watching Dance." Dance Research 29, supplement (November 2011): 352–77. http://dx.doi.org/10.3366/drs.2011.0024.

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The study of dance has been helpful to advance our understanding of how human brain networks of action observation are influenced by experience. However previous studies have not examined the effect of extensive visual experience alone: for example, an art critic or dance fan who has a rich experience of watching dance but negligible experience performing dance. To explore the effect of pure visual experience we performed a single experiment using functional Magnetic Resonance Imaging (fMRI) to compare the neural processing of dance actions in 3 groups: a) 14 ballet dancers, b) 10 experienced viewers, c) 12 novices without any extensive dance or viewing experience. Each of the 36 participants viewed short 2-second displays of ballet derived from motion capture of a professional ballerina. These displays represented the ballerina as only points of light at the major joints. We wished to study the action observation network broadly and thus included two different types of display and two different tasks for participants to perform. The two different displays were: a) brief movies of a ballet action and b) frames from the ballet movies with the points of lights connected by lines to show a ballet posture. The two different tasks were: a) passively observe the display and b) imagine performing the action depicted in the display. The two levels of display and task were combined factorially to produce four experimental conditions (observe movie, observe posture, motor imagery of movie, motor imagery of posture). The set of stimuli used in the experiment are available for download after this paper. A random effects ANOVA was performed on brain activity and an effect of experience was obtained in seven different brain areas including: right Temporoparietal Junction (TPJ), left Retrosplenial Cortex (RSC), right Primary Somatosensory Cortex (S1), bilateral Primary Motor Cortex (M1), right Orbitofrontal Cortex (OFC), right Temporal Pole (TP). The patterns of activation were plotted in each of these areas (TPJ, RSC, S1, M1, OFC, TP) to investigate more closely how the effect of experience changed across these areas. For this analysis, novices were treated as baseline and the relative effect of experience examined in the dancer and experienced viewer groups. Interpretation of these results suggests that both visual and motor experience appear equivalent in producing more extensive early processing of dance actions in early stages of representation (TPJ and RSC) and we hypothesise that this could be due to the involvement of autobiographical memory processes. The pattern of results found for dancers in S1 and M1 suggest that their perception of dance actions are enhanced by embodied processes. For example, the S1 results are consistent with claims that this brain area shows mirror properties. The pattern of results found for the experienced viewers in OFC and TP suggests that their perception of dance actions are enhanced by cognitive processes. For example, involving aspects of social cognition and hedonic processing – the experienced viewers find the motor imagery task more pleasant and have richer connections of dance to social memory. While aspects of our interpretation are speculative the core results clearly show common and distinct aspects of how viewing experience and physical experience shape brain responses to watching dance.
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Neumann, Joshua. "Movies, Moves & Music: The Sonic World of Dance Films by Mark Evans and Mary Fogarty." Music Reference Services Quarterly 20, no. 1 (January 2, 2017): 60–62. http://dx.doi.org/10.1080/10588167.2017.1269592.

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Hoover, Elizabeth. "Movies, Moves and Music: The Sonic World of Dance Films eds. by Mark Evans and Mary Fogarty." Notes 75, no. 1 (2018): 111–14. http://dx.doi.org/10.1353/not.2018.0082.

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Lu, Lucia Y. "MOVIES: THE AESTHETIC INTERDISCIPLINARY DEVICE BRIDGING THE DIVERSITY GAP." JOURNAL OF ADVANCES IN LINGUISTICS 6, no. 1 (August 22, 2015): 886–94. http://dx.doi.org/10.24297/jal.v6i1.5178.

