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Journal articles on the topic 'Dance notation'

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Author: Grafiati

Published: 4 June 2021

Last updated: 31 August 2024

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1

Spalva, Rita. "Dance Notation : a Historical Fact or a Necessity." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (July 24, 2015): 495. http://dx.doi.org/10.17770/sie2014vol2.644.

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For centuries choreographers and dance theorists have been looking for ample signs to create a universal system for dance notation. Dance notation was created based on the need for a repeated staging of dances or for their preservation. However, unlike with music, no universal method of notation has been established allowing to capture dance techniques and compositions from different centuries in a single system. Nowadays, when video recording enables to capture each movement, dance or dance performance, the verbalgraphic style of dance notation can be perceived as dated an ineffective. However Latvia’s experience shows that contemporary dance teachers and choreographers have not yet abandoned the traditional notation system. The author of the article draws attention to dance notation research and analyses the need for it within dance education and in practice.

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2

Guest, Ann Hutchinson. "Dance Notation." Perspecta 26 (1990): 203. http://dx.doi.org/10.2307/1567163.

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3

Hsieh, Chieh-Ting. "The Body That Counts." Prism 20, no. 2 (September 1, 2023): 503–16. http://dx.doi.org/10.1215/25783491-10992820.

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Abstract This article is intended to analyze the “digital techniques of dance” implied in the different dance notations from the perspective of Medienwissenschaft. Medienwissenschaft, which is often translated as German “media theories,” regards media as techniques through which concepts are developed. The digital technique is therefore redefined here as the technique of counting in general through which the concept of number is developed. The digital technique of dance in this article is also defined as the “technique of counting number with the body in dance.” This article's analysis of the digital techniques of dance begins with the notation developed by Rudolf Laban for the Western modern dance and that developed by Zhu Zai-yu for the ancient Chinese dance. These notations were once researched by one of the most important dance researchers and choreographers, Liu Feng-hsueh, for her Chinese modern dance. The analysis of these notations indicates that the digital technique of Laban's notation is based on partition of time and space and the digital technique of Zhu Zai-yu's notation is based on interpretation of force. The article argues that it is only through the analysis of the digital technique of dance that “Chineseness” in modern dance can be based not only on the “spirit of the arts,” which haunts dance like a ghost, but also on digital technique as the technique of the body. For research on Chinese modern dance, it is the body that counts.

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4

Rakocevic, Selena. "The Jankovic sisters and kinetography Laban." Muzikologija, no. 24 (2018): 151–72. http://dx.doi.org/10.2298/muz1824151r.

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Based on the archival material from the Legacy of Sisters Jankovic, which is stored in the National Library of Serbia, this article critically examines Ljubica and Danica Jankovic?s relation to today?s world-renowned dance notation, kinetography Laban. The analyzed archival material includes the transcript of the first edition of Laban?s notation called Schrifttanz in German, as well as several unpublished manuscripts by Ljubica Jankovic. Even though the Jankovic sisters were familiar with kinetography Laban, they (especially Ljubica) were its great opponents. Instead of learning and using kinetography Laban, they developed their own dance notation system in early 1930s and used it until Ljubica?s death in 1974. In this article, the relationship of the Jankovic sisters? dance notation to Rudolf Laban?s kinetography is considered in the context of the wider processes of development of ethnochoreology, traditional dance notations, as well as the history of kinetography Laban in Europe in the first half and mid-20th century.

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5

De Carvalho, Daniela Dias. "Urban design and architecture through notation." Ekistics and The New Habitat 73, no. 436-441 (December 1, 2006): 323–29. http://dx.doi.org/10.53910/26531313-e200673436-441133.

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The author attended Ginasiano Dance School in Porto, Portugal where she studied contemporary and classical Dance , and ESAP (College of Arts, Porto) where she graduated in Architecture. Seeking to congregate her experiences in architecture and dance, she developed her graduation thesis on Notation: Architecture and Dance. After graduation, she was invited to join two art research centers, Centro de Estudos Arnaldo Araújo and Instituto de História da Arte, as a researcher. As an architect, she worked in two offices of architecture - Noventa Graus and Off 4- for two years, on a project for the Center for Performing Arts in Portalegre, and on a contest for the Music Conservatory in Coimbra, among other projects. Simultaneously, she has worked with Kale Dance Company and Círculo Portuense de Opera, in several dance and opera performances, either as a dancer or a stage assistant director. For three years now, she has also taught young children at Ginasiano Dance School developing Expressões, a project that aims to develop the individual through Art in an altogether involvement with movement expression, visual arts, music and drama. The text that follows is a slightly revised and edited version of a paper presented at the international symposion on "Globalization and Local Identity," organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005.

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6

Cerbino, Ana Beatriz. "Dance, Reconstruction, and Intellectual Property." Congress on Research in Dance Conference Proceedings 2016 (2016): 50–53. http://dx.doi.org/10.1017/cor.2016.9.

