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1
Wang, Ziqiao. "Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example." Journal of Educational Theory and Management 2, no. 3 (October 8, 2018): 84. http://dx.doi.org/10.26549/jetm.v2i3.992.
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Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that the eyes are the windows of the soul, and the folk dance is more about expressing a feeling to the audience. If the dancer don’t have a good performance and face expression, he or she can’t express the dance work at all. Therefore, this article takes the training of national folk dance as the starting point, combining technical training, stage performance, professional dancers and amateur dancers, taking the Uygur as an example.
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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (May 2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.
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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.
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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (March 29, 2021): 218–26. http://dx.doi.org/10.46872/pj.258.
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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.
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Kariasa Putra, I. Komang, Tjokorda Udiana Nindhia Pemayun, and Gede Yosef Tjokropramono. "Sanghyang Dedari Dance as a Painting Creation Idea." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 2 (October 24, 2022): 87–91. http://dx.doi.org/10.59997/citakara.v2i2.1849.
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Balinese dance is a variety of dances originating from the island of Bali. Balinese dance does not always depend on the storyline. The main goal of Balinese dancers is to dance each stage of movement and sequence with full expression. Sang Hyang Dedari dance is a Balinese dance that is used as a religious tool. Balinese people still believe that when girls aged 9-12 years dance this dance, they will be possessed by the holy spirit of an angel. Usually, the Sang Hyang Dedari Dance is played or danced before the rice harvest around April to resist disease outbreaks, and this dance has been designated as an endangered cultural heritage. By taking the theme of Sanghyang Dedari Dance, it is hoped that it can represent ideas in the creation of painting. The writer's interest in this dance is because this dance is very sacred and unique because starting from the headdress and the clothes used are very simple, and the flowers used are also colorful and easy to get and so that the younger generation in particular to know and preserve Balinese culture, that in some areas still do this tradition. At the visualization stage, the author emphasizes the decorative flow. In addition, it also uses the method of creation, namely Exploration, Improvisation, Formation, and Final Completion. And through these stages, 6 works were created entitled: 1) "Sanghyang Dedari Dance", 2) "Ngukup", 3) "Dancer Possessed by Sanghyang Dedari", 4) "Sanghyang Dedari Dancer", 5) "Aci Bethara Sri", 6 )"Rolling". In the end, a work was created which was appointed to the title "Sanghyang Dedari Dance as an Idea for Painting Creation". The author hopes that the Balinese people are more familiar with the Sanghyang Dedari Dance.
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Murti, Karinsa Krisna, and Slamet Slamet. "FUNGSI TARI NADRAK PAGUYUBAN RUKUN SANTOSA DESA BRONGKOL KABUPATEN SEMARANG." Greget 20, no. 2 (March 16, 2022): 165–80. http://dx.doi.org/10.33153/grt.v20i2.4141.
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The article entitled Functions of the Nadrak Dance Association of Rukun Santosa, Brongkol Village, Semarang Regency aims to determine the function of Nadrak Dance. Nadrak dance is one of the folk dances in the Rukun Santosa Association which is danced in groups. The main problem of this research is the function of the Nadrak Dance. This research uses function theory. The theory of function was expressed by Bastomi. This research is qualitative. The data were collected through observation, interviews, and literature study. The results of this study the authors reveal the form and function of the Nadrak Dance. Form includes elements of motion, rhythm, expression or feeling, costumes, stage, and dancers. Nadrak Dance functions as a sacred art (religious interests) and secular art (a means of communication, education, and recreation).
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Berdnik, M. "The Impact of Historical Choreographic Origins on Forming Emotional Content in Latin American Ballroom Dance." Culture of Ukraine, no. 80 (June 30, 2023): 76–81. http://dx.doi.org/10.31516/2410-5325.080.09.
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Modern ballroom dance is actively developed as a sport whereas the art of dancing, which is characterized by emotions, is disappearing now. The causes are dealt with the low level of performing Latin American ballroom dance as an art and the necessity to develop the origins of this dance. It is also important to perform a particular Ballroom dance emotionally considering its historical roots.
It is fact that now the great number of competitive dance couples give a lot of attention to the physical training of choreographic compositions with a large number of acrobatic tricks and little respect to the aesthetic aspects of dance. Otherwise, they simply do not know how to express the depth of the emotional content of the dance. Dance couples are lack of understanding how to perform a particular ballroom dance. The issue of this study is relevant in Latin American ballroom dance studies as well as should be solved by experienced instructors and their desire to show dancers the importance of aesthetically emotional aspects of dance.
The purpose of this study is to explore the historical origins and stylistic features of Latin American ballroom dance which became the basis of modern Latin American ballroom dance.
The methodology. The author provides an analysis of specific features of the Latin American ballroom dance.
The results. It is shown that according to the history of the origin and standardization of ballroom dance each dance has its own unique style and characteristics as well as its individual emotional features. Cha-cha-cha is characterized by easy flirtation and pleasure. Samba is a dance of celebration, ardour and expression. Rumba is full of passion, impressing and love. Pasodoble is emotional and dramatic-theatrical dance. Jive is light, cheerful and carefree. And these are general features of the emotional and aesthetic component of dance that are very desirable to see in dance and experience them together with the performers.
The scientific novelty. An attempt is made in this paper to show the presence of historical stylistic and emotional features of the Latin American ballroom dances, which are danced as a competition all over the world, are not sufficiently developed in the performance skills of the dancer. Ballroom dances have diverse origins, rhythms, tempos and aesthetics, but have one thing in common: they are all danced emotionally.
A recommendation for further research is the perspective of improving the methodology of teaching the emotional component of Latin American ballroom dance by suggesting the development of aspects such as: active ways of spreading information about the importance of the creative, emotional component of dance (e.g. seminars, master classes), teaching acting skills, developing training exercises for performing the emotional part of the dance, and conducting research in sports psychology.
The practical significance. The material of this article can be used in the practical activities of choreographers, ballroom dance performers and Latin American ballroom dance competition dancers.
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Zhai, Xianfeng. "Dance Movement Recognition Based on Feature Expression and Attribute Mining." Complexity 2021 (April 30, 2021): 1–12. http://dx.doi.org/10.1155/2021/9935900.
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There are complex posture changes in dance movements, which lead to the low accuracy of dance movement recognition. And none of the current motion recognition uses the dancer’s attributes. The attribute feature of dancer is the important high-level semantic information in the action recognition. Therefore, a dance movement recognition algorithm based on feature expression and attribute mining is designed to learn the complicated and changeable dancer movements. Firstly, the original image information is compressed by the time-domain fusion module, and the information of action and attitude can be expressed completely. Then, a two-way feature extraction network is designed, which extracts the details of the actions along the way and takes the sequence image as the input of the network. Then, in order to enhance the expression ability of attribute features, a multibranch spatial channel attention integration module (MBSC) based on an attention mechanism is designed to extract the features of each attribute. Finally, using the semantic inference and information transfer function of the graph convolution network, the relationship between attribute features and dancer features can be mined and deduced, and more expressive action features can be obtained; thus, high-performance dance motion recognition is realized. The test and analysis results on the data set show that the algorithm can recognize the dance movement and improve the accuracy of the dance movement recognition effectively, thus realizing the movement correction function of the dancer.
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Kalaimani, M., and AN Sigappi. "Posture Recognition in Bharathanatyam Images using 2D-CNN." Data and Metadata 2 (December 4, 2023): 136. http://dx.doi.org/10.56294/dm2023136.
