Journal articles on the topic 'Learning to Dance'
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Supeni, Siti. "JAVANESE TRADITIONAL ART-DANCE AS THE IMPLEMENTATION OF CHARACTER EDUCATION OF CHILDREN TO SUPPORT CHILD FRIENDLY SCHOOL." RESEARCH FAIR UNISRI 4, no. 2 (August 15, 2020): 48. http://dx.doi.org/10.33061/rsfu.v4i2.4517.
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The purpose of the research is to: ( I) identify character education of children in various Javanese traditional dances, (2) to analyze the needs, output, problems. and learning objectives of child-friendly schools (CFS) in applying character education based on regional dance by interviewing a dancer trainer and a professional dancer who have experiences in creating and practicing the dances, and (3) to identify types of Javanese traditional dance values inside the dances. the types of research is through literary studies, interviews, surveys, observations, and documentation. To analyze the data, the researchers useResearch & Development. The findings show that (1) identification of charactereducation in various Javanese traditional dance, (2) there are the needs, output, problems, and learning objectives of child-friendly schools (CFS) in implementing character education based on regional dance, and (3) types of Javanese traditional dance values from.
Keywords: Javanese Traditional Dance, Character Education, Child-Friendly School
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Zakiyati, Nur Muaffah, Agus Cahyono, and Syakir Syakir. "Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri." Catharsis 9, no. 1 (May 31, 2020): 28–37. http://dx.doi.org/10.15294/catharsis.v9i1.39033.
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The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and interpreting. The cultural value of Kethek Ogleng Dance can be seen in the dance moves, the performing techniques, dancers, time, drama, and technique. The cultural values that are seen from the knowledge obtained is from learning in the Studio and formal schools. Skillis the process of training artists to the dancer of Kethek Ogleng in the studio. Attitude, the artist teaches the attitude of dancer Kethek Ogleng that the talent possessed must be delivered.
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Nevile, Jennifer. "Learning the Bassadanza from a Wolf: Andrea Calmo and Dance." Dance Research 30, no. 1 (May 2012): 80–97. http://dx.doi.org/10.3366/drs.2012.0035.
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For Roberto Pettini Important information about dancing and social values is sometimes found in unexpected places, such as the letters of Andrea Calmo, a sixteenth-century Venetian actor and playwright. These letters not only provide corroboration of information and attitudes to dance contained in the sixteenth-century Italian dance treatises, but also highlight how dance was regarded by a member of the middle-classes in Venice. As well as having a general appreciation of dance, which he saw as an enjoyable and moral activity, Calmo was knowledgeable about dance specifics and accurate in his use of dance terminology. In fact, Calmo's knowledge of dance practices was extensive enough to enable him to use specific dance references as a tool in creating the humour in his letters. His references to dances and dance steps also look back to the fifteenth-century Italian practice, and these references provide further information on the unresolved question as to the length of time quattrocento dances continued to be popular in the succeeding century.
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Darmawan, Dominikus Reynard, Erdhi Widyarto Nugroho, and Ridwan Sanjaya. "Learning Traditional Denok Dance With Kinect Game." Journal of Business and Technology 1, no. 2 (August 9, 2021): 43. http://dx.doi.org/10.24167/jbt.v1i2.3511.
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Nowadays, culture exchange is so much easier, with the foreign culture walk in to Indonesia, our traditional culture start to be forgotten, one of them is our traditional dance. And also, studying our native culture is considered something outdated. That why its needed a new media to make our traditional culture more modern so not become forgotten. One of the media which can be used is a game and a technology called kinect, with both of it, can be made a simulation game of our traditional dance, so it can be a media for introducing our traditional dance or help to train the dancer.
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Georgios, Lykesas. "The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music - Movement Education and Creative Dance in the Preservation of Our Cultural Heritage." Journal of Education and Training Studies 6, no. 1 (December 22, 2017): 104. http://dx.doi.org/10.11114/jets.v6i1.2879.
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Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society.Our culture is going through a constant process of mutation. Some traditional elements get lost, while others resist and survive or get transformed and readjust to new emerging circumstances.The aim of the present study is to investigate the learning process of Music/ Movement Education and Creative Dance within the context of the “second existence” of dance, and the way in which this learning process can effectively save and preserve the characteristic cultural traits of the "first existence" of the traditional dance.The experiential way of learning and transmitting dance from one generation to the other, is characterized as “the first existence” of dance. Changes in modern social, political and economic conditions have influenced the Greek traditional dance, which has acquired a more entertaining and tourist-commercial character, while its educational character has transformed going through teacher-centered educational processes. Having undergone this change, the traditional dance is now defined as “the second existence” of folk dance. The conversion of the traditional dance from its "first existence" into its "second existence" is supported and interpreted by the three components of the dancing process, the so-called “communication triangle”: the dancer, the dance and the viewer. The adoption of the particular approach of Music - Movement Education and Creative Dance in teaching Greek traditional dances can preserve and convey a large part of our cultural heritage to the new generation.Only by learning their country’s history and culture will the young generations be able to learn their own identity and make the best of the past in order to live more happily today and create a better future.
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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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McCormick, John, Steph Hutchison, Adam Nash, Kim Vincs, Saeid Nahavandi, and Douglas Creighton. "Learning to replace a human: A virtual performing agent." International Journal of Virtual Reality 15, no. 1 (January 1, 2015): 18–22. http://dx.doi.org/10.20870/ijvr.2015.15.1.2865.
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In this paper we describe two artworks, Recognition, an outdoor interactive installation and Instrumental a live dance performance. In both works a performing agent has learnt sequences of movement from a dancer and uses these to stand in for a human performer. The agent uses an Artificial Neural Network to learn to dance from the human dancer and can perform in the human's stead. In Recognition the agent's movement is used when there are no humans present in order to keep continuity of the installation. In Instrumental the agent becomes a performing partner of a live human dancer, able to recognize the dancers movement and synthesize movement sequences based on the human dancer's movements.
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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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Carey, Michael. "Learning to Dance." Iowa Review 20, no. 1 (January 1990): 50–51. http://dx.doi.org/10.17077/0021-065x.3837.