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The objective is to initiate a investigation between dance, authorship, intellectual property, and choreography. For this, a look at what is meant by authoring in dance with the publication of Chorégraphie, ou l'art de décrire la danse par caracteres (1700) by Raoul-Auger Feuillet and the dispute with Pierre Beauchamp for the authorship of dance notation and recent discussions about copyright and choreography will be made; I will also discuss some cases of revival/reconstruction. It's not only understanding such procedures as “embodied textual practices” (Thomas 2004), from the perspective of dance notation, but also as embodied political and aesthetic options.

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7

Fugedi, Janos. "Dance Notation and Computers." Yearbook for Traditional Music 23 (1991): 101. http://dx.doi.org/10.2307/768399.

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8

Lu, Mei-Chen. "The Dance Notation Bureau." Dance Chronicle 32, no. 2 (July 7, 2009): 291–301. http://dx.doi.org/10.1080/01472520902966062.

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9

Bercu, Alina. "Golden Era of Baroque Dance." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 30, 2021): 69–78. http://dx.doi.org/10.24193/subbmusica.2021.2.05.

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"The reign of Louis XIV marks an important milestone in the development of dance and art. Convinced that visual arts and music would significantly contribute to a monarch’s authority, image, and glory, the “Sun King” coordinated artistic activities through establishing a significant number of royal academies. Through the Académie Royale de Danse the art of dancing was given a proper language and notation system for the first time in history. On the other hand, the Académie Royale de Musique was tied to the birth of a national operatic style. Opera was the perfect tool for an idealistic and majestic projection of a nation’s monarch. Keywords: baroque dance, Louis XIV, dance notation systems, ballet de cour, royal academies, Jean-Baptiste Lully, music, opera. "

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10

Filippidou, Eleni. "Dance Stereotypes. Reflection of gender relations in the ‘Karsilama’ dance in Greece." International Journal of Research and Innovation in Social Science 06, no. 11 (2022): 839–44. http://dx.doi.org/10.47772/ijriss.2022.61143.

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Τhe research field of this paper is the Greek dance ‘Karsilama’ as this is danced in the area of Thrace in Greece. More specifically, the research was carried out in the community of Nea Vyssa, which is located in the northern part of this country. The aim of this research is to study the dances of ‘Karsilama’ in Nea Vyssa, which have rhythm of nine beats (9/8), so that through the analysis of their form, it can be established whether these dances reflect stereotypes of the position of the two sexes in society. The collection of ethnographic data was based on the ethnographic method. Laban’s notation system was used to record the choreographic compositions of ‘Karsilama’ dance, while for the analysis of their structure and form, as well as their codification, the structural-morphological and typological method of analysis was applied, as it is applied in the Greek Τraditional Dance and for their comparison the comparative method was used. Finally, the interpretation of the data was held with the anthropological thinking about gender identity as it appears in anthropological views of dance and particularly in Hanna. From the data analysis was found that the ‘Karsilama’ dances are established the gender hierarchy in the community of Nea Vyssa, highlighting Nea Vyssa in a patriarchal society.

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McLean, Alex, and Kate Sicchio. "Live Notation for Patterns of Movement." TDR: The Drama Review 68, no. 1 (March 2024): 104–16. http://dx.doi.org/10.1017/s1054204323000576.

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If computer programming languages can be used to control the movement of robots, they can therefore be used as choreographic notations. Weaving, dance, and musical forms can be taken as places of inspiration for this, bringing together patterns, computation, movement, and notation in live telematic performance involving live coding of both audience and robots.

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12

Papp-Danka, Adrienn, and Nóra Oláh. "The Use of Digital Pedagogical Assessment in the Teaching of Dance Notation." Tánc és Nevelés 2, no. 2 (October 12, 2021): 17–30. http://dx.doi.org/10.46819/tn.2.2.17-30.

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The purpose of this study is to explore the relationship between digital technology and folk dance, highlighting the teaching methodology of the subject of Dance Notation. We first provide a brief insight into the history of teaching dance notation, followed by presenting its current educational practice. Related to this, we discuss the relationship between digital tools and dance education in a separate chapter. Pedagogical assessment plays a key role in our study, as we want to show how regular digital formative assessment makes the teaching of dance notation more effective and motivating. We outline further directions at the end of the article that could be introduced or at least researched as a pilot project in dance education.

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13

Filippidou, Eleni. "The Sacred and The Secular in Dance: One Dance, Two Different Functions." European Journal of Theology and Philosophy 3, no. 4 (July 19, 2023): 1–7. http://dx.doi.org/10.24018/theology.2023.3.4.119.

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The aim of this paper is to highlight the "sacred" and "secular" character of the Xesyrtos or Gikna dance in the community of Asvestades in Thrace in Greece. In particular, this paper intends to highlight the difference between the "sacred" and the "secular" and the way this dichotomy is reflected in the dance under study. Data was gathered through the ethnographic method. The sacred/secular dichotomy, as proposed in Leach's (1976) theoretical model, is used to analyze the data. Further, Laban's notation system (Hutchinson, 2005; Koutsouba, 2005), was used to record the choreographic compositions of Xesyrtos or Gikna dance, while for the analysis of their structure and form, as well as their codification, the structural-morphological and typological method of analysis was applied. Finally, for the presentation and interpretation of the data, Geertz’s model of "thick description" (2003) was adopted. From the data analysis it was found that the Xesyrtos and Gikna dances are danced in exactly the same way, but are clearly separated and demarcated based on the intentions of the community residents related to the performed function of the dance event.

