Relevant bibliographies by topics / Male dancers

Contents

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

Academic literature on the topic 'Male dancers'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Male dancers"

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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping." Baltic Journal of Sport and Health Sciences 1, no. 120 (April 15, 2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.

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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz. Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found. Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer. Keywords: DanceSport, ballroom, kinematics, partnering, statistical parametric mapping.
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I N. N, Yadnya, Ramendra D. P., and Utami I.A.M.I. "JARGONS USED BY MALE BALINESE DANCER AT SANGGAR SENI MANIK UTTARA SINGARAJA." International Journal of Language and Literature 3, no. 1 (September 4, 2019): 17. http://dx.doi.org/10.23887/ijll.v3i1.20602.

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This study aimed at analyzing forms, meaning, and function of jargons used by male Balinese dancer at Sanggar Seni Manik Uttara Singaraja. This study was conducted in descriptive qualitative method. the subject of this study were 2 dancers of Traditional Balinese Dance especially male dancer in Sanggar Seni Manik Uttara Singaraja. In this study, the methods of data collection were observation and interview. The result of this study represents there are 22 jargons used by male Balinese dancer at Sanggar Seni Manik Uttara Singaraja in which jargons were classified and investigated based on word formation processes and word class. There are 5 affixations, 5 nouns, 2 verbs, 7 compounding, 3 reduplications. The meaning of jargons was analyzed based on the context of male Balinese dancers’ conversation, picture, and interview. Additionally, this study denotes there are three function of jargons used by male Balinese dancer, to make communication effectively, to show the identity of the dancer and the last is to build the solidarity among Balinese dancer.
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Triana Titania Manuaba, Ida Ayu, I. Wayan Dibia, and I. Ketut Sariada. "A Dance Work Representing Ida Bagus Blangsinga’s Life Journey (The Maestro of Kebyar Duduk Dance in Blangsinga Style)." Journal of Aesthetics, Creativity and Art Management 1, no. 1 (April 17, 2022): 31–36. http://dx.doi.org/10.59997/jacam.v1i1.1594.

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This work aims to represent the figure of Ida Bagus Blangsinga, a master of the Kebyar Duduk dance in Blangsinga style. The method of creation used in this work uses the creation method which includes assessment, experimentation, and formation. This method is easily understood by the stylist to express and visualize several scenes in the work. The form of the chosen work is a new creation dance, because it provides space for development according to the wishes of the stylist. This work is danced by six female dancers and one male dancer using soft make-up and fashion that supports each part of the work. This work uses the fan and reverberation properties. This dance is made as a contribution to the development of Balinese dance especially to the new generation.
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Aksu, Neslihan, Vefa Atansay, Taner Aksu, and Işık Karalök. "Patellofemoral Chondropathy Areas in Folk Dancers: An MRI Study." Medical Problems of Performing Artists 36, no. 1 (March 1, 2021): 34–38. http://dx.doi.org/10.21091/mppa.2021.1005.

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BACKGROUND: Patellofemoral chondropathy (PFC) is one of the most important causes of patellofemoral pain syndrome. PFC may occur as a result of anatomic reasons such as patellar malalignment and/or increased patellofemoral joint stresses. Most research on this subject has involved sports injuries and anatomic variations. The literature is scarce on PFC related to the dance. METHODS: Fourteen dancers (14 knees, all male) were found to have PFC based on MRI evaluations and clinical examinations between January 2010 and December 2019 (3 dancers were excluded due to prior surgeries of the knee). Age, sex, side of injury, range of motion, Q angle, types of dances, body mass index, and patellar specifics (alta, baja, Wiberg) were recorded for 11 dancers included in the study. We observed PFC at the femoral contact areas (FCA) and patellar contact areas (PCA) of Goodfellow description. RESULTS: Chondral lesions were observed at Gooodfellow areas FCA-3 in 2 dancers, FCA-4 in 5 dancers, PCA-2 in 10 dancers, PCA-3 in 10 dancers, and PCA-4 in 9 dancers. CONCLUSION: Dance styles that include frequent deep flexions and strolling on a flexed knee joint may be risk factors for chondral lesions in the contact area of the femur in male dancers.
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Jagošová, Anna. "Slovácko Verbuňk as a Tradition and Performance." Národopisný věstník 82, no. 1 (June 30, 2023): 29–40. http://dx.doi.org/10.59618/nv.2023.1.02.