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Jackson, Fleda Brown. "Learning to Dance." Iowa Review 21, no. 1 (January 1991): 101. http://dx.doi.org/10.17077/0021-065x.3966.
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Keller, Nicole. "Learning to Dance." Harvard Educational Review 83, no. 1 (March 26, 2013): 96–97. http://dx.doi.org/10.17763/haer.83.1.n2570781548626w6.
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When I was three years old, I was enrolled in my first ballet class. I loved the tights and tutus and pink, though a future in the ballet I did not have. I learned to plié and pas de bourrée, but, due to the dramatic nature of my untimely departure from the art form at the ripe age of nine, I developed a perception of myself as ungraceful. Not one for wallowing, I soon thereafter discovered my next and lasting passion: writing.
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Mabingo, Alfdaniels. "Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda." Research Studies in Music Education 42, no. 2 (June 28, 2019): 231–47. http://dx.doi.org/10.1177/1321103x19843202.
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The subject of the inseparability of music and dance in African artistic experiences has preoccupied scholars and researchers in the field of ethnomusicology, ethnochoreology, and musicology. Commonly, music is conceptualized as an accompaniment to dance. Moreover, the existing literary perspectives frame the inseparability of music and dance in African communities in aesthetical, structural, functional, and semiotic terms. This article provides an intellectual excursion that locates music as pedagogy of dances in African practices. It offers a critical examination of how teachers of cultural heritage dances in nonacademic environments in central Uganda engage music as a pedagogic aid. I draw on the idea of choreomusicology and social learning theories to locate the place of music in dance not just as an accompaniment, but also as a teaching and learning aid. A total of eight dance teachers were engaged through storytelling, interviews, and inquisitorial observation for a period of nine months to elicit their reflections on and interpretations of application of music as a pedagogic stimulus in teaching cultural heritage dances. The findings revealed that elements of music such as songs, mnemonics, instrumental sounds, body percussion, and drum rhythms are key drivers in guiding and framing the teaching and learning processes of the dances. Through music, the dance teachers provoke learners to individually and communally embody, experience, question, abstract, experiment with, concretize, and conceptualize kinesthetic and historicized movement knowledge and skills of the dances. Music scaffolds and staircases learners into kinesthetic journeys of embodied knowing, experiential agency, constructive thinking, creative and reflective imagination, socialized connectivity, and corporeal action. The article provides insights into how music and dance practitioners in Western and non-Western traditions can leverage music to facilitate holistic pedagogic and creative processes of dance.
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Waworundeng, Jacquline Morlav, Fergie Joanda Kaunang, Deddy Tampanguma, and Iksan Iksan. "Implementation of Android-based Application for learning Legu Salai Dance." Abstract Proceedings International Scholars Conference 7, no. 1 (February 11, 2020): 2133–41. http://dx.doi.org/10.35974/isc.v7i1.1698.
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The development of the technology has influenced the way of learning. Besides the conventional learning, the Android-based applications which run on smartphones potentially become complement for learning process. The implementation of Android application has developed in various fields including art and culture. This research mainly discusses about the implementation of the Legu Salai dance learning application, which is built based on Android and testing the functionality of the application. The purpose of making the application is to introduce the Legu Salai dance, to provide related information about the dance and as a learning tool of the dance movements. The research stage uses the Waterfall methods which is modeled by Unified Modeling Language. The application is built using the Java programming language, while the testing process uses the black box testing method. User who want to learn the Legu Salai dance can install the applications on Android smartphone and can accessed the available features. The application can display information about Legu Salai dance in the form of text, images, audio and video. The test results indicate that the application can function according to its design. This application can be an alternative medium to learn and introduce the Legu Salai dance as one of Indonesia’s cultural wealth. For future development, the features of the application can be extended by adding the information about the variation and formation the Legu Salai dance and also provide the information about the traditional costume which is wear by the dancer.
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Bengi, Suciati Simah, Yusnizar Heniwaty, and Dilinar Adlin. "PENGEMASAN TARI GUEL DALAM BENTUK KARTU POS SEBAGAI MEDIA PEMBELAJARAN." Gesture : Jurnal Seni Tari 7, no. 1 (December 31, 2018): 18. http://dx.doi.org/10.24114/senitari.v7i1.11903.
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Abstract-This study discusses Guel dance learning media created in the form of postcards. Aims to be able to direct students in identifying, appreciating, and expressing dances of the Gayo area, especially Guel dance. Theories used in the research of packaging theory according to Cahyorini and Rusfian (2011: 28), theory of learning media according to Heinich in Susilana (2016: 06), and graphic media theory according to Susilana and Riyana (2016: 14) Packaging is a theory used for graphic design, in terms of producing the product, and the image media in the form of postcards used to make Guel dance material as a learning medium. The time of the study was conducted from August to October 2017. The research site was at Sanggar Renggali Jalan Merah Mege Hakim Bale Bujang Laut Tawar, Central Aceh District. The population of several artists Gayo and all members of Sanggar Renggali because learning Guel dance is a dance learning materials in schools in Takengon and Samples are 2 people Gayo artists and 2 dancers dance Guel. Data collection techniques include observation, interview, literature study, and documentation, and then analyzed by qualitative descriptive method. Based on research that has been done Guel dance is a tradition dance Gayo community that has been used as learning materials in the schools of Middle Secondary in Central Aceh district. Guel dance which is packed in the form of postcards as a medium of learning with menggunkana first step of planning is preparing the material, determining the location, selection of dancers, and prepare the facilities and infrastructure. The second step of implementation is taking photos, editing process, then the last step is the completion of postcards and final writing. And produces packaging of learning media of Guel dance that is in the form of postcard. Keywords: Packaging, Guel Dance, Postcard Media
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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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Widiatry, Widiatry. "PERANCANGAN MEDIA PEMBELAJARAN TARI TRADISIONAL KALIMANTAN TENGAH BERBASIS ANDROID." Jurnal Teknologi Informasi Jurnal Keilmuan dan Aplikasi Bidang Teknik Informatika 13, no. 2 (October 22, 2019): 70–78. http://dx.doi.org/10.47111/jti.v13i2.257.