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14

van Zile, Judy. "What Is the Dance? Implications for Dance Notation." Dance Research Journal 17, no. 2 (1985): 41. http://dx.doi.org/10.2307/1478079.

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15

Watts, Victoria. "Dancing the Score: Dance Notation and Différance." Dance Research 28, no. 1 (May 2010): 7–18. http://dx.doi.org/10.3366/drs.2010.0002.

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This article moves towards an explanation of the kinds of meaning captured in dance notation, towards a critical reflection on linguistic accounts of meaning in dance, and towards a model of analysis that slips free from the dichotomy of theory versus practice, and its correlate of text versus experience. In following Derrida's argument about speech and writing, and through a re-reading of his account of the myth of Theuth, I suggest that dance notation sensuously illustrates the kind of binary-destabilising matter and movement that Derrida theorises variously as trace, différance, and arche-writing. Further, I propose that dance notation, in its relationship to theatrical dance, provides an exemplary, rather than a unique, textual practice: one which necessarily annihilates the old mind/body and speech/writing dualisms. While Derrida achieves this through elaborate, often mischievous, wordplay in his deconstructions, I reflect upon the etymology of choreography and choreology, upon the process of reading and writing a dance score, and upon the marginal status of notation within the dance field.

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16

Fügedi, János. "Movement Cognition and Dance Notation." Studia Musicologica Academiae Scientiarum Hungaricae 44, no. 3 (July 1, 2003): 393–410. http://dx.doi.org/10.1556/smus.44.2003.3-4.5.

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17

Herbison-Evans, Don. "Dance, Video, Notation and Computers." Leonardo 21, no. 1 (1988): 45. http://dx.doi.org/10.2307/1578415.

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18

Abe, Naoko, Jean-Paul Laumond, Paolo Salaris, and Florent Levillain. "On the use of dance notation systems to generate movements in humanoid robots: The utility of Laban notation in robotics." Social Science Information 56, no. 2 (March 20, 2017): 328–44. http://dx.doi.org/10.1177/0539018417694773.

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This article raises the issue of collaboration between the field of dance and that of robotics. Dance notation systems are developed in the choreographic field as a method to describe and record human movements. Translating movements into symbols is of particular concern for computer science and robotics, which are interested in generating anthropomorphic motions in robots or animated avatars. We examine different research projects on the use of Laban notation for this purpose, and present our own attempt at generating dance movements in a humanoid robot from a Laban score. We discuss the interests and difficulties related to the use of a dance notation system in a robotic context.

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19

Lidbury, Clare. "Sigurd Leeder: A Forgotten Master?" Dance Research 41, no. 1 (May 2023): 113–35. http://dx.doi.org/10.3366/drs.2023.0392.

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This article acknowledges Sigurd Leeder (1902–1981) as a key figure in the dance scene in Europe and Chile from the 1920s through to the 1970s. Through reference to articles, reviews, letters, interviews, notation scores, performances and seminal texts his work as a visual artist, movement notator, dancer, choreographer and teacher is fully explored, and the influences of Rudolf Laban and Kurt Jooss on Leeder's life and work are examined. It is concluded that while he was of some significance during his lifetime, little of Leeder's legacy now survives.

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20

De las Heras Fernández, Rosa. "Teaching flamenco zapateado: a new notation-based methodology." ARTSEDUCA, no. 28 (December 28, 2020): 66–81. http://dx.doi.org/10.6035/10.6035/artseduca.2020.28.5.

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Dance has traditionally been taught using a style based on teacher-pupil oral transmission, imitation and repetition. While there are notation methods for dance, few proposals for zapateado notation exist. This research develops a critical analysis not only of the currently existing notation systems for flamenco zapateado, but also of rhythmic notation systems for percussion based on the traditional Western system of musical notation, which form the basis of the foundations of the system of the method of notation presented here. The article shows that this flamenco zapateado notation system is the first to combine how the foot strikes the floor with the rhythmic aspects using notation with a clear visual appearance and a sequence of didactic content which takes into account motor aspects as well as rhythmic ones.

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De las Heras Fernández, Rosa. "Teaching flamenco zapateado: a new notation-based methodology." ARTSEDUCA, no. 28 (December 28, 2020): 68–83. http://dx.doi.org/10.6035/artseduca.2021.28.5.

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Dance has traditionally been taught using a style based on teacher-pupil oral transmission, imitation and repetition. While there are notation methods for dance, few proposals for zapateado notation exist. This research develops a critical analysis not only of the currently existing notation systems for flamenco zapateado, but also of rhythmic notation systems for percussion based on the traditional Western system of musical notation, which form the basis of the foundations of the system of the method of notation presented here. The article shows that this flamenco zapateado notation system is the first to combine how the foot strikes the floor with the rhythmic aspects using notation with a clear visual appearance and a sequence of didactic content which takes into account motor aspects as well as rhythmic ones.