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The postures are important for conveying emotions, expressing artistic intent, and preserving appropriate technique. Posture recognition in dance is essential for several reasons, as it improving the performance and overall artistic expression of the dancer. The Samapadam, Aramandi, and Muzhumandi are three postures that serve as the foundation for the Bharathanatyam dance style. This work proposes a model designed to recognize the posture portrayed by the dancer. The proposed methodology employs the pre-trained 2D-CNN model fine-tuned using the Bharathanatyam dance image dataset and evaluates the model performance.
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Berlianty, Teng, Yosia Hetharie, and Putri Anggia. "Legal Protection of Bambu Gila Dance as a Traditional Cultural Expression." Yuridika 39, no. 1 (January 30, 2024): 43–78. http://dx.doi.org/10.20473/ydk.v39i1.48389.
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This study aims to examine the bambu gila dance as a potential intellectual property for traditional cultural expressions in Maluku which should receive legal protection as part of efforts to defend cultural heritage from claims of ownership by other parties or other countries. Bambu Gila Dance is one of the famous traditional arts from Maluku. The traditional cultural expression in the form of the Bambu Gila dance is expressly protected by the Indonesian intellectual property rights system. However, protection for Bambu Gila Dance as a traditional cultural expression cannot be realized so that it can only be used by other parties illegally. This research is a normative juridical research supported by primary legal materials and secondary legal materials with a conceptual approach and statutory approach. Legal protection for the traditional Bambu Gila dance from Maluku Province has not been effectively implemented, both based on Article 38 of Law Number 28 of 2014 Concerning Copyright, as well as in terms of the actions of government officials who have not been able to inventory traditional dance performance artworks as an expression traditional culture in Maluku including the Bambu Gila Dance. The role of the Provincial and Regency Governments in Maluku is crucial in realizing legal protection for traditional dances, including the Bambu Gila Dance, as intangible cultural heritage through the establishment of regional regulations. These regulations serve as legal basic to provide legal certainty as part of efforts for preventive legal protection for the Bambu Gila Dance.
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Nurharini, Atip, Ika Ratnaningrum, Putri Yanuarita Sutikno, Farid Ahmadi, and Intan Permata Hapsari. "Dance Literacy As An Expression of Experience and Creativity in Dance Education." International Journal of Psychosocial Rehabilitation 23, no. 4 (December 20, 2019): 994–1004. http://dx.doi.org/10.37200/ijpr/v23i4/pr190427.
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Wijayanti, Tri Yuliana. "SENI TARI DALAM PANDANGAN ISLAM." Alfuad: Jurnal Sosial Keagamaan 2, no. 2 (May 13, 2019): 239. http://dx.doi.org/10.31958/jsk.v2i2.1440.
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Humans in their daily lives cannot be separated from art. Art is a form of aesthetic expression towards human existence as a servant. Expressions of beauty that are expressed through beautiful movements, will give birth to exotic dance. Speaking of dance, in general, the negative prejudices of both dancers and dances are generally generated. This is interesting to study when drawn with the flexibility of Islamic teachings and the core of Islamic teachings themselves, namely tauhid.
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TALPĂ, Svetlana. "Methodical aspects of the (H)ostropat dance as an indispensible part in the repertoire of dance groups from the Republic of Moldova." Arta 31, no. 2 (January 2023): 87–91. http://dx.doi.org/10.52603/arta.2022.31-2.13.
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Th e study addresses a wide range of interpretations of (H)ostropat dance from the repertoire of dance groups in the Republic of Moldova in the XXI century. (H)ostropat — represents a ceremonial dance that accompanies various ritual acts in the traditional wedding, being an expression of a specific language of communication that determined the very aesthetics of the dance, its forms of expression, stylistic norms of the repertoire, etc. The (H)ostropat dance, being part of the value system of popular culture, with some aspects of ritual and entertainment, highlights the importance of professional choreographic practice and the role of dance groups in cultural institutions of traditional amateur artistic activity. Th e author focuses her attention on the configuration of the methodological apparatus of researching the repertoire of dance groups as a paradigm of a new stylistic direction and cultural identity in the realm of contemporary choreographic art. It is found that the tendencies of simplifying the ritual structure of the wedding and of compressing the temporal and spatial framework, the modernization of the ceremonial conception and the flow of new dances, created by professional artists or adapted from the repertoire of folk, neo-traditional and national dances in the region, have essentially marked the structure of the repertoire of the traditional dance groups.
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Yu, Kun, Hani Salwah Yaakup, Sharifah Sofiah Syed Zainudin, and Siti Aishah Hj Mohammad Razi. "The Visual Guidance of Dance Images in Humanities Documentaries." Studies in Media and Communication 11, no. 6 (May 7, 2023): 12. http://dx.doi.org/10.11114/smc.v11i6.5990.
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Do communicators' emotional expressions in dance-themed visual expressions in humanities documentaries depend on the visual guidance of dance camera language? There is limited information related to humanities documentaries with dance as a theme in the literature. The purpose of this study was to examine the effect of the creator's visual guidance on an audience's perception of dance images. Based on a humanities documentary’s overall tone, the communicator selected appropriate dance sequences and dance clips and recorded them from a dancer's point of view to capture an image's moral expression and bring the humanities documentary to a climax. The study explored whether an audience’s perspective of visual information from a dance in which the dance body language is guided by a video varies from that perceived when watching the dance in the past. This analysis opens up new avenues for video display and dance representation for the expression of dance video, to satisfy an audience's sense of observation and communicate an emotional expression.
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Liu, Xin, and Young Chun Ko. "Analysis of the Influence of Geographical Environment on Chinese Ethnic Folk Dance, Taking the Development of Dance Curriculum in Huaihua No. 1 Middle School as an Example." Journal of Environmental and Public Health 2022 (August 29, 2022): 1–8. http://dx.doi.org/10.1155/2022/9692803.
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Among the treasures of Chinese art, ethnic dance is an important part. As a key form of expression of national art and emotion, dance has strong regional and gender characteristics for those affected by different ethnic groups and regions. The unique characteristics of the region are the driving force for the masses of all ethnic groups in China to continuously promote the prosperity and development of ethnic and folk dances living alone in different living conditions and living environments. In the analysis of ethnic and folk dances, environmental elements have a profound impact on the rapid development of dance. The main reason for folk dance is the relationship between the costumes of the dance, the connotation of the dance, and the laws of nature, resulting in the derivation of the environment. The article will also focus on a more in-depth discussion and analysis of the characteristics of Chinese folk dance. Scientific research on the regionality of ethnic dance plays a vital role in understanding and inheriting ethnic and folk dances.
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Ruastiti, Ni Made, Anak Agung Indrawan, and Ketut Sariada. "Bentuk dan Makna Pertunjukan Tari Renteng di Desa Saren, Nusa Penida, Klungkung, Bali." Jurnal Kajian Bali (Journal of Bali Studies) 11, no. 1 (April 2, 2021): 163. http://dx.doi.org/10.24843/jkb.2021.v11.i01.p10.
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This article discusses the meaning of Renteng Dance in the Saren Village of Nusa Penida. In Bali, there are many ceremonial dances, but recently many people have created ceremonial dances inspired by the Renteng Dance. This study focuses on the forms and meanings of the Renteng Dance shown in Saren Village. Data collected through observation, documentation study, and interviews with informants were analyzed descriptively using aesthetic theory and reception. It can be concluded that the people of Saren Village performed the Renteng Dance in the form of tari lepas which is a dance performance without stories. This can be seen from the presentation, choreography, and the music accompanying the performance. Renteng dance is accompanied by Balinese gamelan Balaganjur music with a specific movement dance performance structure. Saren community members support this dance because it has meaning as an expression of faith, social concern, and the interest in ecological preservation.