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To advance the knowledge of people outside the world of art, especially traditional dance in Central Kalimantan requires the existence of a software technology, because at this time the delivery of information is still manual and still looking for information by visiting this traditional dance studio, so that with the Android-based learning media this is the delivery of information to be quick and easy in learning traditional dance. In this study, the stages of research are generally divided into two parts, namely (i) literature study and observation, (ii) the Waterfall model with analysis and design stages. In the analysis section the application needs are searched to determine the properties of learning media that will be created using Unfied Modeling Language (UML), namely use case diagrams, activity diagrams, and class diagrams. By designing this Android-Based Traditional Dance Learning Media it can facilitate the learning process, demonstration, and practice of learning outcomes of dances from the knowledge gained in this android system and application
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Kico, Iris, and Fotis Liarokapis. "Investigating the Learning Process of Folk Dances Using Mobile Augmented Reality." Applied Sciences 10, no. 2 (January 14, 2020): 599. http://dx.doi.org/10.3390/app10020599.
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Learning how to dance is not an easy task and traditional teaching methods are the main approach. Digital technologies (such as video recordings of dances) have already been successfully used in combination with the traditional methods. However, there are other emerging technologies such as virtual and augmented reality that have the potential of providing greater assistance, in order to speed up the process as well as assisting the learners. This paper presents a prototype mobile augmented reality application for assisting the process of learning folk dances. Initially, a folk dance was digitized based on recordings from professional dancers. Avatar representations (of either male or female) are synchronized with the digital representation of the dance. To assess the effectiveness of mobile augmented reality, it was comparatively evaluated with a large back-projection system in laboratory conditions. Twenty healthy participants took part in the study, and their movements were captured using motion capture system and then compared with the recordings from the professional dancers. Experimental results indicate that augmented reality (AR) application has the potential to be used for learning process.
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Sitti Rahmah, Yusnizar Yusnizar, and Tuti Rahayu. "Packaging Audio Visual Media in Tatak Tintoa Serser in Learning of Dairi Dance." Britain International of Linguistics Arts and Education (BIoLAE) Journal 1, no. 2 (November 23, 2019): 153–59. http://dx.doi.org/10.33258/biolae.v1i2.68.
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Tatak Tintoa Serser is one of the traditional dances of the Pakpak Dairi community which illustrates the mutual cooperation attitude in the lives of farmers in farming. Tatak is a term used to refer to dance to the Pakpak Dairi community. This study focuses on the preparation of instructional media in the form of VCDs from the Serser Tintoa Tatak which is closely related to the social understanding of the Dairi community. The objectives of this study are (1) Identifying the artistic structure of dance as outlined in the show (2) Arranging dance learning media in the form of VCD. This study uses a qualitative approach, by conducting interviews with informants (artists, art practitioners, community leaders, academics) because it deals with meaning and context, data collection and analysis that take place simultaneously. The program, with research subject Tatak Tintoa Serser, which is packaged in the form of Audio Visual, the research sample is Dance Education Study Program students who are used as models in making media. This research produces a VCD media product that contains the techniques of motion in the Tatak Tintoa Serser, terms in motion, and the meaning of dance that can be a source of learning in learning Dairi Dance. Product validation is carried out by media expert validation and material expert validation which shows the product's feasibility, and has been tested with Dance Education Study Program students in the Pakpak Dairi Dance course TA 2018/2019
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Rothmund, Irene Velten. "Daring in dance–Bachelor Students in Dance Developing Life Skills for the 21st Century." Nordic Journal of Dance 11, no. 2 (December 1, 2020): 30–40. http://dx.doi.org/10.2478/njd-2020-0011.
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Abstract This article investigates how to find connections between dance education and the development of life skills for the 21st century by interpreting students’ experiences of daring in dance. The article draws on a section of my PhD thesis that focuses on BA students’ lived experiences in modern and contemporary dance. The project is informed by hermeneutic phenomenology, and the material consists of eleven students log books and interviews. One of the main themes in the material is daring in dance, which is connected to a transformative learning process. In this article I dig more deeply into the embodied dimension of such learning process and discuss how the result of this process can be interpreted as developing life skills for the 21st century. The analysis shows that becoming a professional dancer is a vulnerable process, encompassing both fear of failure and learning to trust one’s own competencies. Several of these competencies point toward skills recognised as important to learning in the 21st century, such as flexibility, problem solving, self-direction and social skills. By focusing on everyday embodied experiences of daring in dance, this research provides one example of the development of life skills in higher education based in empirical research.
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Raheb, Katerina El, Marina Stergiou, Akrivi Katifori, and Yannis Ioannidis. "Dance Interactive Learning Systems." ACM Computing Surveys 52, no. 3 (July 27, 2019): 1–37. http://dx.doi.org/10.1145/3323335.
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Anami, Basavaraj S., and Venkatesh Arjunasa Bhandage. "A Comparative Study of Certain Classifiers for Bharatanatyam Mudra Images' Classification using Hu-Moments." International Journal of Art, Culture and Design Technologies 8, no. 2 (July 2019): 58–71. http://dx.doi.org/10.4018/ijacdt.2019070104.
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India is rich in culture and heritage where various traditional dances are practiced. Bharatanatyam is an Indian classical dance, which is composed of various body postures and hand gestures. This ancient art of dance has to be studied under guidance of dance teachers. In present days there is a scarcity of Bharatanatyam dance teachers. There is a need to adopt technology to popularize this dance form. This article presents a 3-stage methodology for the classification of Bharatanatyam mudras. In the first stage, acquired images of Bharatanatyam mudras are preprocessed to obtain contours of mudras using canny edge detector. In the second stage, Hu-moments are extracted as features. In the third stage, rule-based classifiers, artificial neural networks, and k-nearest neighbor classifiers are used for the classification of unknown mudras. The comparative study of classification accuracies of classifiers is provided at the end. The work finds application in e-learning of ‘Bharatanatyam' dance in particular and dances in general and automation of commentary during concerts.
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Nielsen, Erica, and Natalie King. "Online Learning in Dance Education." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 193–96. http://dx.doi.org/10.1017/s2049125500000686.