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22

Caldwell, Mary Channen. "“The Place of Dance in Human Life”." Ethnologies 30, no. 1 (September 19, 2008): 21–40. http://dx.doi.org/10.7202/018833ar.

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Abstract This article provides a brief biographical sketch of Gertrude P. Kurath and introduces her as a central figure in twentieth century dance scholarship. Her role in the emergence of the field of dance studies in the academia is examined and her promotion of the connection between dance studies and anthropology and ethnomusicology is stressed. This article examines in detail two specific features of her scholarship: her forward-looking fieldwork and her innovation and use of movement notation. Both her fieldwork and her use of notation are contextualized within her extensive research on Native American dance.

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Gardner, Sally. "Noa Eshkol and the Idea of a Chamber Dance Group." Dance Research Journal 50, no. 1 (April 2018): 67–79. http://dx.doi.org/10.1017/s0149767718000049.

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Noa Eshkol (1924–2007) was an Israeli dance artist who developed a movement notation system in collaboration with her colleague, the architect Avraham Wachman. Consideration of Eshkol's dance values, particularly as they pertain to dance's basis in movement, understood as a material that can be “thought,” like music, by means of a notation system, and the role of the dancers as the work's primary audience, can contribute to the ongoing task of investigating dance modernism and its variety of authorship and spectatorship modes.

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24

Goff, Moira. "Leach Glover, ‘Dancing Master to the Royal Family’, Part Two: Teachers of Dancing." Dance Research 40, no. 1 (May 2022): 104–20. http://dx.doi.org/10.3366/drs.2022.0360.

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In 1738, Leach Glover (1697–1763) was appointed as a dancing master to Britain’s royal family. He had been a leading dancer in John Rich’s company for some twenty years, first at Lincoln’s Inn Fields and then at Covent Garden, and would retire from the stage in 1741. This article focusses on Glover’s work as a teacher of dancing, beginning with his training by the French dancer and member of the Paris Académie Royal de Danse Romain Dumirail, and revealing Glover’s later close relationship with him. The article investigates the role of a royal dancing master and discusses the context for Glover’s own appointment. As part of his duties, Glover created the ballroom dance The Princess of Hesse for the marriage of Princess Mary in 1740. The dance was published in notation and is analysed here as a late example of a surviving choreography to celebrate a royal occasion. Glover’s later life and his family connections are also considered for what they can tell us about his status within the society of his time.

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25

NYE, EDWARD. "‘Choreography’ is Narrative: The Programmes of the Eighteenth-Century Ballet d'Action." Dance Research 26, no. 1 (April 2008): 42–59. http://dx.doi.org/10.3366/e0264287508000054.

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In the 1760s, a change in the meaning of the French word ‘chorégraphie’, coined by Feuillet in 1700, coincides with the coming of age of the ballet d'action. At the time when Jean-Georges Noverre, Gasparo Angiolini and others are developing mime dance into a highly elaborate and aesthetically complex stage art, their contemporaries are beginning to use ‘chorégraphie’ to mean the dramaturgical structure of the work rather than a system of notation. The semantic shift suggests that drama is as fundamental to the ballet d'action as a Feuillet transcription is to danse noble. The analogy is sometimes taken further so that ‘chorégraphie’ probably refers to a written plot summary or ballet programme. This has many consequences for the way we think about the ballet d'action. Firstly, we should regard the ballet d'action as danced drama rather than dramatic dance, and secondly, ballet programmes are not peripheral to performance, but provide what contemporaries understand to be ‘choreographic’ information.

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26

Masing, Elo. "Movement in Sound/Sound in Movement: A Musician's Point of View." Congress on Research in Dance Conference Proceedings 2012 (2012): 97–102. http://dx.doi.org/10.1017/cor.2012.13.

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The paper provides an account of an innovative collaborative work between composer/violinist Elo Masing, choreographer/dancer Jean Lee, and the Kreutzer String Quartet. The project challenges the conventions of music and dance collaboration by proposing a fundamentally new way of working across disciplines, establishing a profound interrelation between movement and sound production.The work so far has mostly involved developing a new notation system for string instruments and dancer suitable for recording the sounds and movements the work in progress will primarily be based on. The paper will, at this stage, demonstrate only a fraction of the various possibilities of this new way of musician–dancer collaboration that is estimated to span over the next couple of years. The idea for the piece dates back to June 2010, when a structured improvisation was created in collaboration between Elo Masing and Jean Lee, commissioned for a conference at Roehampton University.The innovative aspect of the project is manifested in the development of choreography and music together from the very beginning, using new sound and movement languages discovered in interdisciplinary improvisation sessions. In the center of the collaboration lies the definition of the roles of the musician and the dancer as equal, with equally complex compositional material and interchanging ideas. That means composing music and dance simultaneously and letting them influence each other.The new notation system for string instruments focuses on the movements of string players, thus creating a possibility for relating music to dance in a more tangible and visual rather than conceptual and abstract way.