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Peng, Xun. "Historical Development and Cross-Cultural Influence of Dance Creation: Evolution of Body Language." Herança 7, no. 1 (December 29, 2023): 88–99. http://dx.doi.org/10.52152/heranca.v7i1.764.
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This paper delves into the historical evolution of dance creation and its cross-cultural influences, with a particular focus on the transformation of corporeal language. Commencing from the dance traditions of ancient cultures, the article retraces the dances of Ancient Egypt and Ancient Greece, as well as the religious and courtly dances of the medieval and Renaissance periods. Subsequently, it scrutinizes the emergence of modern dance, encompassing the American modern dance movement and European expressionist dance, along with the evolution of dance techniques and forms. The article delves into the varied manifestations of dance, including pure dance, narrative dance, and experimental dance compositions. It also analyzes the impact of cross-cultural influences and globalization on dance, encompassing dance's role as a medium for cultural dissemination, as well as the internationalization of dance education. Finally, by examining the evolution of corporeal language, it underscores the connection between dance and emotional expression and social corporeal language, including trends in dance creation and interdisciplinary research in the digital age. This article encapsulates the metamorphosis of dance as a form of corporeal language, emphasizing its significance and forthcoming challenges.
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Na, Risu, and La Gan Chai. "The influence of the history of folk music development on Russian and Chinese folk dances." PHILHARMONICA. International Music Journal, no. 4 (April 2021): 34–53. http://dx.doi.org/10.7256/2453-613x.2021.4.36351.
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The authors consider and analyze the peculiarities of means of dance and plastic expression: pantomime, gestures, choreographic lexics, choreographic pattern, rhythmics, remarks and exclamations. The idea of a combination of a choreographic image and music of Russian and Chinese dances, declared by the authors, is a multi aspect complicated issue which is of a significant scientific interest. The purpose of the research is to reveal the contents of a folk dance stage adaptation which is conveyed with the help of improved means of expression and is an effective tool for the expression of national peculiarities of Russian and Chinese choreography. The authors study the folk dance stage adaptation as a key means of expression of folk music in Russia and China. The scientific novelty of the research consists in a comprehensive analysis and substantiation of the need for preservation of folk dance traditions in modern China as an important component of a traditional training of a future choreography teacher. The authors prove the presence of definitive features of local invariants of Russian folk dances and dance canon and its differences from the canon of folk dances of other regions. The research actualizes the problem of music training of future choreography teachers in the pedagogical theory and artistic education practice. The consideration of this topic is determined by the solution of an urgent problem of preservation of a unique cultural phenomenon of a nation in the aspect of continuous assimilation of culture both among regions and in interstate realms (border areas of countries with unique cultural codes).
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Esaki, Kazuhiro, and Katashi Nagao. "An Efficient Immersive Self-Training System for Hip-Hop Dance Performance with Automatic Evaluation Features." Applied Sciences 14, no. 14 (July 9, 2024): 5981. http://dx.doi.org/10.3390/app14145981.
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As a significant form of physical expression, dance demands ongoing training for skill enhancement, particularly in expressiveness. However, such training often faces restrictions related to location and time. Moreover, the evaluation of dance performance tends to be subjective, which necessitates the development of effective training methods and objective evaluation techniques. In this research, we introduce a self-training system for dance that employs VR technology to create an immersive training environment that facilitates a comprehensive understanding of three-dimensional dance movements. Furthermore, the system incorporates markerless motion capture technology to accurately record dancers’ movements in real time and translate them into the VR avatar. Additionally, the use of deep learning enables multi-perspective dance performance assessment, providing feedback to users to aid their repetitive practice. To enable deep learning-based dance evaluations, we established a dataset that incorporates data from beginner-level dances along with expert evaluations of those dances. This dataset was specifically curated for practitioners in a dance studio setting by using a total of four cameras to record dances. Expert annotations were obtained from various perspectives to provide a comprehensive evaluation. This study also proposes three unique automatic evaluation models. A comparative analysis of the models, particularly contrastive learning (and autoencoder)-based expression learning and a reference-guided model (where a model dancer’s performance serves as a reference), revealed that the reference-guided model achieved superior accuracy. The proposed method was able to predict dance performance ratings with an accuracy of approximately ±1 point on a 10-point scale, compared to ratings by professional coaches. Our findings open up novel possibilities for future dance training and evaluation systems.
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Deong, Danni, and Tae Deok Kim. "A Study on the Characteristics and Value of Chinese Yao Django Dance." Liberal Arts Innovation Center 15 (June 30, 2024): 399–438. http://dx.doi.org/10.54698/kl.2024.15.399.
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This study examined the characteristics and values of the Yao Django dance in various ways, including the diversity of the Yao and Yao Django dances, cultural characteristics, and rhythmic characteristics of the Jango dance, and analyzed the Yao and Yao Django dances from various perspectives. Although the Yao dance was included in the list of national intangible cultural heritages, it is difficult to transmit. Among the ethnic minorities, the Yao is a migrant ethnic group, and it contains the value of cultural heritage as it has various types of dango dance and characteristic elements under the influence of local culture. Therefore, this paper intends to classify the types of Yao and Janggo dances, accurately grasp the characteristics and values of Janggo dances, and provide reference materials to scholars who study Yao’s Janggo dances in the future. There are various types of five-jok dango dance, but the cultural meaning and customs contained in them are the same. From the perspective of dango, props, and props, this paper is mainly divided into small dango, medium dango, and large dango. From the perspective of dance expression form, it was analyzed mainly by dividing it into a small-wan dango dance, a festival dango dance, and a dango dance with both of the above functions. In the value of dango dance, physical value, historical value, and tourism value were examined. I hope this thesis will be an opportunity for more researchers to study the diversity of Yao culture and the Yao dango dance.
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Jia, Chao. "Changes of Dance Sports in Air Equipment Dance Performance Using Convolutional Neural Network." Mobile Information Systems 2022 (June 15, 2022): 1–11. http://dx.doi.org/10.1155/2022/5414269.
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Dance is an artistic form that relies on human body to interpret the beauty. The expression of the character image in dance works through the display of the actor’s limb language and their expression of intrinsic emotions, making dance works aesthetic and delivering delicate emotions and profound ideas. This article aims to study the change of dance form in the air equipment dance performance by convolutional neural network technology. This paper also proposes to track the position and scale of the dancer in convolutional neural network. When estimating the position and scale of the dancer, the discriminant correlation filter is used to obtain a training sample around the initial area. The experimental results show that the recognition rate of HOG characteristics in the combination of the follower and the combination of the inner flower was 42.8%, 40%, respectively, which was 3.33%, 29.2% higher than the combination of the flower. At the same time, only the identification rate of 53.3% in this paper in the combination of the inner flowers was lower than 60% of the reference method. The algorithm herein can maintain a certain identification for complicated dance actions, and it is still able to ensure a certain accuracy in the case of confusion in the background and target. The effectiveness of this action recognition algorithm for dance action recognition algorithm is verified.
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Risqi, Dini Permata, and Syahrul Syah Sinaga. "Musical Expression On The Ksyr Lestari Group’s The Sintren Art Of Luwijawa Village In Tegal Regency." Jurnal Seni Musik 11, no. 1 (June 30, 2022): 92–101. http://dx.doi.org/10.15294/jsm.v11i1.53017.