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Traditionally, dance learning has involved two modes of delivery: visual and verbal instruction. A teacher explains and corrects, demonstrates, and gives tactile feedback to teach students about ideas through movement. She may find it difficult to contextualize concepts through verbal explanation alone and could spend hours searching for appropriate supplements. Even then, students unfamiliar with dance vocabulary and uncomfortable with abstract movement could run into frustration through this limited approach. Education requires a variety of stimuli, and dance education in particular can benefit greatly from the advantages of online learning tools. This presentation will show you how dance educators can easily incorporate twentyfirst-century technologies into their classrooms, thereby enhancing students' comprehension of theories such as feminism.
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Dubbels, Brock. "Dance Dance Education and Rites of Passage." International Journal of Gaming and Computer-Mediated Simulations 1, no. 4 (October 2009): 63–89. http://dx.doi.org/10.4018/jgcms.2009091504.
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The experience of a successful adolescent learner will be described from the student’s perspective about learning the video game Dance Dance Revolution (DDR) through selected passages from a phenomenological interview. The question driving this investigation is, “Why did she sustain engagement in learning?” The importance of this question came out of the need for background on how to create an afterschool program that was to use DDR as an after school activity that might engage adolescents and tweens to become more physically active and reduce the risk of adult obesity, and to increase bone density for these developing young people through playing the game over time. The difficulty of creating this program was the risk that the students would not sustain engagement in the activity, and thus we would not have a viable sample for the bone density adolescent obesity study. Implications of this study include understanding the potential construction of learning environments that motivate and sustain engagement in learning and the importance of identity construction for teachers to motivate and engage their students. In addition to the analysis of sustained engagement through the four socio- and cultural-cognitive theories, four major principals were extracted from the operationalized themes into a framework for instructional design techniques and theory for engaging learners for game design, training, and in classroom learning.
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Gardner, Sally. "Beyond anthropomorphism: Odissi and the botanical." Studies in South Asian Film & Media 4, no. 2 (October 1, 2012): 157–65. http://dx.doi.org/10.1386/safm.4.2.157_1.
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Drawing on experiences that have entailed watching and learning forms of so-called ‘Indian dance’ (Bharata Natyam and Odissi), and watching Odissi dancers performing in various locations in Orissa’s ‘sacred triangle’ (Puri, Konark, Bhubaneswar), and against my own background in contemporary dance, I propose that the difference of the Odissi body is that the dancer dances with his or her feet in more than one kingdom – that is, he or she maintains a link between human bodies and the bodies of plants. Such a perception can help to displace questions of the dancer’s spatiality and representations, challenging western or westernized visions of the industrial or mechanical body, assumed hierarchies of body parts and their signifying powers, and assumptions about the role of the joints. The sense of a botanical imaginary or specific cultural body-schema at work in Odissi dance is supported by discussion of historical and ethnographic literature pertaining to the (former) female dancers of the Jagannath Temple in Puri; the temple’s links with Oriyan tribal cultures; the dancers’ traditional importance according to an axis of social auspiciousness/inauspiciousness as opposed to social purity/impurity; and the particular processes of the reconstruction of Odissi dance (separate from that of Bharata natyam) after independence.
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Wijayanti, Arwendis, and Lilik Dwi Kurniawati. "Pembelajaran Tari Tradisional Penthul Melikan." Jurnal Inovatif Ilmu Pendidikan 1, no. 1 (February 7, 2021): 36–44. http://dx.doi.org/10.23960/jiip.v1i1.18016.
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The objective of this research was to 1) the implementation of traditional Penthul Melikan dance learning in the Penthul Melikan studio and 2) constraints on the learning process of traditional Penthul Melikan dance in the Penthul Melikan studio. The research method used is qualitative descriptive. The subject of this research was dance students aged 4-6 years totaling 10 children and 2 dance trainers. The collecting data technique has conducted by observation, interview and documentation study. The data analysis techniques in this research were qualitative by Miles and Huberman. The research results has shown that: 1) the implementation of traditional Penthul Melikan dance learning which consists of opening, core and closing activities, dance trainers always give appreciation to the dance movements that children do in praise making it easier for children to receive dance learning and 2) constraints on the learning process of traditional Penthul Melikan dance is weather, communication between child and dance trainers, childrens abilities are different and there are no written results in dance learning. Advice in teaching of traditional Penthul Melikan dance learning in children is dance trainers easily and pleasantly so that children easily catch and imitate dance movements Keywords: Learning, traditional penthul melikan dance,children age 4-6 years.
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Yoder, Linda J. "Cooperative Learning and Dance Education." Journal of Physical Education, Recreation & Dance 64, no. 5 (June 1993): 47–56. http://dx.doi.org/10.1080/07303084.1993.10609977.
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Ai, Hiroyuki, Ryuichi Okada, Midori Sakura, Thomas Wachtler, and Hidetoshi Ikeno. "Neuroethology of the Waggle Dance: How Followers Interact with the Waggle Dancer and Detect Spatial Information." Insects 10, no. 10 (October 11, 2019): 336. http://dx.doi.org/10.3390/insects10100336.
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Since the honeybee possesses eusociality, advanced learning, memory ability, and information sharing through the use of various pheromones and sophisticated symbol communication (i.e., the “waggle dance”), this remarkable social animal has been one of the model symbolic animals for biological studies, animal ecology, ethology, and neuroethology. Karl von Frisch discovered the meanings of the waggle dance and called the communication a “dance language.” Subsequent to this discovery, it has been extensively studied how effectively recruits translate the code in the dance to reach the advertised destination and how the waggle dance information conflicts with the information based on their own foraging experience. The dance followers, mostly foragers, detect and interact with the waggle dancer, and are finally recruited to the food source. In this review, we summarize the current state of knowledge on the neural processing underlying this fascinating behavior.
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Alistiana, Lisa. "Proses Kreativitas dan Apresiasi Seni Dalam Pembelajaran Seni Tari Bagi Mahasiswa PIAUD UIN Sunan Ampel Surabaya." Attadrib: Jurnal Pendidikan Guru Madrasah Ibtidaiyah 3, no. 2 (September 29, 2020): 19–25. http://dx.doi.org/10.54069/attadrib.v3i2.106.