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In the course of Exploring Social and Cultural Perspectives on Diversity, a course required for all students of education major, to enhance the teaching of the concepts of multicultural education, and the differentiation of culturally responsive strategies, the author as teacher educator and her students as teacher candidates supplement movies in this course conceptualizing pragmatics, semiotics and aesthetics into literacy education by inviting students of diversity to watch movies, talk about movies, write movies, and act movies. Pragmatics is the study of how language is used for communication in various social and cultural contexts; semiotics is the study of signs like languages, arts, music, dance, drama, films, and paralinguistics which includes the nonverbal communication signals, etc., that human created to mediate the world; and aesthetics is the artistic stance that learners take for responses to literacy experiences. The purposes of this study are multi-functional: to develop the multisensory acquisition of five literacy skills in thinking, listening, speaking, writing and reading in a pleasant and authentic discourse setting. Both students from diversity and mainstream cultures acquire natural language for social interaction. Based on research, most students from diversity need two years to develop the social language, while needing five years to obtain the academic language. The results from this research reveal that audio-visual approach in terms of movies fosters students’ cultural awareness, expedites English as second language acquisition for social function toward academic success and globalization.
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Setyawati, Naris Eka. "HIP HOP AS A REFLECTION OF AMERICAN VALUES: A SEMIOTICS ANALYSIS ON SAVE THE LAST DANCE AND STEP UP MOVIES." Rubikon : Journal of Transnational American Studies 3, no. 2 (July 18, 2019): 29. http://dx.doi.org/10.22146/rubikon.v3i2.34268.

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This study examines seven movies that are based on characters created by Duane Adler. They are two Save the Last Dance and five Step Up movies. This discussion is a library research which is conducted within the framework of American Studies approach under the scope of history, social, and culture. This research uses Barthes’ semiotics theory on myth to analyze the depiction of American phenomena in the movies.The objectives of this study are to examine the portrayal of Hip Hop in United States of America and to analyze the reflection of American values through movies. The discussions on the topic reveal that Hip Hop becomes the source for movies’ narratives. It is manifested in hip hop related scenes of the movies. They portray signs of rebellion and juvenile delinquency in the first order-semiological system. These portrayals reflect American values of rebellion and freedom. Moreover, life struggle and American belief in the land of opportunity play the signs in Barthes’ second order-semiological system. The American values reflected through the discussions are competitiveness, hard work, determined, optimism, and materialism.Keywords: Hip Hop, hip hop, popular culture, semiotics, American values
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Taringan, Yosua Jonathan, Ina Agustina, and Fauziah Fauziah. "OPTIMALISASI GERAK ANIMASI MODERN DANCE PADA TEKNOLOGI MOTION CAPTURE DENGAN TEKNIK MOTION LAYER MENGGUNAKAN ICLONE 6 PRO." Jurnal Ilmiah Informatika 3, no. 1 (June 7, 2018): 169–75. http://dx.doi.org/10.35316/jimi.v3i1.471.

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Motion Capture is an attractive technology for making a movement in the making of movies and games. This technique relies on the recording and motion sampling of an object as data to be transform into 3D form.The purpose of this paper will explain how to optimize movement animation modern dance by using Motion Layer method, presents optimized movement differences that have not been optimized, providing solutions to the creation of animated movements that are still rough. So that can be a reference in the making of movies, 3D animations, or games by combining Motion Capture techniques and Motion Layer method so that every movement produced and shown to be more perfect.
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Saragatsis, Evangelos, and Ifigeneia Vamvakidou. "The Bouzouki’s Signifiers and Significance Through the Zeibekiko Dance Song: "Evdokia’s Zeibekiko"." European Scientific Journal, ESJ 13, no. 35 (December 31, 2017): 125. http://dx.doi.org/10.19044/esj.2017.v13n35p125.

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The objective of this study is to identify the signifiers and significance of the Zeibekiko dance, and those of the bouzouki itself, to a further extent, as they emerge through research conducted in the relevant literature, and which is anchored to those signifiers, as they are highlighted through their presence in material that is obtained from movies. The semiotic analysis of the film “Evdokia”, by A. Damianos (1971), is the research method that is followed. In this context, the main focus is placed on the episode/scene, where Evdokia’s Zeibekiko is displayed on stage. This ‘polytropic’ (polymodal) material that consists of listening to, viewing, playing music, and dancing encompasses a large variety of musicological and gender signifiers that refer to the specific era. The model followed is that of Greimas (1996), as it was used by Lagopoulos & Boklund-Lagopoulou (2016), and Christodoulou (2012), in order to point out those characteristic features that are expressed by the bouzouki, as a musical instrument, through a representative sample of the zeibekiko dance, as it is illustrated in the homonymous film. The analysis of images, as well as of the language message, lead to the emergence of codes, such as the one referring to the gender, and also the symbolic, value, and social codes, and it is found that all these codes agree with the introductory literature research conducted on the zeibekiko dance and the bouzouki. Based on the combination of these approaches to the analysis performed, a number of elements can be clearly identified, such as the dancer’s masculinity, the loneliness that characterizes the dance, the values adhered to and the respect shown to the codes of honor, and all these elements confirm the initial literature research conducted on the zeibekiko dance, and by extent, the fact that the bouzouki expresses all the above characteristics.
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Zakiyati, Nur Muaffah, Agus Cahyono, and Syakir Syakir. "Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri." Catharsis 9, no. 1 (May 31, 2020): 28–37. http://dx.doi.org/10.15294/catharsis.v9i1.39033.