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The KSYR Lestari Sintren art group is an art group that has musical expressions in their performances with songs that are played and add various atmospheres to the performance of each scene. The songs of the Sintren art show involve the musical function of Sintren art dance performed by the KSYR Lestari group. This study aims to identify and explain the musical expression of the song type performed and the musical function of the Sintren art dance of the KSYR Lestari group. This study used a qualitative research method with a phenomenological approach and the data collection techniques used in this study are observation, interview, and documentation. The results of this study indicate that the musical expressions contained in the KSYR Lestari Sintren art through songs performed include; (1) Tempo, the song Dunung Ala Dunung is played at a slow tempo which expresses feelings of sadness, and the song Turun Sintren is played at a fast tempo which describes a happy expression. (2) Dynamic, in every song that is sung, there are dynamic changes (3) The style produces tones on four vocalists who have been selected according to the character of the voice and song. Sintren performance elements include; (1) Theme, (2) Dancer, (3) Fashion, (4) Makeup, (5) Movement, (6) Accompaniment, (7) Stage arrangement, (8) Lighting and sound system, (9) Property. The function of music in Sintren dance includes; (1) Music as a dance binder, and (2) Music as a dance illustration.
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Indrayuda, Indrayuda. "TARI TRADISIONAL DALAM RANAH TARI POPULER: KONTRIBUSI, RELEVANSI, DAN KEBERLANJUTAN BUDAYA." Humanus 14, no. 2 (November 30, 2015): 144. http://dx.doi.org/10.24036/jh.v14i2.5680.
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Recent development of dance performance is not only esthetical and artistic; it has improved farther along with social cultural changes and economic development, which is supported by the scientific and technological changes that have encouraged the improvement of the art and knowledge about dances. In choreographic learning in academic environment, the arrangement pattern in choreography is not limited to the conventional that the consequence of movement, but also a media for criticism and expression of the artists. Currently dance does not belong to certain tradition of a community but to individuals. The individual belonging of the dance is widely known as popular dance, both monumental and contemporary dance. In Indonesia, both monumental and contemporary popular dances tend not to be detached from their traditional idiom or spirit in their cultural choreographic background, even all of their arrangement source stems from traditional kinesthetic dance. This phenomenon becomes a new trend in dance creation and dance choreographic learning in Indonesia, many of which are developed by art academicians, art studios and workshops.
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Puspitaningrum, Windri Estri, and Katarina Indah Sulastuti. "TARI TOPENG SEKARTAJI ONĔNG RESULTS OF REINTERPRETATION OF TARI TOPENG SEKARTAJI TUNGGAL BY SULISTYO HARYANTI." Greget 22, no. 1 (July 31, 2023): 39–51. http://dx.doi.org/10.33153/grt.v23i1.4966.
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The Sekartaji Tunggal Mask Dance by Sulistyo Haryanti is an interpretation of the Sekartaji Mask Fragment which was reinterpreted to become the Sekartaji Onĕng Mask Dance. This study answers the problems of (1) the form of the Sekartaji Tunggal Mask Dance, (2) the process and results of the reinterpretation of the Sekartaji Tunggal Mask Dance by Sulistyo Haryanti to become the Sekartaji Onĕng Mask Dance. The method used in this qualitative research is descriptive analytics. In discussing the problem of form, the concept of form is used by Katarina Indah Sulastuti that form is related to dance or choreographic compositions which include interrelated elements, including motion, make-up, dance music, floor patterns, dramatic designs, properties, place and time of performance. Dharsono Sony Kartika discussed the reinterpretation of art that conceptually tries to reinterpret traditional art forms. By following with modern techniques and the artist's style of expression individually in expressing ideas, the creation of works of art can reinterpret traditional art idioms, as a model of conservation, and development, or also known as cultural personal expression. The results showed that the form of the Topeng Sekartaji Tunggal dance by Sulistyo Haryanti uses the movements of the developed Bedhaya and Srimpi Dances. The music for the dance refers to Fragmen, the clothing used refers to the character Sekartaji, the floor pattern uses straight and curved lines. The process and results of the reinterpretation produce the Topeng Sekartaji Onĕng Dance through the stages of preparation, exploration, improvisation, the training process, the stabilization/rehearsal stage and the reinterpretation results are carried out in the motion of the mask, the dance music adds songs and monologues. Corrective makeup uses a paes style mask with a dodot klembrehan dress. The dramatic design is reinterpreted with 5 peak points towards the climax and 4 descending points, the floor pattern emphasizes the curved line pattern.
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Han, Ae Jin. "Content Analysis of World Folk Dance in Primary School Physical Education Curricula." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 21 (November 15, 2023): 813–29. http://dx.doi.org/10.22251/jlcci.2023.23.21.813.
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Objectives The primary objective of this study is to investigate the significance of cultural education within the domain of world folk dance as integrated into primary school physical education curricula.
Methods The study applied open coding, axial coding and selective coding techniques rooted in grounded theory principles. The analysis encompassed eight distinct primary school physical education textbooks tailored for fifth-grade students, specifically focusing on the segment dedicated to folk expression through world folk dance. The research involved categorizing content by the countries of origin, dance types, and specific dance composi-tions, encompassing a comprehensive scope of 20 nations and 38 distinct dance works featured in these textbooks. This analysis aimed to delve into the realm of folk expression while concurrently examining its relation-ship with cultural education, with a particular focus on discerning patterns and characteristics within the realm of folk dance. Through the autoethnography as a qualitative methodology, this study connects the concepts of dia-spora and cultural hybridity. It explores diaspora space appeared in diaspora festivals and the world festivals that include folk dances.
Results The analysis of primary school physical education textbooks reveals three fundamental aspects of cultural education such as cultural identity, cultural diversity and cultural hybridity within the context of world folk dance. First, Cultural Identity: World folk dance serves as a conduit for students to connect with and express their cultural heritage. It provides a platform for celebrating one’s cultural identity through physical movement. Second, Cultural Diversity: The inclusion of folk dances from diverse nations exposes students to the rich tapestry of global cultures. This exposure fosters an appreciation for the diversity of human traditions, promoting tolerance and understanding. Finally, Cultural Hybridity: Some folk dances exhibit characteristics of cultural hybridity, where di-verse cultural influences merge to create unique dance forms. This aspect underscores the dynamic nature of culture and the interconnectedness of different societies.
Conclusions The study highlights the significance of world folk dance in primary school physical education curric-ula, particularly for fifth-grade students. World folk dance serves as a valuable tool for enhancing students’ non-verbal expressive abilities through physical movements, simultaneously deepening their comprehension of diverse cultural perspectives. By framing world folk dance as an integral facet of culture, the research encourages educators to provide optimal opportunities for students to engage in meaningful expression activities within the realm of cultural education. The integration of world folk dance into primary school physical education curricula enriches students’ cultural experiences and aligns with broader goals such as cultural identity, cultural diversity and cultural hybridity.
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Carter, Curtis L. "Somaesthetics and Dance." Contemporary Pragmatism 12, no. 1 (June 16, 2015): 100–115. http://dx.doi.org/10.1163/18758185-01201006.
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Dance is proposed as the most representative of somaesthetic arts in Thinking Through the Body: Essays in Somaesthetics and other writings of Richard Shusterman. Shusterman offers a useful, but incomplete approach to somaesthetics of dance. In the examples provided, dance appears as subordinate to another art form (theater or photography) or as a means to achieving bodily excellence. Missing, for example, are accounts of the role of dance as an independent art form, how somaesthetics would address differences in varying approaches to dance, and attention to the viewer’s somaesthetic dance experience. Three strategies for developing new directions for dance somaesthetics are offered here: identify a fuller range of applications of somaesthetics to dance as an independent art form (e.g. Martha Graham); develop somaesthetics for a wider range of theatre dance (e.g. ballet, modern and experimental dance); and relate somaesthetics to more general features of dance (content, form, expression, style, kinesthetics) necessary for understanding the roles of the choreographer/dancer and the viewer.