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This study aims to develop creativity and appreciation of art in learning dance for students of UIN Sunan Ampel Surabaya PIAUD. Learning dance is very useful for PIAUD students because it can improve the ability to learn dance in art appreciation activities. Creativity in this research is to create a new thing in individual learning. In general, creativity and appreciation lead to the process of moving that drives someone in an action. Desires that must continue to be fostered for the process of learning dance one of them with a form of appreciation, because in the form of appreciation of art contains a beauty or aesthetic dance moves, as well as expression in learning dance know that dance creation also contains a beauty. The process of dance work will be an aesthetic experience for students who are in line with their educational interests through learning dance. This process is carried out continuously so that the appreciation of PIAUD students towards dance as expected and will increase and have creativity towards learning dance when they become kindergarten teachers.
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Purnamasari, Intan. "PEMBELAJARAN TARI MERAK BAGI SISWA TUNAGRAHITA RINGAN DI SLB C CIPAGANTI BANDUNG." PEDAGOGIKA: Jurnal Pedagogika dan Dinamika Pendidikan 6, no. 2 (February 5, 2020): 115–27. http://dx.doi.org/10.30598/pedagogikavol6issue2page115-127.
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Learning Merak Dance For Lightweight Students Of Disabilities At SLB C Cipaganti Bandung.This research is the background of the difficulty of dance learning for children with lightweight disabilities. Learning dance at SLB C Cipaganti Bandung has a high level of difficulty when compared with dance learning in ordinary schools, Because the students are lightweight children with disabilities,who have difficulty in motor and concentration, while in dancing is needed strong motion, concentration and memory On every movement on a dance. This study aims to determine the Learning Process, Media, Methods and evaluation used in Learning Dance Merak For Students lightweight disabilities in SLB C Cipaganti Bandung. Approach in this research is qualitative with research method used is Descriptive. The result of the research shows that in the learning of Merak dance in SLB C Cipagati Bandung from learning process, media and methods and learning evaluation have not run well where the dance teacher is not from dance education, the teacher does not make the learning planning, the learning is done according to his experience. And Besides, the lack of interest in learning Studentsdance Merak.
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Jae, Hwan-Jung. "Dancing Self, Rehearsing Democracies: Learning “More than Dance” Through Dance." Dance Research Journal of Dance 76, no. 6 (December 31, 2018): 237–50. http://dx.doi.org/10.21317/ksd.76.6.13.
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Iversen, Anette Sture. "Dance as a Cultural Meeting Point." Nordic Journal of Dance 5, no. 1 (June 1, 2014): 4–11. http://dx.doi.org/10.2478/njd-2014-0002.
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Abstract Dance as a cultural meeting point is a project that Dance in Schools, Norway, executed in three schools in Oslo during the spring of 2013, with funds from The Norwegian Directorate for Education and Training. The funding was to be given to projects that would, amongst other things, help schools reach curriculum objectives, increase the use of varied working methods, increase the pupils’ understanding of different cultural expressions and experience art. The project included a one-day workshop, a survey and reports from two observers. One class in three different schools got an introduction to Norwegian folk dance, hip hop, Bollywood and creative dance, and created and performed dances to each other in small groups. Dance in Schools’ aim was to gather information about the pupils’ knowledge of and experience with dance, contribute to increasing the pupils’ and teachers’ understanding of dance and how dance can stimulate learning, and social competence. The cultural meeting intended to be the meeting of dance forms and pupils from different cultures. The most important cultural meeting, however, turned out to be between the pedagogues’ dance culture and the pupils’ school culture.
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Sastre, Cibele. "Learning/teaching, creating and performing through LBMS." Journal of Dance & Somatic Practices 12, no. 1 (August 1, 2020): 95–106. http://dx.doi.org/10.1386/jdsp_00015_1.
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This article presents Laban/Bartenieff movement studies (LBMS) experiments through pedagogical procedures and creative processes. It comprises artistic and performative perspectives in choreography and dance education from a nineteen years’ research within master and doctorate studies. Laban’s Motif writing shifts its main function to act as a trigger for creative processes. Besides, somatic serenities, as an important body state for the production of presence, are encouraged in somatic‐performative practices that include LBMS into dance programme courses in Rio Grande do Sul. The concept of somatic serenities is introduced to develop an inner‐outer body connection state as an intimate experience with dance, which produces knowledge. This text considers performative dance practices and practice as research as an LBMS teaching methodology in dance courses in the south of Brazil.
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Bashaw, Barbara. "A Historical Exposition of Dance Education in the U.S. : The Emergence of Creative Dance Learning at Teachers College." Dance Research Journal of Dance 79, no. 2 (April 30, 2021): 251–62. http://dx.doi.org/10.21317/ksd.79.2.14.
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DN, Rr Ruth Hertami, Dilinar Adlin, and Deo Demonta Panggabean. "GROUP DEVELOPMENT PLAY IN THE DANCE MOVEMENT." Journal of Community Research and Service 2, no. 2 (May 9, 2019): 206. http://dx.doi.org/10.24114/jcrs.v2i2.13147.
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AbstractThe movement that had been carried out in Early Childhood Education (PAUD) in the Cahaya and Manca playgroups in Delitua village was only on gymnastics or sports. The most basic cause is the absence of competent teachers in the field of dance movement. In addition, the available teachers do not understand optimally about how to provide dance material that is right at the age of the children in the playgroup. Based on this situation, the proposed team through the Coaching of Playgroups in Dance Motion, fostering and strengthening dance activities for children Light playgroups, as well as four teachers in the Manca playgroup. The method applied is guidance and stabilization of mastery of dance movements for the age of children, namely: (1) Butterfly dance which includes hand, foot, head, shoulder and hip movements, and (2) Flower Party dance which includes motion hands, feet, head, shoulders, and hips. Through this guidance and consolidation, 2 (two) new dances appeared, which were appropriate for the age of the children and packaged in audiovisual media, so that they could be used as learning media in the two playgroups.Keywords: Playgroup, Butterfly dance, Flower Party dance.
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Pangestika, Fahmida Yuga, and Setyo Yanuartuti. "Pembelajaran Mandiri Seni Tari Melalui Konten Youtube sebagai Inovasi Pembelajaran Masa Kini." Gondang: Jurnal Seni dan Budaya 4, no. 2 (December 4, 2020): 144. http://dx.doi.org/10.24114/gondang.v4i2.18098.