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The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and interpreting. The cultural value of Kethek Ogleng Dance can be seen in the dance moves, the performing techniques, dancers, time, drama, and technique. The cultural values that are seen from the knowledge obtained is from learning in the Studio and formal schools. Skillis the process of training artists to the dancer of Kethek Ogleng in the studio. Attitude, the artist teaches the attitude of dancer Kethek Ogleng that the talent possessed must be delivered.
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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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Dissertations / Theses on the topic "Dance movies"

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Howard, Suzanne, and suzieholidayhoward@hotmail com. "Learning to Dance." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080215.163153.

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This research will examine the various techniques of writing stage directions for choreography or dance action within a feature film script. I will discuss and analyse two methodologies for annotating choreography, both developed by experts in dance notation. I will also examine and interpret the observations made by film director, dancer and choreographer Bob Fosse about the purpose and objectives of dance action in feature film scripts. I will examine two case studies of contemporary feature film scripts that contain dance action. The selected scripts are Strictly Ballroom (Australia, 1992) and Flashdance (USA, 1983). These scripts do not use a published system of dance notation to write dance action. I will analyse and investigate the stage directions for choreography and dance action used within both scripts. The exploration of these various approaches to film choreography may form the basis for writing stage directions for choreography or dance action in my own feature length screenplay titled Learning to Dance. As a screenwriter with particular interest in dance I intend to employ dance sequences at different stages throughout my script as a story telling mechanism. It is important to me to be able to clearly communicate and translate choreographic direction into my script in a manner that ensures its eventual interpretation fulfils its original purpose in the story. Therefore I am seeking a methodology for translating and expressing dance sequences in an accurate and concise written form. One key outcome of my research may be the development of a structural and technical framework for providing choreographic direction appropriate to the conventions of screenplay writing. I therefore intend to contribute to the screenwriting field by attempting to develop a framework for providing stage directions for choreography within a film script and then applying this framework within my own screenplay, Learning to Dance. In addition to the study of choreographic notation I will explore the observations made by film theorists such as Adrian Martin, Jerome Delamater, Rick Altman, J.P Telotte and Steve Neal about genres that contain dance action as a defining characteristic. It is my intention to write a screenplay that in part, borrows from the customs and codes of an established genre or subgenre. Therefore my objective is to understand, appreciate and reflect upon the genre the best fits my vision of Learning to Dance. Learning to Dance is the story of Giselle Williams (18) who aspires to be a professional dancer. When Giselle's father is arrested for fraud Giselle is forced to abandon her wealthy surrounds to live and work in one of Melbourne's tough, inner city, high-rise public housing estates. Here Giselle meets her key support roles, Muslim siblings Yasmina (21) a talented belly dancer and her handsome brother and Giselle's future love interest Ali (20) who welcome Giselle into their humble, tight knit and family oriented community.
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Roche, Jennifer. "Moving identities : multiplicity, embodiment and the contemporary dancer." Thesis, University of Roehampton, 2009. https://pure.roehampton.ac.uk/portal/en/studentthesis/moving-identities(aa615983-71d0-4022-a3d3-2dbc03b8fd51).html.