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The Slovácko verbuňk is a solo male dance of jumping nature. Originally, it was part of military recruiting and was danced by soldiers or, much more often, by the recruiters. Verbuňk had many functions. Some of them, for example the psychological and the symbolic and social ones, have already disappeared, some others, such as the identification, erotic, and competitive ones have survived to date. It is due to the competitive feature of the dance that a “dance race” has been organized at the International Folklore Festival in Strážnice since its foundation; the Festival has given rise to the Contest for the Best Dancer of the Slovácko Verbuňk. This has significantly changed the form of the Slovácko verbuňk - for example, the Contest has supressed the improvisation, but increased the awareness of the dance and attracted many dancers who want to learn it. The performance of the Slovácko verbuňk by child dancers is a phenomenon of the last twenty years. This fact has its supporters and opponents among Slovácko verbuňk dancers and leaders of folk ensembles.
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Jubb, Caroline, Leann Bell, Sonja Cimelli, and Roger Wolman. "Injury Patterns in Hip Hop Dancers." Journal of Dance Medicine & Science 23, no. 4 (December 15, 2019): 145–49. http://dx.doi.org/10.12678/1089-313x.23.4.145.

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Hip hop dance is becoming increasingly popular. It is performed in a variety of environments and can be fused with other dance styles. There is limited research on this dance demographic. The object of this study was to record and assess the injury patterns and diagnoses of hip hop dancers who presented to a dancer injury clinic at the Royal National Orthopaedic Hospital (RNOH) in London over a 5-year period. Of the 800 patients who attended the clinic, 73 (28 males, 45 females) identified themselves as hip hop dancers. The mean age of these dancers was 26.1 years (± 6.59 years). The majority were professionals (49%) and the next largest group was students (31.5%). The most common site of injury was the knee (36%), followed by the lumbar spine (19%) and the foot and ankle (15%). The site of injury appeared to be influenced by the sub-style of hip hop the dancer performed. There were gender differences in knee injuries; male dancers predominantly sustained meniscal injuries (45%) and female dancers primarily sustained patellofemoral pain (60%). All lumbar disc injuries were at the L5/S1 level. These results are comparable to those of previous studies investigating injury in hip hop dancers. More research is needed to explore injury etiology, develop injury prevention measures, and increase awareness of the injury complexities in this dance population.
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Nordin, Sanna M., and Jennifer Cumming. "The Development of Imagery in Dance: Part I: Qualitative Findings from Professional Dancers." Journal of Dance Medicine & Science 10, no. 1-2 (June 2006): 21–27. http://dx.doi.org/10.1177/1089313x06010001-206.

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A series of two studies was undertaken to investigate the development of imagery among dancers and how dance teachers might affect the imagery development process. The first study is reported here, the second in Part II. For the present study, in-depth semi-structured interviews were conducted with 14 female (n = 9) and male (n = 5) professional dancers from a range of ages and dance forms. The recorded interviews were transcribed verbatim and content-analyzed with NVivo 4.0. Results fell into three categories: Early Experiences, Teachers, and Imagery Changes. Findings included few dancers having been taught about imagery, and that dancers often preferred teachers who gave plenty of images so that each dancer could use images that suited his or her own needs. As dancers became more accomplished, imagery typically changed toward more frequent, complex, and kinesthetic images. Suggestions for further research and ideas for practical application are provided.
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Widyanarto, Widyanarto, Febrianti Febrianti, and Mega Lestari Silalahi. "Symbolic Study- Representation in Nyongsong Dance." Jurnal Seni Tari 12, no. 2 (November 30, 2023): 166–74. http://dx.doi.org/10.15294/jst.v12i2.75430.