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Buchanan Murray, Melonie, and Steven Ross Murray. "The physical practice of dance and sport as cultural expression." Journal of Kinesiology & Wellness 6, no. 1 (November 1, 2017): 12–16. http://dx.doi.org/10.56980/jkw.v6i1.16.
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Dance and sport are both considered prehistoric forms of human physical activity. Cultural scholars agree that values and belief systems may be reflected through physical practice and the way individuals within a culture move. Given the current situation of globalization, in which various cultures mix with historically unprecedented regularity, the study of cultural dances and sport activities might inform us about those cultures. Perhaps, much in the same vein as de Coubertin attempted to use sport as a means to bridge cultural differences through the Olympic movement, the sharing of cultural dance and sport might encourage harmony among those with vastly differing cultural backgrounds. This manuscript explores ways in which connections between physical cultural practices of dance and sport have historically reflected cultural values, thereby providing an additional perspective for the importance of human physical activity as a means of studying and understanding human culture.
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Clemente, Karen. "Dance as Sacred Expression." Journal of Dance Education 8, no. 2 (April 2008): 37–38. http://dx.doi.org/10.1080/15290824.2008.10387356.
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Berardi, Gigi. "Dance as Symptomatic Expression." Dance Chronicle 26, no. 1 (January 5, 2003): 135–37. http://dx.doi.org/10.1081/dnc-120018858.
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Snowber, Celeste. "Dancers of Incarnation." Thème 25, no. 1 (January 7, 2019): 125–38. http://dx.doi.org/10.7202/1055243ar.
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In poetic, sensuous and visceral language this article explores how one liturgical dance artist, whose work as a dancer and educator was centered in dance and theology for decades was informed by an incarnational theology to break open a field of embodied inquiry now situated outside the field of theological studies. The article is in itself a dance consisting of five movements which trace the journey of a liturgical dance artist from theology to doxology, embodied prayer and embodied inquiry to dancing in nature as a cathedral. Here in creating and performing site-specific work in the natural world, all of living and being is an embodied expression of spirit. Attention is given to the Biblical foundation of bodily expression and wisdom, moving to the fields of arts-based research rooted in phenomenology and curriculum theory to open up an embodied and poetic scholarship. Here writing is artistic and scholarly, personal and universal, evoking a physicality through the senses where connections between the holy and ordinary are honoured. Dance, movement and the body are rooted in incarnational and poetic expression and represent a philosophy through the flesh where physicality and spirituality are deeply intertwined.
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Kristina, Ayu. "Tari Sufi dan Penguatan Pemahaman Keagamaan Moderat Kaum Muda Muslim (Studi Kasus Tari Sufi Karanganyar, Jawa Tengah)." Sosial Budaya 16, no. 2 (December 30, 2019): 137. http://dx.doi.org/10.24014/sb.v16i2.7036.
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Young Muslims as a driver of national change have an important role in introducing Islam that is friendly and open to the modern world. One of them is religious expression through Sufi dance developed by Jalaluddin Rumi. This study was conducted to find out how adolescents interpret Islam through Sufi dances and how Sufi dances that are followed can contribute to adolescents in daily life, especially in shaping attitudes and practices of moderate and tolerant religiosity. With a descriptive qualitative approach, through in-depth interviews from (8) informants who were determined based on purposive sampling the results of the study showed that Islam was interpreted as a pleasure, discipline, politeness that was not only illustrated through human relations with God but also humans and humans and other creatures around it. In social life a Sufi dancer must implement the noble character that is gained when studying Sufi dance. For example must be polite, and hap ashor (humble), patient, sincere, have peace of mind, educated, and able to control themselves.
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Milazzo, Kathy M. "The Cuna: An Expression of Cultural Preservation and Creole Identity in Nineteenth Century New Mexico." Congress on Research in Dance Conference Proceedings 2016 (2016): 260–65. http://dx.doi.org/10.1017/cor.2016.35.
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Spanish dance history begins in Roman times with the puellae Gaditanae, the temple dancers who expressed eastern Mediterranean fertility rites through a legendary sensuality. Nineteenth-century accounts of dance in New Mexico that allude to highly sensual movements suggest a continuation of this representation of the female dancing body. In an 1846 diary detailing her travels on the Santa Fe Trail, Susan Magoffin offers a report of the cuna as witnessed in a gambling hall in Santa Fe. Her descriptions echo accounts of notorious Spanish dances from previous centuries like the zarabanda and the zorongo—dances created at crossroads in the Spanish Americas where Spaniards, black Africans, Native peoples, and other Europeans intersected. Studies show that the Spanish language spoken by old New Mexican families contains many archaic elements that have been lost in other Spanish-speaking countries due to the State's isolated geographic location. Like Spanish terminology, were the cuna and other dances remnants of dances forgotten in other Spanish lands? In the first half of the nineteenth century, New Mexico progressed from a Spanish colony to the northern frontier of independent Mexico, before it was absorbed into the United States. Building on narratives found in eyewitness accounts, this paper will explore the role of dance as a preservation site of old Spanish practices as it was shaping a unique New Mexican creole identity.
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Nur Anisa Simbolon, Kristina Pujasari Sitompul, Sulastri Krisdayanti Sinambela, Reh Bungana Beru Perangin-angin, and Parlaungan Gabriel Siahaan. "Pelindungan Tarian Tortor Dan Gordang Sambilan Sebagai Ekspresi Budaya Tradisional Di Indonesia." Public Service and Governance Journal 5, no. 1 (January 11, 2024): 142–56. http://dx.doi.org/10.56444/psgj.v5i1.1234.
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The role of the local government of North Sumatra province in the development of Tortor Toba dance and gordang sambilan dance as performing arts that are expressions of traditional culture. EBT (traditional cultural expression) is a form of traditional intellectual property. Tortor is a dance, but the meaning more than the movements states that Tortor is a medium of communication, where through the movements displayed there will be interaction between participation in ceremonies, weddings, and also welcome. On the other hand, the lack of attention of the Indonesian government makes the Tortor dance has no copyright protection, therefore the author is interested in conducting further research on legal protection of the Tortor dance, the important role of the local government of North Sumatra province and the solution that can be provided by the government to the problem of claiming tortor and gordang sambilan dances by neighboring countries. This research uses qualitative descriptive research methods, with normative-empirical legal research types. Data collection techniques are interviews, documentation and data sources from the North Sumatra Provincial Culture and Tourism Office and the owner of the Sihoda dance studio. The finding in this study is that legal protection for Tortor's dance has not provided legal certainty specifically for Tortor's own dance, but the law recognizes the existence of regional arts.
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Rochayati, Rully, and Dewi Purwaningsari. "Karya Tari Sang Misionaris : Interpretasi Karya Misi Paulus Tjen On Ngiedi Keuskupan Pangkalpinang." Jurnal Pendidikan dan Penciptaan Seni 2, no. 2 (October 28, 2022): 92–102. http://dx.doi.org/10.34007/jipsi.v2i2.295.