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Currently, across dance studies, choreographies are usually discussed as representational of the choreographer, with little attention focused on the dancers who also bring the work into being. As well as devaluing the contribution that the dancer makes to the choreographic process, the dancer’s elision from mainstream discourse deprives the art form of a rich source of insight into the incorporating practices of dance. This practice-based research offers a new perspective on choreographic process through the experiential viewpoint of the participating dancer. It involves encounters with contemporary choreographers Rosemary Butcher (UK), John Jasperse (US), Jodi Melnick (US) and Liz Roche (Ire). Utilizing a mixed-mode research structure, it covers the creative process and performance of three solo dance pieces in Dublin in 2008, as well as an especially composed movement treatise, all of which are documented on the attached DVD. The main hypothesis presented is that the dancer possesses a moving identity which is a composite of past dance experience, anatomical structures and conditioned human movement. This is supported by explorations into critical theory on embodiment, including Pierre Bourdieu’s concept of ‘the habitus’. The moving identity is identified as accumulative, altering through encounters with new choreographic movement patterns in independent contemporary dance practice. The interior space of the dancer’s embodied experience is made explicit in chapter 3, through four discussions that outline the dancer’s creative labour in producing each choreographic work. Through adopting a postmodern critical perspective on human subjectivity, supported by Gilles Deleuze, Félix Guattari and Alain Badiou, among others, the thesis addresses the inherent challenges which face independent contemporary dancers within their multiple embodiments as they move between different choreographic processes. In identifying an emergent paradigmatic shift in the role of dancer within dance- making practices, this research forges a new direction that invites further dancer-led initiatives in practice-based research.
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Parviainen, Jaana. "Bodies moving and moved : a phenomenological analysis of the dancing subject and the cognitive and ethical values of dance art /." Tampere : Tampere university press, 1998. http://catalogue.bnf.fr/ark:/12148/cb377551707.

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Aramphongphan, Paisid. "Inefficient Moves: Art, Dance, and Queer Bodies in the 1960s." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467507.

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This dissertation examines the intersection of art, dance, and queer sociality though Andy Warhol, Jack Smith, and their lesser-known contemporary, Fred Herko, a dancer and choreographer. Traversing art history, dance studies, and queer theory, this study uses analyses of movement, gestures, and embodiment as a bridge between the artistic and the social. In film, photography, and dance, these artists not only made art as queer artists, but their work stemmed from the form of sociality of their communities—the social and creative labor spent on seemingly unproductive ends, such as lounging together on a sofa, posing in performative-social studio sessions, or dancing in an improvised performance-party. Gestures and embodied experience became both the site of the art, and the site of the production of queer subjectivity in this watershed decade for art and queer histories. To unpack their cultural significance, I draw on the work of anthropologist Marcel Mauss on “techniques of the body,” and recent scholarship on embodiment and subjectivity. I propose queer gestures as dances of “inefficiency” in the Maussian sense, that is, as techniques of the body that do not confirm or sustain the social scripts of somatic norms. Given the contemporaneous debates about work, leisure, and alienation in the 1960s, inefficient techniques—as represented in the recurrent motif of the recumbent, languorous male body, for example—can also be read as a critique of industrial efficiency and heteronormative definitions of (re)productivity. Through this focus on bodily techniques, I open up a dialogue between this “underground” body of work with contemporaneous artistic milieus in which the body played an important role, including in 1960s sculpture, proto-feminist practices, postmodern dance, photography, and experimental theater. Throughout I also foreground the intertwinement of dance culture and queer culture. Drawing on Eve Kosofsky Sedgwick’s reading of the psychoanalyst Melanie Klein, this study interprets artistic practices through a reparative lens, drawing together a queer repertoire made up of inefficient moves—just as the artists’ engagements with, and making of, dance culture and queer culture were reparative: an accretive practice of assemblage for imaginative and embodied sustenance.
History of Art and Architecture
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Baker, Christina. "Salsa's moves and salsa's grooves in Mexico City." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464670.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 2, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 112-118).
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Huh, Ravina (Eunhye). "Balance control in dance positions." Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/23054.