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Nyongsong dance tells of the activities of clove harvesting farmers in the Anambas Islands. Harvesting cloves includes climbing, picking, crushing, and drying cloves. This research is qualitative. The data collection technique was carried out by researchers through participatory observation, and the data analysis stage used qualitative descriptive methods. The presentation of the Nyongsong dance consists of three rounds, act 1 presents the farmers climbing and picking cloves symbolized by up and down movements exploring the clove tree setprop, act 2 presents the activity of crushing cloves symbolized by female dancers exploring the movement of ukel and exploring the properties of the jute sack by male dancers, and in act 3, the activity of farmers drying cloves is presented, symbolized by seven dancers exploring brown cloth together. This Nyongsong dance used corrective makeup with brown and green clothes. The props used in this dance are inspired by the tools farmers use when harvesting cloves, such as bags, winnowing, and burlap sacks. Danced by seven dancers, including two male dancers and five female dancers. The accompanying music is created life using Malay musical instruments such as selondang, serunai, violin, mong, gong, bebano, darbuka, flute, multiped percussion, and sequencer. This research aims to examine the Nyongsong dance from the perspective of representational symbols as enriching knowledge about the study of choreography through symbols and representations.
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Alimena, Stephanie, and Mary E. Air. "Trust, Satisfaction, and Confidence in Health Care Providers Among Student and Professional Dancers in France." Medical Problems of Performing Artists 31, no. 3 (September 1, 2016): 166–73. http://dx.doi.org/10.21091/mppa.2016.3030.

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BACKGROUND: Patients who trust their physicians are more likely to communicate about medical problems, adhere to medical advice, and be satisfied with care. Dancers have demonstrated low utilization of physician services for both preventive care and dance injuries. The purpose of this cross-sectional study was to examine trust in physicians as a variable influencing dancers’ health care-seeking behavior. METHODS: The validated Trust in Physician Scale was administered to 45 professional and 34 student ballet/contemporary dancers in France (36.7% male, 63.3% female) to evaluate their trust in medical doctors (MDs) vs physical therapists (PTs). Dancers were also asked about satisfaction and confidence in medical treatment for dance injuries. RESULTS: Dancers indicated greater trust in PTs than MDs (70.61±10.57 vs 65.38±10.79, t=–3.499, p=0.001). Students exhibited significantly less trust in MDs than professional dancers (62.04±9.96 vs 67.65±10.42, t=–2.381, p=0.020). Trust scale scores for PTs did not differ between students and professionals (69.53±8.30 vs 71.68±12.09, t=–0.866, p=0.389). Students were less confident than professional dancers in their physician’s ability to treat their most severe injury (6.7% of students vs 35.7% of professionals “very confident,” X2=9.402, p=0.052). CONCLUSIONS: Dancer patients exhibit lower trust in physicians compared to previously studied non-dancer populations. Our results suggest that reduced trust in physicians and factors related to professional status may influence dancers’ health care-seeking behavior. Student dancers may comprise a unique subpopulation of dancers with distinctive health care needs.
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Adela Rosyadi, Suci, and Desfiarni Desfiarni. "Estetika Tari Piriang di Ateh Kaco Karya Syofyani Pada Sanggar Syofyani Kota Padang." Jurnal Sendratasik 11, no. 2 (June 30, 2022): 264. http://dx.doi.org/10.24036/js.v11i2.114320.