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This paper aims to analyze the response of connoisseurs through independent learning through Ombyak Trimurti Dance through Youtube content that serves to hone dance skills and get to know other regional arts. Ombyak Trimurti dance uploaded by the channel of the Department of Tourism and Culture of East Java Province ‘Culture and Art’ is a creative dance originating from Ponorogo Regency, with its proud achievements, the dance received a positive response from elementary school to high school students. This makes researchers who are also the stylists of the Ombyak Trimurti dance very important to appreciate the responses of appreciators or students. Youtube content as an 'Learning Resource for Art' by presenting dance videos can do independent learning with mimicking or observing techniques. This study uses a qualitative approach and is supported by data in the form of dance videos that emphasize independent learning outcomes through imitation techniques. The conclusion of this study is the independent learning of dance through YouTube content which is the response of the community as connoisseurs of dance art from various circles provides inspiration that learning can be done anywhere with any learning resources and the presence of Youtube content is able to provide new insights and knowledge that is to know the special arts from other regions.
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Alferov, Sergey V. "VOICING THE MOVE: DISCURSIVE PRACTICES OF SCOTTISH DANCE INSTRUCTION." Вестник антропологии (Herald of Anthropology), no. 2 (54) (June 10, 2021): 177–97. http://dx.doi.org/10.33876/2311-0546/2021-54-2/177-197.
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Bridging dance anthropology and multimodal discourse analysis, the article focuses on language used to teach and/or describe various versions of the pas de basque step in Highland, Scottish country, Scottish step and “called” Ceilidh dancing of Scotland. It analyses pedagogic discourse observed during on- and offline classes and dance events across the globe alongside the author’s own embodied experience as a Scottish dancer, learner and teacher. When examining culturally and somatically contextualised uses of English in Scottish dance pedagogy, the article takes into account a range of dance manuals and instructions published between 1950 and 2020 by the Royal Scottish Country Dance Society, the Royal Scottish Official Board of Highland Dancing, the United Kingdom Alliance of Professional Teachers of Dancing and other organisations and individuals. Revisiting issues of communicating (and delegating) authority, (re)shaping the dance tradition(s) and providing/refraining from regulation, the study is aimed at helping to better appreciate the mutual interconnectedness between pedagogic discourse, on the one hand, and dance learning and teaching as an embodied social and cultural experience, on the other.
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Dearborn, Karen, and Rachael Ross. "Dance Learning and the Mirror: Comparison Study of Dance Phrase Learning with and without Mirrors." Journal of Dance Education 6, no. 4 (October 2006): 109–15. http://dx.doi.org/10.1080/15290824.2006.10387323.
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Mabingo, Alfdaniels. "Teaching African Dances in the Caribbean: Horizontal Interpenetration and Afrocentricity in Jamaica." Journal of Black Studies 49, no. 8 (June 17, 2018): 735–55. http://dx.doi.org/10.1177/0021934718780561.
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This article examines how pedagogy of African dances can act as a site where issues of Afrocentricity and horizontal interconnection can be activated, negotiated, and embodied. I draw on the selected reflections of the participants in dance workshops and my experiences as a teacher of Ugandan dances in Jamaica to demonstrate how pedagogy allowed the learners to embody, deconstruct, and conceptualize kinaesthetic, storied, and musicalized dance material as valued and valid knowledge that is anchored in the worldviews, dignities, and ontologies of indigenous Ugandan communities from where the dances originate. The article frames pedagogy of the dances as an epistemological and ontological framework through which the learners sought to know, think, do, question, connect, and become. For people of African descent, partaking in teaching and learning processes of the dances created possibilities for cultural connections through experiential, imaginative, participatory, and reflective dance activities. The analysis further reveals how teaching dances from African cultures, a subject that is treated as insignificant within academic and artistic thought, positioned me to en/counter, rationalize, and address the challenges, dilemmas, and anxieties surrounding Black dance scholarship. It is hoped that this article can expand discourses on how African dances can be engaged as valued and valid epistemological and ontological domains in scholarship and practice to pluralize creative and cultural thought and empower communities and liberate their bodies of knowledge that have been dispossessed by Western hegemonic epistemological canons.
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Georgios, Lykesas, Dania Aspasia, Koutsouba Maria, Nikolaki Evgenia, and Tyrovola Basiliki. "The Effectiveness of a Music and Movement Program for Traditional Dance Teaching on Primary School Students’ Intrinsic Motivation and Self - Reported Patterns of Lesson Participation." Mediterranean Journal of Social Sciences 8, no. 1 (January 26, 2017): 227–36. http://dx.doi.org/10.5901/mjss.2017.v8n1p227.
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Abstract Research evidence on traditional dance teaching has shown how important it is for primary school education to institute reforms and present new ways of intervention in order to contribute effectively to the overall development of the child's personality. The aim of this research is a) to demonstrate the effectiveness of a music and movement instructional program on traditional dance learning, in terms of primary school students patterns of self-reported positive learning experiences and active lesson participation and b) to examine its impact on students’ internal motivation to play and dance with a more enjoyable and creative mood. During a period of six months 80 students (34 boys and 46 girls) aged between 9-10 years old, took part in the research. They were divided into two groups, the experimental group (N = 40) and control group (N = 40). The experimental group was taught Greek traditional dances according to a Music and Movement teaching model, while the control group was taught the same dances with a direct teaching model. The impact of the two models on students’ motivation to participate actively during the lesson was tested with the use of the Intrinsic Motivation Inventory (IMI). The results showed that the use of Music and Movement teaching models can have a positive impact on students’ intrinsic motivation and active participation in the course of traditional dance.
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Wang, Yang, and Qingtang Liu. "Effects of Game-Based Teaching on Primary Students' Dance Learning." International Journal of Game-Based Learning 10, no. 1 (January 2020): 19–36. http://dx.doi.org/10.4018/ijgbl.2020010102.