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The Missionary is a dance work which is an interpretation of the work of Paulus Tjen On Ngie’s mission in the Pangkalpinang diocese area. The purpose of realizing this dance work is as an expression of his journey in proclaiming the gospel. The purpose of writing is as a from af accountability for the work. In addition, it is necessary to provide knowledge about the background of the work. The process of creating this dance creation methods, namely exploration, improvisasion, giving shape, and evaluation. These stages are combined with observations, interviewer, and documentation to strengthen the process of creating dance work. Related to this method, literature studies and recording in the from of videos or pictures are also carried out during the process is a dance work with a duration of 08.40 minutes. The from of dance work is very completeconsistingof title, dance moves, number of dancer, floor patterns, dance accompaniment mucis, dance properties, make-up, fashion, stage area, lighting.Overall this dance work is formed with a mature and planned concept and is complete according to the needs of the dance itself.
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King, Jayne. "WomenWork It On Out: An Intergenerational Encounter through Dance." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 151–60. http://dx.doi.org/10.1017/s2049125500000637.
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In “Dance Narratives and Fantasies” Angela Mc Robbie writes that for generations of women dance has represented “an arena for self expression … away from the difficulties of everyday life. … a symbolic escape route from the more normative expectations of young women.” “I dance because it … makes me feel free,” writes Ms Mae, one of twenty seniors who participated in Work It On Out, a community dance project that brought elders together with dance majors at Northwest Vista College. Sharing dances and stories about dance, we would form a unique intergenerational community to celebrate a woman's ongoing love affair with dance. Though dance is not something that old and young typically share, the exuberance in the simple acts of moving together created instant rapport. With Aretha crooning “freedom …” in the background, looking good and shaking our shoulders and hips was a “fem-positive” message of grace, dignity, and strength over circumstance, signified by the freedom of the body.
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Wu, Chunyang, Muhammad Fauzan Abu Bakar, and Boo Ho Voon. "Aesthetics of Hui Folk Dance as Audience Service to Leverage Audience Satisfaction." International Journal of Service Management and Sustainability 7, no. 1 (March 24, 2022): 125. http://dx.doi.org/10.24191/ijsms.v7i1.17783.
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Hui folk dance has its unique charm as an indispensable part of Chinese folk dance. It reflects the customs and cultural characteristics of the Hui nationality. This article explores the historical formation of Hui folk dance, analyses its formation process in different periods of history, analyses the culture, the body vocabulary of the folk dance, the music, the rhythm of the dance, the influence on the folk dance, and the expression of aesthetic consciousness. Folk dances of the Hui nationality originate from the folk, and they also show their unique living habits, combining dance with the details of life to outline their unique dance posture. Hui folk dance expresses the value of aesthetic emotions, aesthetic knowledge, and aesthetic ideals of dance through historical portraits, national spirits, and traditional canons. The formation, aesthetic consciousness, and aesthetic characteristics of Hui folk dance were analysed to better understand the history and culture of Hui folk dance, learn it, inherit it, promote it, and enrich it for sustainability. Dance aesthetics as part of audience service. The audience will be aesthetically satisfied and this will affect their behavioural intentions.
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Telaumbanua, Calvin Galileo, I. Made Ruta, and I. Wayan Karja. "Nias Tribe Tradition as an Ideas in Creating Painting." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 4, no. 1 (April 26, 2024): 115–22. http://dx.doi.org/10.59997/ctkr.v4i1.3645.
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The Maena dance, a cultural heritage from the Nias tribe on Nias Island, North Sumatra, Indonesia, is a traditional dance full of meaning and cultural values. This dance displays strong and dynamic movements, with dancers wearing traditional Nias clothing. Accompanying music, such as gondang, taganing, and tifa, creates a rhythm that strengthens the expression of the dance. The Maena dance depicts the strength, enthusiasm and unity of the Nias people. In this dance, vigorous war movements, high jumps symbolize courage, and expressive hand and eye movements express a variety of emotions. This dance is also used in various traditional ceremonies, cultural celebrations, and important moments in the lives of the Nias people. The Maena dance, as a source of creative ideas, inspires us to dig deeper into the cultural values and spirit of courage contained in this dance. Combining elements of Maena dance with modern art or developing new dances could provide a unique creative platform, celebrating Nias' cultural heritage while presenting a message of strength, unity and courage to today's generation.
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Lee, Kangsoon. "Exploring Physical Activity Examples and Terminologies in the Expression Areas of the 2022 Revised Curriculum Elementary School Physical Education." Institute for Education and Research Gyeongin National University of Education 43, no. 4 (December 31, 2023): 97–108. http://dx.doi.org/10.25020/je.2023.43.4.97.
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This study aimed to explore the physical activity examples and terminologies in the expression areas of the 2022 Revised Curriculum Elementary School Physical Education. This research employed a literature review methodology, specifically exploring “physical activity examples” and “physical education curriculum terms” presented at the conclusion of the revised 2022 elementary school curriculum. The results of this study are as follows. In the realm of physical activity examples, fundamental movements encompass locomotor activities such as walking, running, jumping on one foot, alternating jumping, following one foot, skipping, and sliding. Nonlocomotor movement expressions include activities like balancing, shifting the center of gravity, jumping with two feet, landing, extending, folding, twisting, turning in place, shaking, shaking, and more. Additionally, manipulative movement expressions, such as throwing, rolling, catching, hitting, bouncing, lifting, and turning, are essential components. It is necessary to modify basic movement expressions into creative rhythm expressions and include abstract expression, imitative expression, and tool-based expressions. Expressive activities include creative dance, Korean folk dance, folk dance of other countries, line dance, dance sports, and street dance. Additionally, the glossary should provide detailed explanations for every movement mentioned in the physical activity examples. In particular, it is necessary to present detailed descriptions of various locomotor movement expressions. As a follow-up study, it also recommends detailed, easy-to-understand explanation and research on the core idea, goal, and achievement standard of the curriculum.
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Salus, Carol. "Poetic Transformations in Matisse's Earliest Dance Images." Dance Research 39, no. 1 (May 2021): 6–32. http://dx.doi.org/10.3366/drs.2021.0320.
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Matisse's early dance paintings Joy of Life, Dance (I), and Dance (II) appear in countless art books in which their public receptions are repeatedly treated in a superficial manner. The fame of these works needs to be understood in a fuller context for students of dance and art. Matisse's early dance paintings are carefully examined in terms of their historical influences. His exposure to Isadora Duncan, Loïe Fuller, and the Ballets Russes is considered. The frequent citation of specific folk dances Matisse saw at the time he created these works is challenged. What becomes significant is how poetically Matisse transformed the many sources he absorbed into his own reductive style. Matisse's decades-long interest in dance is demonstrated by select examples from his dance oeuvre. Even as an invalid, Matisse continued to work with dance themes. His joy in watching dance and making dance works, including those for ballet, reflected his passion for colour, motion, and expression of the liveliness he saw in dance. It is hoped that this article can lead to more interdisciplinary scholarship and teaching between dance studies and art history.
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Azaglo, Alex Kwasi, Alice Korkor Ebeheakey, Benjamin Quarshie, and Prosper Kwaku Asiedu. "Conceptualizing the stylistic body movements in contemporary Ghanaian dances as performance art form." Journal of African History, Culture and Arts 2, no. 1 (April 25, 2022): 61–74. http://dx.doi.org/10.57040/jahca.v2i1.104.