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The purpose of this thesis is to develop and understand dance balance characteristics on various kinds of dance, related positions and shoe types which contribute to dance performance and to understand different balance controls in various groups. The first study was conducted to examine balance into ballet 2nd position between Ballet shoes and Pointe shoes. Eight dancers performed five different conditions in ballet 2nd position (Ballet Flat, Ballet Demi, Pointe Flat, Pointe Demi, and Pointe Toe) and Centre of Pressure (COP) was used to assess balance. The second study was testing balance control and response to perturbations whilst standing on double leg stance dance positions using a moving platform. Four dance positions were performed by eight subjects (Normal Flat, Turnout Flat, Normal Demi and Turnout Demi) and the platform was moved in two different directions (Forward and Backward) at two different speeds (slow and fast). Kinetics, Kinematics and EMG data was taken from this study. The third study was taken to compare balance control and response to perturbations in single leg standing dance positions between eight dancers and eight gymnasts. The subjects performed static single leg balance in Normal Flat, Turnout Flat, Normal Demi and Turnout Demi. Also, perturbed stance trials were collected in anterior, posterior, right and left directions for two dance positions (Normal Flat and Turnout Flat) at two different speeds (slow and fast) on the moving platform. The results from the studies indicate that dancers move in Medial - Lateral direction more than in Anterior - Posterior direction on Demi-pointe and Toe standing by performing plantar flexion during ballet 2nd position. Demi-pointe position may cause longer delay of EMG latencies because CNS is probably sending information already to keep correcting balance on Demi-pointe. Dancers and Gymnasts have different balance controls due to their ways of training in their performance. Dancers generally reacted faster with slow perturbation in Turnout stance than Gymnasts because this is the particular condition which Dancers are training in.
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Pietrobruno, Sheenagh. "Salsa and its transnational moves : the commodification of latin dance in Montreal." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38417.

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In Montreal, salsa dancing is both an expression of Latin identity and a cultural commodity. Many Montrealers of Latin descent adopt salsa dance as part of their cultural heritage only after arriving in Canada, connecting, through salsa, to a transnational Latin identity that crosses the Americas. This situation illustrates how cultural affiliations are not necessarily fixed, but can be acquired in response to changing circumstances. Since salsa is not indigenous to the city, residents of Montreal can only access it through cultural institutions and community media outlets. This commodification influences the manner in which salsa expresses Latin identity in the city. At the same time that salsa dancing proclaims Latin identity for certain individuals in the city, the practice thrives in a multicultural context: the Montreal salsa scene comprises diverse individuals who promote, teach, and dance salsa. This dissertation addresses points of division and cooperation among diverse cultures, ethnicities, races, and both sexes, as they are played out in aspects of salsa dancing in the city. The unfolding of these relationships is influenced by both the commodification of salsa dancing and its link to Latin culture. This analysis seeks to provide a theoretical account of the tension between salsa's expression of identity and its status as a commodified cultural practice. This perspective integrates various approaches to the study of dance and culture stemming from anthropology, sociology and cultural studies. Analyzing the Montreal salsa scene, I draw from in-depth interviews with individuals involved in the promotion of Latin dance and music, as well as participant observations in salsa dance classes, clubs and events. The methodology of this research combines ethnography with various areas of concern: the history of salsa, Latin immigration patterns in Montreal, theories of multiculturalism, transnationalism and diaspora, the Latin influence in ballroom dance, Europe
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Douse, Louise Emma. "Moving experience : an investigation of embodied knowledge and technology for reading flow in improvisation." Thesis, University of Bedfordshire, 2013. http://hdl.handle.net/10547/346585.

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The thesis is concerned with the exploration of the notion of ‘flow’ from both a psychological and dance analysis perspective in order to extend the meaning of flow and move beyond a partiality of understanding. The main aim of the thesis recognises the need to understand, identify and interpret an analysis of the moments of flow perceivable in a dancer’s body during improvisatory practice, through technologically innovative means. The research is undertaken via both philosophical and practical enquiry. It addresses phenomenology in order to resolve the mind/body debate and is applied to research in flow in psychology by Mihalyi Csikszentmihalyi, and flow in movement analysis by Rudolf Laban and Warren Lamb. The significance of this endeavour can be seen in the reconsideration of the relation between mind and body, and art and science which informs the methodology for the research (Part One). The three main outcomes of the research are related to each of the three subsequent parts. The first research outcome is the articulation of a transdisciplinary approach to understanding flow and was developed by expanding on the current definitions of flow through an innovative transdisciplinary methodology (Part Two). Research outcome two addresses the intersubjective nature of flow, which was identified within improvisation. From this two methods were constructed for the collection and interpretation of the experience of the dancer. Firstly, through reflective practice as defined by Donald Schön. And secondly, an argument was provided for the use of motion capture as an embodied tool which extends the dancers embodied cognitive capabilities in the moment of improvisation (Part Three). The final research outcome was thus theorised that such embodied empathic intersubjectivity does not require a direct identification of the other’s body but could be achieved through technologically mediated objects in the world (Part Four). Subsequently, the findings from the research could support further research within a number of fields including dance education, dance practice and dance therapy, psychology, neuroscience, gaming and interactive arts.
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Kaschock, Kirsten. "Moving through the Unsayable: Applying Julia Kristeva's Semiotic and Abject to Choreographic Analysis." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/235678.