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The article explored the effects of game-based teaching on primary student dance teaching and learning. Two semesters of dance teaching and learning conducted by the same teacher were analyzed. In the first semester, the teacher taught dance in a traditional way. In the second semester, the teacher taught dance with a serious game in the teaching design and implementation. Results indicated that the use of the serious game improved teacher and students co-engagement in the teaching activities. It enhanced classroom interactions and student learning satisfaction, as well as the teacher's serious game acceptance. Results supported that the serious game was helpful to primary student dance teaching and learning.
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Bellerose, Christine. "On the Lived, Imagined Body: A Phenomenological Praxis of a Somatic Architecture." Phenomenology & Practice 12, no. 1 (March 30, 2018): 57–71. http://dx.doi.org/10.29173/pandpr29358.
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"On the Lived, Imagined Body" is a reflective remembering from the point of view of a movementperformance artist's training session learning to dance with imagined wings when in her livedexperience, the body of the dancer is aware somatically of moving with wings that do not actuallyexist. The overarching conceptualization in this article describes the inner-outer tensions, thekinesthetic, somatic, proprioceptive penetration inward and the visual-kinetic, imaginative reachoutward. The landmark work from dance phenomenologist Maxine Sheets-Johnstone (1966/2015),The Phenomenology of Dance, prompted the author of this article to translate an embodiedexperiential and imagined event for readers who might never have had the experience of a somaticmovement training of dancing with imagined wings as a lived experience. The phenomenology ofdancing as if with lived and imagined wings is developed further as a result of two week-longpresencing workshops taught by contemporary dancer-choreographer and somatics teacher BenoîtLachambre (2015/2016). For movement artists and dance practitioners, experiencing imaginarywings as lived wings means experiencing movement through mindful awareness and consciousintention of a praxis of somatic architecture.
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Chao, Hsiao-Wen, Chien-Chih Wu, and Chia-Wen Tsai. "Exploring the Effects of Blended Learning, Flipped Learning, and Online Remedial Teaching on Improving Students' Learning Performance and Motivation." International Journal of Technology and Human Interaction 17, no. 3 (July 2021): 98–114. http://dx.doi.org/10.4018/ijthi.2021070107.
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The maturation of digital and technological learning in recent years has prompted a global transformation of teaching approaches. The aim of this research is to effectively improve students' learning motivation and their performance of dance skills. Through a quasi-experimental research design, teaching research was conducted with four different teaching approaches including blended learning (BL), flipped learning (FL), online remedial teaching (ORT), and traditional teaching during an 18-week term. The subjects of study were 199 university students in four sections of a dance course. Analysis based on the research results shows that BL is significantly more effective than FL in improving the learning effects of students 'dance skills; it is also significantly more effective than ORT and traditional teaching in improving students' learning motivation, and student reaction to two aspects, “value” and “expectancy.” In addition, students receiving FL not only have better “task value” than students receiving ORT.
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Raheb, Katerina El, Marina Stergiou, Akrivi Katifori, and Yannis Ioannidis. "Moving in the Cube." Journal on Computing and Cultural Heritage 14, no. 2 (June 2021): 1–26. http://dx.doi.org/10.1145/3427379.
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Labanotation is one of the most used systems for notating, analysing, and preserving movement and dance, an important part of Intangible Cultural Heritage. Labanotation consists of a powerful expressive symbolic language for documenting movement with a long history in dance research, history, and anthropology since its introduction by Rudolf von Laban in the beginning of the 20th century. A number of valuable scores in this language are curated in both physical and digital archives throughout the world, describing both traditional dances and works of historical choreographers. Nevertheless, while Labanotation is considered the official language of dance scholars, it is not at all popular among dance educators, students, practitioners, and choreographers. In fact, few people of the dance community are familiar with it. One of the reasons is that it is considered a quite difficult symbolic system with a long learning curve, and practitioners are not easily motivated to learn it. Together with dance experts, we co-designed a movement-based experience in Kinect, based on the principles of playful design, to introduce dance and non-dance experts to Labanotation introductory concepts and symbols. We evaluate the experience with both people that have experience in dance or other movement practices, as well as participants with no expertise in movement or dance. The results show promising findings toward changing the attitude of the participants toward Labanotation, and all participants seemed to memorize or start learning the logic of this symbolic language for movement. We discuss the results of the evaluation on the whole experience and the potential of this symbolic language in the digital environment, as well as the potential and challenges that arise from this experiment based on the background of the participants, the limitation of the applied technology and interaction, as well as feedback on the introduced symbolic language.
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Dewi, Mutiara Sari. "SEQUENTIAL EXPLORATORY: PEMBELAJARAN SENI TARI BAGI CALON GURU MADRASAH IBTIDAIYAH DI MASA PANDEMI COVID-19." Elementeris : Jurnal Ilmiah Pendidikan Dasar Islam 2, no. 1 (July 1, 2020): 18. http://dx.doi.org/10.33474/elementeris.v2i1.6888.
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This study aims to analyze: 1) the learning conditions of dance during the Covid 19 pandemic; and 2) media, learning methods, and learning resources used in learning dance for prospective Madrasah Ibtidaiyah teachers during the pandemic Covid 19. Learning dance for prospective Madarasah Ibtidaiyah teachers was chosen as the theme and / or part of the research variable based on the consideration that it has complex problems during the Covid Pandemic period 19. This research is a mixed method research with sequential exploratory research type. The research subjects consisted of 34 prospective Madrasah Ibtidaiyah teachers who were taking dance education courses at the Madrasah Ibtidaiyah Teacher Education Study Program, Islamic University of Malang. Data collection techniques are done through indirect interviews (personal chat, email, and Google form) and documentation (video dance assignments). The results showed that: 1) the learning conditions before and during the Covid 19 pandemic were very different. In fact 85% of prospective teachers state that learning dance is more comfortable to be carried out before the Covid pandemic 19. Only 31% of prospective teachers feel the effectiveness of dance learning. 2) Online learning media (tools) in the form of whatsapp applications, a combination of question and answer methods, discussions, lectures and hands-on practice, and YouTube as a reference source chosen and declared effective in learning dance during the Covid 19 pandemic.