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This paper attempts to conceptualize the stylistic body movements in contemporary Ghanaian dances through the aesthetic lenses of performance art. The expressiveness of performance art forms is frequently praised for the emotions we have toward them. These feelings are derived from the symbolic connotations and functionalities of the arts in life. Through an exploratory design of qualitative inquiry, the researchers focus on a contextual dialogue on the aesthetic visual presentations of selected contemporary Ghanaian dances as performance art forms. The critical content analysis of music videos was espoused to examine the stylistic body movements and gestures coded in some contemporary Ghanaian dances such as Azonto, Twerking, Kupe, Pilolo and Shoo as part of an empirical artistic study. Instruments for data collection were observation, document analysis and photography for the contextual visual content analyses grounded in semiotic and aesthetic theoretical discourse. This study again relied heavily on secondary data from recorded communication including music videos, books, transcripts, websites, newspaper articles, journal articles and the like to make objective inferences. The findings indicate that dance is the communication that occurs via the conduit of the dancer's body that ruptures individuals' independent existence and generates a sense of finitude. Whereas some of the dances make aggressively erotic visual statements, others are mere expressive gestural and body movements to simply entertain a targeted audience. The result further shows that, the contemporary Ghanaian dance performances transcend beyond mere entertainment but rather are an embodiment of body language emerging from the indigenous dance symbolisms. Teaching learners to perceive visual aesthetic qualities and symbolic interpretations in dance performances will deepen the appreciation of Ghanaian dance performances not just as entertainment but as another medium for expression to transmit their inherent messages. It is suggested that, these dance forms should be formalized as indigenous knowledge in a quest to blend tradition with modernity in our creative endeavours. This knowledge should be propagated through creative arts education in Ghanaian schools. Other performance art components displayed in contemporary Ghanaian dances including body painting, facial expressions, costumology and fashion accessories present another lacuna for further research by future researchers. Key words: aesthetics, dance, therapy, performance art, body, movement
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Hidajat, Robby, Suyono Suyono, Joko Sayono, Muhammad 'Afaf Hasyimy, Desy Ratna Syahputri, Syed Ahmad Iskandar, Iziq Eafifi Bin Ismail, and Norliza Bt Mohd Isa. "Tafsir Tari Zapin Arab dan Melayu dalam Masyarakat Melayu." Journal of Education, Humaniora and Social Sciences (JEHSS) 4, no. 2 (October 27, 2021): 1266–73. http://dx.doi.org/10.34007/jehss.v4i2.935.
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This article aims to describe and interpret the Zapin Arab and Zapin Malay dances. Zapin dance comes from Arabic and developed within the scope of the Malay community. At first the Zapin dance culture was brought by merchants from Gujarat to various regions in the archipelago in the XV century. Zapin dance has a heroic background, because the movement was originally a sense of uplifting the spirit of the companions of the prophet for war. The development of Zapin Arabic and Malay dances are both expressed in the form of performing arts. The problem in this research is focused on the structure of the Malay zapin dance. In order to approach this problem, the structuralism theory reference from Levi Strauss' model is used. Structural theory is applied to describe Malay society. The data were collected through statements and experiences of sources, observation, and document review, then analyzed descriptively qualitatively. Data analysis uses textual and contestual interpretations, namely interpreting denotative and connotative structures. This study concludes that, (1) the Arabic Zapin dance has Arabic cultural content, and (2) the Malay Zapin dance is an Islamic expression of Malay culture.
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Srivastava, Nikita, Priyanka Soni, Rajat Singh, Anchal Sharma, and Arun Kumar. "Unraveling the Importance of Indian Classical Dances on Mental Well-Being of Performers." International Journal of Social Science Research and Review 7, no. 8 (August 5, 2024): 24–41. http://dx.doi.org/10.47814/ijssrr.v7i8.2185.
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Dance has held significant importance in Indian culture and history. It has been used as a form of artistic expression, as a means of indulging in recreation and leisure, as a medium of conveying emotions like joy during special occasions of wedding and festivities. The mental health field has also recognised the importance of dance in recent years with dance movement therapy becoming popular worldwide. Ayurveda has emphasized the power that dance holds in healing and creating inner awareness. Various Indian philosophies support the idea of dance and music being beneficial for human physical and mental health. During the Aryan period, Nritya (dance) was linked to yoga, giving it a spiritual meaning. Dance forms were utilised by the Aryans to purify and strength the mental capabilities. The seven major Indian classical dance forms are Bharatnatyam, Kathak, Kathakali, Odissi, Kuchipudi, Manipuri and Mohiniattam. These dance forms possess three common aspects of Natya (drama), Nritta and Nritya (dance). There exists very limited research about the importance of these traditional dance forms in terms of improving mental well-being. Even though traditionally the traditional dances were deeply rooted in spirituality and philosophy. The present paper aims to examine how classical Indian dance forms can serve as a means of improving mental well-being by thoroughly reviewing literature.
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Schorn, Ursula. "The healing encounter of dance, Gestalt, and art based on Anna Halprin’s Life/Art Process." British Gestalt Journal 24, no. 2 (November 1, 2015): 14–20. http://dx.doi.org/10.53667/ppxw4748.
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"Abstract: Anna Halprin, influential American dancer and artist, in her search for new ways to activate the transformative potential in dance, integrated Fritz Perls’ approach to Gestalt therapy in her work, called Life/Art Process. Gestalt principles of awareness in the ‘here and now’ find a structure in the Principles of the Creative Process, a central theoretical model of the Life/Art Process offering a holistic approach to creativity. The experience of physical, emotional, and mental awareness through movement extends into the field of artistic expression in dance and visual arts. The creative encounter between dance and art follows guidelines of the Psychokinetic Visualisation Process as applied to therapeutic settings. Key words: transformative potential of dance, Gestalt and dance, Principles of the Creative Process, Psychokinetic Visualisation Process, from the narrative to the abstract, the intelli- gence of the body."
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Endrayadi, Eko Crys, Ali Badrudin, Erna Cahyawati, Anwar Anwar, and Rokhani Rokhani. "Ritual and Struggle: Movement of Banyuwangi Gandrung Dance from the Colonial Era to the Reformation." International Journal of Research and Innovation in Social Science VII, no. XII (2024): 800–807. http://dx.doi.org/10.47772/ijriss.2023.7012061.
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This research examines the Gandrung dance from a historical perspective from the Colonial to Reformation period in Banyuwangi Regency, Indonesia. The origins of the Gandrung dance cannot be separated from the historical roots of dance in Indonesia. The birth of the Gandrung dance was intended to clean the village by worshiping Dewi Sri or the Goddess of Rice as an expression of gratitude for the Using ethnic group for abundant harvests and for bringing prosperity to the community. Village clean ritual activities initially used male Gandrung dancers. The process of changing a Gandrung dancer from male to female contains metaphysical elements that are closely related to spiritual values. In the colonial period until the Reformation, Gandrung dance was no longer focused on as a dance art that contained mere ritual values but also contained political values and commercial entertainment. Gandrung Dance is not only involved in political activities but also tourism performances. The various changes that have occurred in the Gandrung dance show mean that the movement of the Gandrung dance in Banyuwangi has taken advantage of changes to be able to continue to survive amidst global cultural flows.
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Huan, Guozhi. "Dance drama "Never Gone Radio Wave": the challenge and significance of genre dimension, emotional expression and artistic expression." Advances in Education, Humanities and Social Science Research 11, no. 1 (July 16, 2024): 80. http://dx.doi.org/10.56028/aehssr.11.1.80.2024.