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27

Thom, Rose Anne, Ann Hutchinson Guest, and Julia McGuinness-Scott. "Dance Notation: The Process of Recording Movement." Dance Research Journal 19, no. 2 (1987): 48. http://dx.doi.org/10.2307/1478176.

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28

Kato Westby, Syuko, and Ruairi Glynn. "Fabricating Performance: Reciprocal Constructs of Dance Notation." Nexus Network Journal 20, no. 1 (November 10, 2017): 75–94. http://dx.doi.org/10.1007/s00004-017-0353-9.

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29

Dania, Aspasia. "Analyzing the Aesthetics of Dance Instructional Design: An Example from Greek Traditional Dance Teaching." Congress on Research in Dance Conference Proceedings 2016 (2016): 116–26. http://dx.doi.org/10.1017/cor.2016.17.

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Within the context of dance education, the quality of students’ learning experiences during instruction affects their ability to coordinate body and mind effectively. The more these experiences are invested with emotionally motivated expectation, the more pervasive will students’ occupation with dance be. On this premise, the learning of dance is realized as a continuous process of aesthetic understanding, appreciation, and evaluation of the form of dance, as a learning object per se. Such a perspective upgrades instructional design to the level of art making, where every dancer can experience the aesthetically acceptable and “beautiful” while participating in dance lesson activities. The review of relevant literature shows that the application of solely reproductive practices in dance teaching cannot support the establishment of a learning environment that is rich in aesthetic experiences.The aim of this paper is to analyze those principles that should govern dance lesson design so that dance teaching can have the impact of an aesthetically elevated experience on every student dancer. With Greek traditional dance at the background and under the prism of modern socio-cognitive and aesthetic theories, the attributes of aesthetic teaching practices are reviewed. The design and implementation of a newly established method, the Laban Notation method for Teaching Dance, is used as an example. The author's objective is to add a new perspective to the design of dance teaching-a perspective that will balance student dancers' potential between passion for performance, conceptual appraising and personal identity.

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30

Rakocevic, Selena. "Contribution of Ljubica and Danica Jankovic to establishment of ethnochoreology in Serbia as an academic scholarly discipline." Muzikologija, no. 17 (2014): 219–44. http://dx.doi.org/10.2298/muz1417219r.

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The Jankovic sisters are pioneers of ethnochoreological research in Serbia. Their scholarly methodology is based on intenisve field research and their development of a unique system of dance notation, which enabled them to evolve a system of dance analysis. The year 2014 celebrates multiple anniversaries of Ljubica and Danica Jankovic, their lives and work, but most importantly, it marks the publication of the first of eight volumes of Narodne igre, beginning an eighty year tradition of scholarly investigation of traditional dances in Serbia. The aim of this article is to draw attention to the Jankovic sisters for their major contribution in developing ethnochoreology in Serbia.

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31

Chung, Kai-Han, and June-Hao Hou. "Mapping Indeterminacy and Chance through Movement Notation: A Study on Dance Improvisation." Leonardo 51, no. 3 (June 2018): 282–83. http://dx.doi.org/10.1162/leon_a_01570.

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A dance notation system is usually regarded as a representation tool rather than a creative tool. This paper uses the indeterminacy approach as a creativity method to assist body-based limb exercise and development. The movement notation system is constructed based on the effort action from Laban Movement Analysis. In-depth interviews provide a comprehensive insight into the choreographer’s perspective. The findings show that the notation system and body-based improvisation training are not mutually exclusive. Therefore, the use of a notation system gives dancers a better understanding of how movements interact with various stimuli, in relation to internal and external environments.

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32

Rainer, Yvonne. "Trio A: Genealogy, Documentation, Notation." Dance Research Journal 41, no. 2 (2009): 12–18. http://dx.doi.org/10.1017/s0149767700000619.

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I worked on Trio A alone for six months in 1965. The dance initially consisted of a five-minute sequence of movement that would eventually be presented as The Mind Is a Muscle, Part I at Judson Church (on January 10, 1966). There it was performed by me, David Gordon, and Steve Paxton simultaneously but not in unison. An interim version of an extended, but not complete, The Mind Is a Muscle (Judson Church, May 22, 1966) was performed by William Davis, David Gordon, and Steve Paxton. In the final section of this version, called “Lecture,” Peter Saul executed a balletic solo version—that is, with pirouettes and jumps. In the final version (Anderson Theater, April 11, 1968) Trio A was performed by me in tap shoes (without balletic furbelows) at the end of the evening while Paxton, Gordon, and Davis performed it as a trio at the beginning.The individual sequences last from four and a half to five minutes, depending on each performer's physical inclination. Two primary characteristics of the dance are its uninflected continuity and its imperative involving the gaze. The eyes are always averted from direct confrontation with the audience via independent movement of the head, closure of the eyes, or simple casting down of the gaze.

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Filippidou, Eleni, and Irini Gialiti. "DIFFERENCES BETWEEN THE “FIRST” AND THE “SECOND” EXISTENCE OF DANCE IN THE GREEK ISLAND OF CRETE. THE EXAMPLE OF THE SYRTOS DANCE." International Journal of Education and Social Science Research 05, no. 03 (2022): 215–29. http://dx.doi.org/10.37500/ijessr.2022.5315.