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Dance
Ph.D.
This dissertation explores literary-theoretical constructions arising from the consideration of certain non-narrative linguistic strategies and applies them to dance analysis. My intent is not only to provide new, functional tools for dance scholars and writers, but also to alter the theoretical terms themselves: by employing literary critical language beyond its original purpose, I hope to locate the limits of that language as it applies to dance. Moreover, I strive to identify the ways moving bodies complicate concepts normally applied to static and disembodied text. In this way my research moves in two directions: adding a specific theoretical lens to the dance-writing toolbox, and, in turn, using dance to sharpen and focus that lens. I have chosen two theoretical constructs--Julia Kristeva's explication of the semiotic aspect of language and her characterization of the abject--because of the ways they address the unsayable through body, repetition, and rhythm. Kristeva's texts, Desire in Language (1981) and Powers of Horror (1982), provide the dissertation's primary theoretical frameworks. The first text puts forth key concepts about heterogeneous meaning within her conceptualization of the semiotic; the second addresses meaning that exceeds language, and the self, and arises out of the abject (a crisis of the subject when confronted with a breakdown of boundaries between self and other). Both concepts are relevant to dance, emerging from the materiality/substance of language rather than from language as a phantom structure that ideas are placed into. This dissertation grapples with how dance strives to express that which exceeds "paraphrasable" meaning from three vantage points: 1) the assessment of the critical reception of historic choreography (Paul Taylor's Big Bertha) that plays simple narrative against the horror of the unknown; 2) an examination of participants' communications during the choreographic process of innovative choreographer, Gabrielle Lamb, and how research material was transformed during that process; 3) the documentation of my own struggle to express the unsayable during the creation of a hybrid dance/textual piece. These perspectives require different analytic strategies: 1) the casting of an artwork's meaning in historical and cultural contexts, 2) the parsing of the language used to communicate meaning between participants during the creative process, 3) the self-chronicling and reflective analysis of meaning-making during the conception and execution of a hybrid work. My objective is to show how Kristeva's theoretical constructs play out in different types of dance analysis and how the lack of a certain strain of theoretical language in dance discourse has left a hole where discussion might profitably ensue. I seek to use Kristeva's texts and post/modern techniques of the body to offer a multi-layered and technically invested understanding of dance rather than an aphoristic and imagistic one: one that substitutes multiple, specific bodies and their actions for a single idealized institution of the beautiful.
Temple University--Theses
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Nepomuceno, Kara Elena. "Moving Honestly - pangalay performance, national identity, and practice-as-research." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1596226975559043.

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Books on the topic "Dance movies"

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Kobal, John. Gotta sing, gotta dance: A history of movie musicals. London: Spring Books, 1988.

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Moving matters (Conference) (London 2000). Dance UK's Healthier Dancer Programme conference 'Moving matters'. London: Dance UK, 2000.

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Labrecque, Ellen. Cool dance moves. Chicago, Ill: Capstone Raintree, 2013.

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David, Spurgeon. Dance moves: From improvisation to dance. Sydney: Harcourt Brace Jovanovich, 1991.

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1983-, Kulak Jeff, ed. Learn to speak dance: A guide to creating, performing, & promoting your moves. Toronto, Ont: Owlkids Books Inc., 2011.

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Phillips, Arlene. LA moves. London: Faber, 2010.

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Salsa and its transnational moves. Lanham, MD: Lexington Books, 2006.