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With its rigorous creative attitude and exquisite dance skills, the dance drama "Never Gone Radio Wave" shows the perfection and romance of red theme dance creation and injects new vitality into spy war theme dance. Through subtle type deduction, technical support and detailed description, the revolutionary process and characters are portrayed more prominently. In shaping the characters in a specific background, the director not only highlights the main color, but also skillfully blends in other color blocks, which makes the dance drama have strong artistic expression. At the same time, the drama pays attention to the expressionist pursuit of subjective truth and transforms the fragmented historical materials into a ballet work, which fully embodies the challenge and far-reaching significance of this ballet.
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Arnold, Peter J. "Creativity, Self-Expression, and Dance." Journal of Aesthetic Education 20, no. 3 (1986): 49. http://dx.doi.org/10.2307/3332433.
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Loji, A. C. "Let’s dance: Diversified depictions of queerness in ensemble dance music videos." Queer Studies in Media & Popular Culture 6, no. 1 (March 1, 2021): 35–54. http://dx.doi.org/10.1386/qsmpc_00043_1.
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As delineations of queer and LGBT culture continue to be complicated in academic and community settings, queer musicians are pushing the boundaries of their own gestural expression within their music videos and utilizing the medium of dance to further broaden their self-definitions. Using choreographed group dance, a common convention in mainstream music videos, Sam Smith, Janelle Monáe and Christine and the Queens (and their production teams) make particular creative choices that allow them to expand expressions of identity and solidarity within both the queer community and society at large. In this article, I employ detailed analysis of the aesthetic qualities of three music videos and synthesis of scholarly perspectives as they relate to queer expression to argue that the creative freedom and collaboration inherent to the ensemble dance form provide a rich platform through which these artists can experiment with fluid conceptions of their identities and bring to popular culture the kinds of non-determinative outlooks explored in conceptualizations of queer theory.
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Vidzemniece, Valda. "MĪLA CĪRULE: A LATVIAN IN THE WORLD OF MODERN DANCE." Culture Crossroads 7 (November 14, 2022): 194–204. http://dx.doi.org/10.55877/cc.vol7.240.
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Mīla Cīrule (1891–1977) is one of the first Latvian dancers who went in for the genre of modern dance at the beginning of the 20th century. At the end of the 1920s the dancer earned her recognition in Germany and Austria, and her name was mentioned among the most striking modern dance choreographers in France in the 1930s; her contribution to teaching dance was also appreciated. Mīla Cīrule is the first Latvian dancer who has become internationally renowned in the field of modern dance. The aim of this research is to follow the development path of Mīla Cīrule’s creative work by gathering information and analysing artistic influences which have created the unusual creative personality aspects of the dancer. Mīla Cīrule was born in Riga; however, she started her dance career in Russia in Ellen Tels’ (Эллен Тельс) school. This school followed Isadora Duncan’s artistic criteria in their creative principles. In parallel with acquisition of free dance, the young dancer attended classical dance classes at soloist Mikhail Mordkin’s (Михаил Михайлович Мордкин) school of the Moscow Bolshoi Theatre (Большой театр). After meeting Mary Wigman and studying the philosophy of German expressionist dance, Mīla Cīrule rethought the principles and expressive means of her art; she refused unnecessary ostentation, and sought an individual way of expression. “Mīla Cīrule’s choreographies are high quality works of art which speak volumes about the choreographer’s rich world of ideas and a good sense of form, while her dance technique is always perfectly adapted to the contents of the staging production” [Dārziņš 1938]. In her staging productions Mīla Cīrule combined an expressive style with very well-considered and precise principles of form creation. In her creative work the brave reliance upon instinctively found movements of the Wigman School always complied with a strict sense of drama structure and subtlety of details that had been acquired from Ellen Tels’ aesthetics of the pantomimic staging productions. As an original and extraordinary personality, Mīla Cīrule is not similar to any artist of her time in her creative work. She adopted and accumulated everything she had learned at many dance schools, and she passed it through the prism of her personality.
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Suhesti, Merry, and Desfiarni Desfiarni. "MAARAK BUNGO LAMANG." Jurnal Sendratasik 9, no. 1 (May 1, 2020): 1. http://dx.doi.org/10.24036/jsu.v8i3.108132.
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AbstractMaarak Bungo Lamang Dance is a result of the creation of dance creations based on the life phenomenon of the Durian River of the South Solok district in order to celebrate the day of the Prophet Maulid. In this regard, the tradition of society that has a sense of gratitude for the day of the Prophet Maulid in a festive way is not separated from the Islamic faith. The dance work "Maarak Bungo Lamang" is an interpretation of the community tradition of the river Durian in welcoming the Prophet's Maulid by means of a journey around the village along with Shalawat-Shalawat. It is as an expression of gratitude for the Prophet's Maulid day. The dance works were performed by 7 dancers, 3 male dancers and 4 female dancers as well as 13 Pendukkung dancers for the early dances, expected to be a new form of dance creations. Program artwork is aimed at adding a wealth of dance artwork, as well as an educational platform for new artists.Keywords: Maarak Bungo Lamang
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Karlina, Dina. "The Legal Protection of Ngajat Lesung Dance as a Copyright for Traditional Cultural Expressions." JURNAL USM LAW REVIEW 6, no. 2 (September 30, 2023): 873. http://dx.doi.org/10.26623/julr.v6i2.7334.
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<p><em>Traditional art must be protected as it is included in Intellectual Property Rights (IPR), including Copyrights. The Copyright law aims to protect works of art created by artists. In addition, it can facilitate individual creativity or expression for the broad benefit of humanity, ensuring that the rights to property owned by artists are recognized, respected and can be defended on actions that violate their rights. Ngajat Lesung dance is a traditional dance that belongs to the Village of Sejuang, Seluar District, Bengkayang Regency. The empirical legal approach is the method for conducting this research. This method involved by directly collecting predetermined data and information. The collected results were then collected and analyzed to determine how the implementation of Legal Protection for Ngajat Lesung dance as a Copyright of Traditional Cultural Expressions in Seluas District, Bengkayang Regency. Copyright Legal Protection for Ngajat Lesung dance has yet to be carried out optimally by the Regional Government of Bengkayang Regency through the Department of Youth, Sports, and Tourism. This is because the efforts made by the Regional Government have not been maximized to educate artists regarding the protection of Copyright law for traditional culture, causing the artist's ignorance of the importance of protection for the work that has been made. In addition, the artist thinks that registering the Copyright for Traditional Dances requires a large fee and is very expensive. Therefore, the Regional Government of Bengkayang Regency through the Youth, Sports, and Tourism Service, is expected to pay more attention and educate to help the artists inventory and register Ngajat Lesung Dance. This dance is part of various Traditional Cultural Expressions in the field of Intellectual Property. Registering the Copyright of Ngajat Lesung Dance and having it listed as a Traditional Cultural Art with the Directorate General of Intellectual Property is important. </em></p>
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Wang, Xiangyu. "Evaluating Body Rhythm Elements as Applied in Classical Dance Teaching Topic for Thesis." International Journal of Education and Humanities 12, no. 2 (February 1, 2024): 214–17. http://dx.doi.org/10.54097/jsx5e041.
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Focusing on the application of rhythm in Chinese classical dance, this article deeply explores the importance of rhythm in Chinese classical dance by analyzing its expressive forms and artistic effects. The article first analyzes the characteristics of rhythm in Chinese classical dance, including diversity, hierarchy, and close integration with music. Furthermore, this article elaborates on the role of rhythm in shaping dance images, expressing themes, and guiding audience emotions, revealing how rhythm enhances dance expression through change and control. In addition, the article also explores how dancers can enhance their dance skills and artistic appeal by accurately grasping and applying rhythm.