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This study aims to reveal and describe the aesthetic value of the Piriang Dance at Ateh Kaco by Syofyani at the Syofyani Studio, Padang City. This type of research is qualitative research using a descriptive method. The main instrument in this study is the researcher himself and is assisted by supporting instruments such as writing instruments, photo cameras and audio conversion tools. This type of data uses primary data and secondary data. Data collection techniques were carried out employing library research, observation, interviews and documentation. The steps to analyze the data are data reduction, data display, and conclusion verification. The results showed that the form in terms of shape and arrangement of the main elements (motion) consisted of the name of the motion and the description of the motion. From the shape of the supporting elements, the shape and arrangement are that the floor pattern is formed by the formation of dancers. Broadly speaking, there are two-floor patterns, namely straight line patterns such as trapezoid, vertical, and horizontal, and curved lines such as making a circle. This dance is usually danced by nine dancers, namely four male dancers and four female dancers, plus one dancer to steps on the kaco. Weight in dance consists of atmosphere, ideas or ideas, and like. Three elements play a role in performing arts, namely talent, skills, and means of media.
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Dissertations / Theses on the topic "Male dancers"

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Walmsley, Walmsley. "Masculinity and Dance : Male Dancers, Gender and Society in Stockholm, Sweden." Thesis, Stockholms universitet, Socialantropologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-185745.

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This thesis examines the conditions for professional and aspiring professional male theatre dancers across two separate field sites in Stockholm, Sweden. By analysing these conditions I aim to discuss how hegemonic masculine social norms inform and affect the lives of these male dancers and the consequences of those norms for the wider male population. Through interview, unobtrusive observation and dance participation I will scrutinise the male experience of dance work and training in order to understand the lives of professional male dancers and their perception of themselves and their work, as part of a very small minority of men in Swedish society. Through a comparative analysis of dance and sport, I suggest that the stark gender imbalance in dance work and training is indicative of a larger pattern of hegemonic masculine social norms that stymie male social development and undermine wider societal efforts towards gender equality.
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McLeod, Shaun, and shaun mcleod@deakin edu au. "Chamber: Dance improvisation, masculine embodiment and subjectivity." Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.114658.

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Henderson, Bryant. "An Inquiry Into Men's Experiences In Collegiate Dance." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22683.

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This qualitative research study was designed to gain a deeper, more profound understanding of the lived experiences of collegiate male dancers. Through three phases of research, this study uncovered societal and familial obstacles collegiate male dancers often endure during their dance journeys, and describes how males navigate and transcend them. Extensive interviewing offers detailed glimpses into the lives of 9 male students who participate in collegiate dance programs. The study reveals participants’ dance experiences prior to and during college; recognizes and questions common factors that influence collegiate male participation in dance; and identifies how male dancers feel supported and/or unsupported by their program. An experiential workshop series applied and explored existing pedagogical suggestions offered by other scholars. Subsequently, a rehearsal and performance experience physically investigated emergent themes. Recommendations are offered on how to better encourage, cultivate, and support collegiate male dance populations through enhanced pedagogies and program improvements.
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Pettyjohn, Celine Lyn Doherty. "Swingers masculinities and male sexualities in ballroom dance /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1446434.

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Demenkoff, John Haynes. "Evolution and emergence of the masculinities| Epiphanies and epiphenomena of the male athlete and dancer." Thesis, Pacifica Graduate Institute, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3626049.

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To say that the masculinities are woven into the fabric of a pre-existing culture is not enough. One must go further and explore how culture itself is constituted by, or more precisely, constituted through the masculinities. As William Doty notes in his Myths of Masculinity (1993), culture not only produces but also is produced by stories. Ancient legends and sagas, like myths, are, to a large degree, perpetuated by the modern male dancer and athlete. However, as contemporary iterations of the masculinities, male athletes and dancers have evolved beyond the scope of myths and into new cultural forms. Their emergent story threads through this dissertation.

The masculinities represent a diverse array of possibilities and pluralities. What, then, holds them together as a coherent cultural force? This dissertation is, in large part, devoted to answering that question by way of a perspicuous inquiry conducted into a) the binarisms of gender, such as hetero-normativity and homophobia, b) the existential and archetypal nature of being, c) Cartesian mind-body dualities, and d) paradigms and practices of male athletes and dancers themselves.