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Sav, Akyuz, ed. Bear moves. Somerville, MA: Candlewick Press, 2018.

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Kan, Esther. Keep moving!: It's aerobic dance. Palo Alto, Calif: Mayfield, 1987.

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Pryor, Esther. Keep moving!: It's aerobic dance. Palo Alto, Calif: Mayfield Pub. Co., 1987.

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Book chapters on the topic "Dance movies"

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Alexandre, Jane M. "Circling Back, Moving Forward." In Dance Leadership, 151–98. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57592-0_9.

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Jeschke, Claudia. "Reflecting on time while moving." In Music-Dance, 91–106. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-6.

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Kaminsky, David. "Moving to Music." In Social Partner Dance, 89–112. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429344756-5.

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McGrath, Aoife. "Concluding Thoughts and Future Moves." In Dance Theatre in Ireland, 163–69. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035486_7.

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Katan, Einav. "Moving Forms of Dance." In Embodied Philosophy in Dance, 199–211. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-60186-5_23.

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Schögler, Ben, and Colwyn Trevarthen. "To sing and dance together." In On Being Moved, 281–302. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/aicr.68.22sch.

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Allegranti, Beatrice. "Moving Kinship." In The Routledge Companion to Dance Studies, 88–108. First Edition. | New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315306551-7.

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Félix-Jäger, Steven. "Dance: Moving Bodily Beyond Dualism." In Spirit of the Arts, 39–66. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-67919-8_3.

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Egert, Gerko. "Moving relations, or: how touch dances." In Moving Relation, 12–33. First Edition. | New York : Routledge, 2020. | Series: Routledge advances in theatre & performance studies | “Originally published as Berührungen. Bewegung, Relation und Affekt im zeitgenössischen Tanz. Transcript Verlag 2016.”: Routledge, 2019. http://dx.doi.org/10.4324/9780429030901-3.

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Stinson, Susan W. "My Body/Myself: Lessons from Dance Education." In Knowing Bodies, Moving Minds, 153–67. Dordrecht: Springer Netherlands, 2004. http://dx.doi.org/10.1007/978-1-4020-2023-0_10.

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Conference papers on the topic "Dance movies"

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Young, Choi So. "A STUDY ON THE ORIGIN OF CHEOYONG: THE ANCIENT CULTURAL EXCHANGE BETWEEN CENTRAL ASIA AND KOREA." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-18.

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In 879 (or 875), Cheoyong, who appeared with several people wearing unfamiliar appearance and strange clothes, performed singing and dancing in front of the king of Silla. After that, he moved to the capital with the king, and it is believed that he performed there. According to the legend, Cheoyong, who came in late at night after performing, found that the god of smallpox was with his wife, sang and danced without anger. The god, who saw Cheoyong's behavior, said he would not invade the place where his image was painted, so his portrait later served as an amulet to prevent disease and ghosts. After that, Cheoyong has left somewhere and his dances and songs remained as Cheoyongmu(dance of Cheoyong) and Cheoyongga(song of Cheoyoung), settling down as a Korean folk art. Cheoyong is seen as a sogd performer who escaped from the political turmoil in China when looking at his appearance, his profession, and the situation at the time, which was not familiar to Koreans.
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Schiphorst, Thecla, Renata Sheppard, Lian Loke, and Chyi-Cheng Lin. "Beautiful dance moves." In C&C '13: Creativity and Cognition 2013. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2466627.2487289.

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Pekcan, Cemre. "The Importance of Cultural Diplomacy in Breaking the Perception of “China Threat”." In International Conference on Eurasian Economies. Eurasian Economists Association, 2016. http://dx.doi.org/10.36880/c07.01658.