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The ethnographic context of this research is the Syrtos dance, as it is danced in Rethymnon, in the island of Crete in Greece. Observing at first glance the Syrtos dance, as it is danced in social events in the area of Rethymnon and in dance performances on stage, some differences can be seen in it. The aim of this paper is to compare the Syrtos dance in its “first” and “second existence”, in order to ascertain the differences that took place in it, if any, in order to confirm or reject the empirical observation, which wants the two existences of Syrtos dance, the traditional and the fakelore to be different. The collection of ethnographic data was based on the ethnographic method, as it is used in the study of dance. Laban's notation system was used to record the choreographic compositions of Syrtos dance, while for the analysis of their structure and form, as well as their codification, the structural-morphological and typological method of analysis was used, as it is applied in the Greek Traditional Dance. From the data analysis was found that in Rethymnon, Crete, the Syrtos dance in its "first" and in its "second existence" presents both similarities and differences, rejecting the empirical observation that wants the two existences of dance to be distinct. In fact, the similarities are more than the differences, as there is both a structural and a stylistic relevance between the "first" and the "second existence" of dance. This refutes the claim that traditional dance and the dance that is transferred to the classrooms and therefore on stage are two different things. The difference lies, in the case of Greece we are examining, in the way the dance is transmitted (with or without a dance teacher) and in the stylized movement used in the dance scene.

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van Camp, Julie. "A Note on Mr. Margolis and the Definition of Dance." East Asian Journal of Philosophy 2, no. 2 (April 17, 2023): 53–56. http://dx.doi.org/10.19079/eajp.2.2.53.

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I demur to Margolis’ insistence that we form a generalized concept of art before the formation of a definition of specific art forms. I consider the elements proposed for a definition of “dance” by Margolis, including “dance notation, dance style, and dance as the expression of a contingent culture.” I note the problems with the third element, especially the blind spot shared by many of us to anything other than Western culture.

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Riggs Leyva, Rachael. "Texts, Bodies, Multimodality: Dance Literacy in Context." Congress on Research in Dance Conference Proceedings 2015 (2015): 89–94. http://dx.doi.org/10.1017/cor.2015.16.

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Crossing between texts, bodies, and the senses, dance literacies bring fresh perspectives on how new literacies can function, especially non-alphabetic or non-text-based literacies. Reading and writing in an expanded understanding of literacy are interpretive means of interacting with texts, of embedding and discerning meaning, of making sense of movement or choreographic information, of composing and performing, and of creating documentation and archive. Makers and viewers of dances act as readers, and writers, and authors. These roles are permeable in dance literacy, shifting with the context of the dance phenomenon or artistic practice. This paper engages with the dance practices of two dance companies to explore issues of shared-authorship, documentation, multimodality, body-text relationships, and reader-writer permeability: the Bebe Miller Company during their creation of A History and RikudNetto, who composes through Eshkol-Wachman Movement Notation. What literacy events and practices are present in the studio? What range of written literacies are used and how? Where and how were these literacies learned? In what ways might they cross the so-called literacy-orality divide? Drawing from questions and frameworks of the New Literacy Studies, this paper invites a critical look at dance literacy in context.

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Fugedi, Janos. "Computer Applications in the Field of Dance Notation." Studia Musicologica Academiae Scientiarum Hungaricae 39, no. 2/4 (1998): 421. http://dx.doi.org/10.2307/902546.

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Pierce, Ken. "Dance notation systems in late 17th-century France." Early Music XXVI, no. 2 (May 1998): 286–99. http://dx.doi.org/10.1093/earlyj/xxvi.2.286.

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Pierce, K. "Dance notation systems in late 17th-century France." Early Music 26, no. 2 (May 1, 1998): 286–99. http://dx.doi.org/10.1093/em/26.2.286.

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Jensen, Rebecca. "Deep Sea Dances." Choreographic Practices 13, no. 1 (July 1, 2022): 97–115. http://dx.doi.org/10.1386/chor_00043_3.

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Ubiquitously used as an analogy for something we do not understand, the deep sea signifies paradox, terror, hope and potential. Largely undiscovered it is inhabited by our ancestors whom we shared paths with until relatively recently, as we moved towards the beach and they towards the blackness of primaeval night in which the ocean came into being. This text is a form of visual and written notation for Deep Sea Dances, an improvised group work created across 2015‐17 and performed in Dance Massive Festival, Melbourne 2017. This notation can be interpreted to re-enact excerpts from the work and can be built upon and developed into something else. Deep Sea Dances developed out of a desire to create a space to share practice and build a common movement language with a group of sixteen peers, balancing what is theoretical with the social and practical and to utilize performance as a means of reflection and a denouncement of political systems that foster binary relations and thinking.

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Guado, Mark Jason D. "Characterization of Pinilisa Dance Using the Dance Protocol as Performed by A Local Community in Isabela." International Journal of Multidisciplinary: Applied Business and Education Research 5, no. 5 (May 22, 2024): 1601–11. http://dx.doi.org/10.11594/ijmaber.05.05.12.