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Bito, Gregorius Sebo, and Fredy Fredy. "ETHNOMATHEMATICS: MUSICAL INSTRUMEN IN JA'I DANCES FOR CULTURALLY RESPONSIVE TEACHING IN ELEMENTARY SCHOOLS." PrimaryEdu - Journal of Primary Education 4, no. 2 (September 30, 2020): 183. http://dx.doi.org/10.22460/pej.v4i2.1853.
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In cultural responsive learning, teachers need to have the ability to explore mathematical phenomena in cultural elements as learning content. This research is a qualitative descriptive study aimed at exploring ethnomathematics in Bajawa traditional dances, namely the Ja,i dance, its relevance to competency standards and basic mathematics competencies in elementary schools. The approach used is ethnographic. The technique used is observation and study of documents and the researcher himself acts as the main instrument. Observations were made on the accompanying music devices contained mathematical concepts. Furthermore, researchers compare with the basic competencies of elementary school mathematics. The results showed mathematical material was found in the musical instrument section of Ja,i dance. The surface of the gong and the drum (gendang) are circular, the body of the large drum is frustum of a cone, and the gendang laba kagu, laba bhuga and gong are tube-shaped. In the middle of the gong there is a kind of lump which is shaped like a half ball. The implementation of this research can be applied in cultural responsive learning in elementary schools.Keywords: ethnomathematics, learning, cultural responsive, jai,i dance
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Rosala, Dedi, and Agus Budiman. "Local Wisdom-based Dance Learning: Teaching Characters to Children through Movements." Mimbar Sekolah Dasar 7, no. 3 (December 31, 2020): 304–26. http://dx.doi.org/10.17509/mimbar-sd.v7i3.28185.
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The character education implementation in every school becomes a program of national education system policy in Indonesia. Its orientation is more focused on advancing national character development based on local wisdom and unique culture in Indonesia. The authority of the Indonesian education system policy program in strengthening character education covers religiousness, nationalism, independency, mutual cooperation, and integrity with the development of local wisdom-based learning materials. The purpose of this research is to discover the process of dance learning implementation in students’ character education development. This research employs quantitative with descriptive statistics data analysis. The data were collected through an observation of 22 primary school students during a dance learning process and in-depth interviews to two dance teachers to obtain data regarding local wisdom-based dance learning implementation to develop students’ characters. The findings show that character education developed in local wisdom-based dance learning can be done through various learning activities such as appreciation and introduction of traditional dance materials, instilling values, independent and group study to build independency and mutual cooperation, and familiarize students to pray before and after learning. These are to plant local wisdom values through dance movement learning.
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Peterson, Tim O., Claudette M. Peterson, Cynthia L. Krom, and Brian A. Griffith. "Dance? I Can’t Dance! Developing an Understanding of Mental Models Through Line Dancing." Management Teaching Review 1, no. 4 (August 20, 2016): 226–41. http://dx.doi.org/10.1177/2379298116663170.
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Mental models guide our attitudes and direct our actions. Senge defined a mental model as a deeply ingrained set of assumptions, generalizations, or images that influence how we understand and respond to the world around us. Line dancing is an example of a process that includes many types of mental models. In fact, each dance is a mental model of its own. In addition, we each come to dancing with our own mental models about dancing and our self-concept. In this article, we share experiences of using line dances in classes as a way to help students be engaged while learning about a complex topic. Three sets of supplemental materials are included: (a) music suggestions, video links, and steps to help teach each dance; (b) suggestions to apply line dancing in various business courses; and (c) reflections on dance and mental models by the instructors.
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Voneline, Quinta Dianda, Susmiarti Susmiarti, and Indrayuda Indrayuda. "FAKTOR-FAKTOR PENGHAMBAT MINAT SISWA KELAS X PADA PEMBELAJARAN SENI BUDAYA(TARI) DI SMK NEGERI 9 PADANG." Jurnal Sendratasik 10, no. 2 (December 5, 2020): 124. http://dx.doi.org/10.24036/jsu.v9i2.110755.
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This study aims to describe the factors inhibiting the interest of class X students in learning cultural arts (dance) at SMK Negeri 9 Padang where students are less inclined in learning cultural arts (dance) and do not have a good response, because this research focuses on the problem of student interest in learning cultural arts (dance). This type of research is qualitative research with descriptive methods. The research objects were students of class X Ph4 and the arts and culture teachers of SMK Negeri 9 Padang. The instruments in this study were the researchers themselves and the researchers were assisted by instruments such as writing instruments, cellphones, and laptops. The technique of collecting data results by means of interviews, observation and documentation. Data were analyzed using steps, namely data reduction, data collection, verification and conclusions. The results of the research in class X Ph4 showed that the inhibiting factors of interest in learning were influenced by students' lack of attention in the learning process, then the attitude of students who were not polite to the teacher when explaining dance learning. Interest in learning is also influenced by the talents of students, in learning dance talent is very supportive of success in imitating dance movements. Students who have talent will tend to listen to the material well then students who have a sense of pleasure in learning will respond to the material optimally. Students' motivation is very lacking in learning dance as a result, students are reluctant to take part in learning dance practices, only some students want to take part in learning.Keywords:factors inhibiting interest in learning dance
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Risner, Doug. "Dance & Sexuality: Opportunities for Teaching and Learning in Dance Education." Journal of Dance Education 5, no. 2 (April 2005): 41–42. http://dx.doi.org/10.1080/15290824.2005.10387283.
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Riyaningsih, Etik, Maryono Maryono, and Harini Harini. "Establishment of Learners’ Character Through Learning Traditional Dance in Senior High School." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 13–27. http://dx.doi.org/10.15294/harmonia.v18i1.12575.
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This research was conducted to describe the character establishment of learners through learning dance in terms of the learning process, exercises and elements of traditional dance. This research was conducted to find and explain the process of learning traditional dance in the development of learners’ character establishment. This research data is in the form of information, documents and learning process collected through interview, literature study and observation. Meanwhile, triangulation method is done to test the validity of data from those various sources. The result shows that learning the traditional dance of Bajul Mahambara can enrich the experience of learners and on the other hand train the intellect and sense by understanding the characters of local wisdom contained in traditional dance. Learning traditional dance can give a positive influence in establishing the character of learners which are (1) religiosity; (2) honesty; (3) responsibility and cooperation; (4) tolerance; (5) discipline; (6) creativity.