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Cultural diplomacy, which is accepted as a sub-branch of public diplomacy, is described as ‘the exchange of ideas, information, art, and other aspects of culture among nations and their peoples in order to foster mutual understanding’ by Milton C. Cummings. Although this term has been used in international relations for centuries, its acceptance as a theory is a relatively new concept. Cultural diplomacy, as a component of both public diplomacy and also Joseph Nye’s ‘soft power’, includes movies, music, dance, exhibitions, various education and exchange programs, literature and cultural programs. In today’s world, China, a super power with its growing economy, started to feature its soft power, public and cultural diplomacy to break the perception of ‘China threat’ theory which shortly claims that the rising power would eventually challenge the hegemon power and war will be inevitable. The aim of this study is to put forward Chinese efforts in promoting cultural diplomacy to break the perception of ‘China threat’ theory by analyzing the elements of China’s cultural diplomacy, which are basically; Confucius Institutes, marketing Chinese cultural products, series of cultural programs and foreign aid. As the outcomes of the research, it is seen that against ‘China Threat’ theory, China clearly keeps emphasizing its peaceful development and wants to improve its image especially after 1989 Tinananmen Crackdown. Hence, as the most important elements of China’s cultural diplomacy; Confucius Institutes have been established throughout the world, Chinese cultural products are being marketed and Chinese foreign policy is becoming more transparent.
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Paranti, Lesa, Indriyanto Indriyanto, and Wahyu Lestari. "The Dynamic of Gambyong Pangkur Dance Moves." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.1.

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Indriyanto, Indriyanto, and Wahyu Lestari. "The Dynamic of Gambyong Pangkur Dance Moves." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.55.

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Ferreira, João P. M., Renato Martins, and Erickson R. Nascimento. "Synthesizing Realistic Human Dance Motions Conditioned by Musical Data using Graph Convolutional Networks." In Concurso de Teses e Dissertações da SBC. Sociedade Brasileira de Computação, 2021. http://dx.doi.org/10.5753/ctd.2021.15762.

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Learning to move naturally from music, i.e., to dance, is one of the most complex motions humans often perform effortlessly. Existing techniques of automatic dance generation with classical CNN and RNN models undergo training and variability issues due to the non-Euclidean geometry of the motion manifold. We design a novel method based on GCNs to tackle the problem of automatic dance generation from audio. Our method uses an adversarial learning scheme conditioned on the input music audios to create natural motions. The results demonstrate that the proposed GCN model outperforms the state-of-the-art in different experiments. Visual results of the motion generation and explanation can be visualized through the link: http://youtu.be/fGDK6UkKzvA
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Candra DA, NRA, Nur Rokhim, Ranang AS, and Muji Soewasta. "Moving Video Camera Base on Expression Dancer Move and Kinesphere." In 4th Bandung Creative Movement International Conference on Creative Industries 2017 (4th BCM 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/bcm-17.2018.41.

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Vedrines, Marc, and Dominique Knittel. "Design Optimization Using Genetic Algorithms of Web Handling Systems: The Case of the Pendulum Dancer Mechanism." In ASME 2007 International Mechanical Engineering Congress and Exposition. ASMEDC, 2007. http://dx.doi.org/10.1115/imece2007-42068.

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Web systems handling elastic webs are very common in industry. The plant considered in this paper is an industrial winding system with pendulum dancer mechanism. Such a studied dancer moves along an arc of circle. Its utility is double: it imposes the web tension (in steady state operation) and filters the variations of tension mechanically. It is actuated by an air jack with adjustable pressure and has a stiffness and viscous dynamic behavior. Pendulum dancers have been rarely presented and studied in publications. The non-linear model built in Matlab software environment is used as a simulator. Moreover, the state space model useful for modern controller computing can be found thanks to linearization around an operating point. In order to improve the unwinder-winder control performances, the mechanical parameters of the pendulum dancer have to be optimized. The more constant the dynamic behavior over a large frequency band will be, the better the performance of a linear time invariant controller will be obtained. This is the main objective in desensitizing the dancer. The optimization is achieved by using genetic algorithms. The obtained results are discussed and the benefits of this design optimization for industry applications are presented.
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Wagner, Daniel. "MOVING IMAGES, MOVING BODIES: A STORY OF INTERDISCIPLINARY COLLABORATION BETWEEN FILM STUDENTS AND CONTEMPORARY DANCE STUDENTS." In 10th annual International Conference of Education, Research and Innovation. IATED, 2017. http://dx.doi.org/10.21125/iceri.2017.2394.

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Tang, Jeff K. T., Jacky C. P. Chan, and Howard Leung. "Interactive dancing game with real-time recognition of continuous dance moves from 3D human motion capture." In the 5th International Confernece. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1968613.1968674.

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