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This study aimed to characterize the Pinilisa dance using the dance protocol as performed by a local community in Isabela and to create instructional materials as well as to improve the Pinilisa dance movement. Using ethnographic and narrative inquiry in the data gathering through a Focus Group Discussion (FGD), observation, structured interview guide, and documentation, this study documented, notated, and analyzed the Pinilisa dance as a reflection of the Ilocano culture, as well as the costumes, props, accessories, movement or dance pattern, dance notation, staging (formation) and performance, music notation, and sequencing to facilitate the development of supplemental instructional materials in teaching folk dance in Grade 7 Physical Education subject. This study's key informants were the residents and government employees of Jones, Isabela who are knowledgeable about the Pinilisa dance, including the municipal vice-mayor, municipal administrator, tourism officer, festival organizer, selected Local Government Units (LGUs), choreographers, and PE teachers. This study revealed that Pinilisa dance is an expression of Ilocano culture emphasizing five aspects: political, social, physical, economic, and religious. It is a dance that celebrates the abundant harvest of Pinilisa rice, from planting and harvesting to selling, honoring its people and expressing gratitude for the year's abundant crop. It embodies the Ilocano values of being hard-working, industrious, family-oriented, bayanihan, cheerful, resilient, and God-fearing, which reflects the people of Jones. The instructional materials in which the documented Pinilisa dance is an input for significant use in PE class in Grade 7, particularly in teaching folk dance. It is an additional instrument for uplifting, preserving, and promoting Jones, Isabela's cultural heritage.

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Goldstein, Jennie. "Dance History in Contemporary Visual Art Practice: Kelly Nipper’s Weather Center." TDR/The Drama Review 60, no. 2 (June 2016): 103–21. http://dx.doi.org/10.1162/dram_a_00550.

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Kelly Nipper’s video installation Weather Center (2009) is emblematic of the presence of dance in recent visual art. Nipper’s persistent fascinations with Mary Wigman, Laban Movement Analysis, and expansive notation practices result in live performances, moving-image installations, and photographs, creating visual art that reveals how dance and its particular histories can function as malleable material within the museum.

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Carter, Selene B. "Rudolf von Laban’s Concepts in Embodiment." Theatron 15, no. 4 (2021): 45–53. http://dx.doi.org/10.55502/the.2021.4.45.

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I will present the foundations of Laban Movement Studies and its theoretical framework as theorized by Hungarian dancer-scientist-artist Rudolf von Laban (1879-1958). The four centers of his work that systemize and articulate human movement in relationship to the mover’s environment; the body, effort (antrieb), shape and space, aided by members of the Indiana University Contemporary Dance Theater. I will explicate his notation system for movement, Labanotation, and provide an historic locus for his work in the context of the Hungarian avant-garde.

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Dils, Ann. "Preface." Dance Research Journal 24, no. 2 (1992): 17–18. http://dx.doi.org/10.1017/s0149767700012031.

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These papers were originally given as a panel entitled What Constitutes a Dance at the 1989 Congress on Research in Dance Conference in Williamsburg, Virginia. Panelists selected Antony Tudor's 1937 Dark Elegies as a case study and basis for examining general questions regarding elements to be considered in identifying a dance work. Several issues and occurrences inspired panel members, such as recent interest in revivals of dance works from the beginning of this century and scholarly debate about issues related to directing dance from Labanotation scores. While Nelson Goodman's 1968 book Languages of Art served as a theoretical springboard for discussion, Judy Van Zile's 1985–86 article “What is the Dance? Implications for Dance Notation” proved a thought-provoking precedent for this investigation.

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Fitriani, Tri Sat, and Asep Saepudin. "MIDI SEBAGAI INOVASI DAN ALTERNATIF MUSIK IRINGAN TARI DI MASA PANDEMI." Melayu Arts and Performance Journal 5, no. 1 (April 29, 2022): 85. http://dx.doi.org/10.26887/mapj.v5i1.2518.

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This paper discusses MIDI innovation for dance accompaniment needs. MIDI or Musical Instrument (with) Digital Interface, is a revolution in the development of music. Presentation of dance accompaniment using MIDI has several advantages in a technological update. MIDI innovations in this study are discussed using descriptive analysis methods. The dance accompaniment in question is a dance accompaniment that usually uses gamelan devices can be denoted in software in a system called MIDI. This topic is taken from the phenomenon that occurs in the Yogyakarta ISI Dance Department. With MIDI, a composer can relatively simple listen to his work that has been written using music notation software on his computer. The large number of choreographers who need accompaniment during the Final Project (TA), allows the availability of insufficient human resources. Therefore, MIDI can be an alternative innovation to fill or correct these deficiencies.AbstrakTulisan ini membahas tentang inovasi MIDI untuk kebutuhan iringan tari. MIDI atau Musical Instrument (with) Digital Interface, merupakan revolusi dalam perkembangan musik. Penyajian iringan tari menggunakan MIDI memiliki beberapa kelebihan dalam sebuah pembaharuan teknologi. Inovasi MIDI dalam kajian ini dibahas menggunakan metode deskriptif analisis. Iringan tari yang dimaksud adalah iringan tari yang biasanya menggunakan perangkat gamelan dapat dinotasikan pada software dalam sebuah sistem yang disebut MIDI. Topik ini diambil dari fenomena yang terjadi di Jurusan Tari ISI Yogyakarta. Dengan MIDI, seorang komposer bisa secara relatif sederhana mendengarkan hasil karyanya yang sudah ditulis memakai software music notation di komputernya. Banyaknya koreografer yang membutuhkan pengiring saat Tugas Akhir (TA), memungkinkan ketersediaan sumber daya manusia yang tidak mencukupi. Oleh karena itu, MIDI dapat menjadi sebuah inovasi alternatif untuk mengisi atau memperbaiki kekurangan tersebut.Kata Kunci: MIDI; gamelan, software music notation; musik iringan; seni tari.

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Ryman, Rhonda, and Ann Hutchinson Guest. "Dance Notation, the Process of Recording Movement on Paper." Dance Research: The Journal of the Society for Dance Research 4, no. 1 (1986): 80. http://dx.doi.org/10.2307/1290676.

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Guest, Ann Hutchinson. "Conference on the Coordinate Method of Dance Notation (CMDN)." Dance Research Journal 20, no. 1 (1988): 63–64. http://dx.doi.org/10.1017/s014976770001038x.

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Wilke, Lars, Tom Calvert, Rhonda Ryman, and Ilene Fox. "From dance notation to human animation: The LabanDancer project." Computer Animation and Virtual Worlds 16, no. 3-4 (2005): 201–11. http://dx.doi.org/10.1002/cav.90.

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Van Zile, Judy. "Approaches to Dance (3): Naïveté and Curiosity." Dance Research 39, no. 2 (November 2021): 264–73. http://dx.doi.org/10.3366/drs.2021.0346.

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Part autobiography, memoir, and autoethnography, this essay sketches a pathway that zig-zags and follows switchbacks as it moves from childhood ballet lessons to a profession in academic teaching and research. The path embraces dance notation, Korean dance, movement analysis, history, iconography, aesthetics, language, and communication as it continues beyond university employment into retirement, revealing the evolution of thought processes and the intertwining of the personal and professional.

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Gratsiouni, Dimitra, Maria Koutsouba, Foteini Venetsanou, and Vasiliki Tyrovola. "Learning and Digital Environment of Dance – The Case of Greek Traditional Dance in Youtube." European Journal of Open, Distance and E-Learning 19, no. 2 (December 1, 2016): 80–95. http://dx.doi.org/10.1515/eurodl-2016-0009.

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Abstract The incorporation of Information and Communication Technologies (ICT) in education has changed the educational procedures through the creation and use of new teaching and learning environments with the use of computers and network applications that afford new dimensions to distance education. In turn, these emerging and in progress technologies, render new practices in many fields including the field of dance offering a fertile quest to everyone involved in the dance. Yet, a critical evaluation of the content of YouTube dance videos has not been carried out though what is eventually learned through YouTube is a key question. Based on the above, the aim of this study was to critically examine the way YouTube network channel as Computer Based Learning-CBL functions both as a learning tool and as a teaching result concerning the field of dance having as example a Greek traditional dance named Karagouna. YouTube dance videos were gathered through observation, while the dance exemplar used was based on ethnographic research. For the dance recording of the Karagouna performances examined from YouTube, Laban’s notation system (Labanotation) was used. For the analysis of the dance performances, the dance structural-morphological and typological method was adopted. Finally, for the comparison of the Karagouna dance performances examined from YouTube with the exemplar of the dancing community, the comparative method was used. It was proved that someone with little or no relation to dance is likely to learn dance with the use of YouTube, yet it is questionable what kind of dance will actually learn since in a number of cases the dance videos do not correspond to the performance of the dancing community. In addition, the outcome is different if someone with prior knowledge on the field of dance (dancer, dance teacher, dance student etc.) uses YouTube as a teaching and learning tool as, in this case, its use is useful and interactive.

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Birringer, Johannes. "Dance and Interactivity." Dance Research Journal 36, no. 1 (2004): 88–111. http://dx.doi.org/10.1017/s0149767700007580.

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A growing number of practitioners in the international community of choreographers and performers has begun to experiment with computer-assisted work linking dance and new technologies. This hardly comes as a surprise, since dance-on-film and videodance had already attracted considerable attention, at least since the 1980s. Earlier experiments, such as the astonishing films by Maya Deren, take us back to the 1940s, and today's motion capture-based animations find their historical roots in late nineteenth century motion studies in chronophotography and early cinema (Muybridge, Marey, Méliès). Furthermore, dancemakers, researchers, and teachers have used film or video as a vital means of documenting or analyzing existing choreographies. Some scholars and software programmers published tools (LabanWriter, LifeForms) that attracted attention in the field of dance notation and preservation as well as among choreographers (e.g., Merce Cunningham) who wanted to utilize the computer for the invention and visualization of new movement possibilities.

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