In his The Structure of Scientific Revolutions (1962), Thomas Kuhn used "paradigm" to explain historical shifts in the practice of the hard sciences. Subsequently, Michel Foucault, in The Order of Things (1966), appropriated the word in a hermeneutical analysis of the human sciences. It is his unique exegesis of the history of knowledge that is used to track the historical arc of the masculinities.

This dissertation ultimately moves beyond the perspectives of Kuhn and Foucault to the work of feminist Judith Butler. In Bodies That Matter (1993), Butler maintains that one's gender is a cultural construct and that the process of gendering, though performative, is largely unconscious. If gender and sex are mere social constructs, where does that leave the nascent logos of an athlete or dancer's body? A counter-argument is made that in order to be coherent, the masculinities must possess, at minimum, a mindful body in addition to an embodied mind.

Keywords: Masculinities; Dancer; Athlete; Body; Discipline; Gender; Hero; Archetype; Dasein.

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De, Boer Kyle Dylan. "Queer transgressions : the choreographing of a male homosexual presence with reference to selected choreographers." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1009442.

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Queer Transgressions: The choreographing of a male homosexual presence with reference to selected choreographers explores queer identity and in particular representations of a male homosexual presence in dance. Within the methodological framework of dance studies and queer theory I explore the ―self fashioning‖ of my male homosexual presence in dance. This is achieved by critically deconstructing my choreographic process when making choreography. Therefore this thesis is informed by both academic research and my self-reflexive experience of choreography and dance performance. The deconstruction of my autobiography and choreographic process is discussed with reference to both international and South African queer choreographers. This means that by accounting for my own experiences and approaches toward representing a male homosexual presence in dance, I explore the history and engagements of other queer choreographers also creating such representations. I therefore examine the works of selected choreographers and chart the development of the representation of a male homosexual presence in dance. By exploring the choreographic process of other queer choreographers I identify choreographic tactics that queer choreographers are using when making work. From this point of departure I shift the focus away from international queer choreographers and provide insight into the choreographic processes of South African queer choreographers. By accounting for the works and choreographic processes of South African choreographers, I provide a context in which my choreographic explorations on the subject matter can take place. This choreographic exploration manifests itself through a self-reflexive/autobiographic account on the research and practice of my choreographic process. During my choreographic exploration I set the challenge to both engage with and explore further, established ―queering tactics. This is done with the intention to reveal and create representations of a male homosexual presence in dance.
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Langston, Jeanne. "The Lived Experiences of Adult Male Trauma Survivors with Dance Movement Therapy." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6598.

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In the United States, approximately 7.7 million individuals are affected by posttraumatic stress disorder (PTSD) at any given time. Though women are likelier to develop PTSD symptoms, men are exposed to more traumatic events in their lifetimes. Empirically- supported PTSD options exist, however clinical application of these treatments may not consistently culminate in beneficial outcomes. Dance Movement Therapy (DMT) has demonstrated positive treatment outcomes for a variety of mental and physical disorders. Nonetheless, there is a lack of robust research related to the treatment experiences of men who have participated in DMT for trauma-related symptoms. The purpose of this phenomenological study was to explore this research gap. Focusing on adult male trauma survivors, the research question addressed the lived experiences of participating in DMT and the meaning ascribed to this involvement. Eleven adult male participants were interviewed via audio-recorded telephone interviews consisting of semistructured interview questions. Through a constructivist lens, the modified Van Kaam method of analysis was implemented revealing 4 emergent themes. The findings of this explorative study suggested positive PTSD symptom outcomes for all 11 participants including improvements in social belongingness, social acceptance, quality of life, and a reduction in symptoms of anxiety and depression. Accordingly, the findings of this research may help to advance social change through broadening clinical awareness of the beneficial neurogenic treatment advantages of somatic and creative interventions such as DMT for PTSD. Moreover, these findings may augment existing research related to movement- based treatment options for individuals coping with PTSD and trauma-related symptoms.
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Tholley, Ibrahim S. "Towards a framework to make robots learn to dance." Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/9856.

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A key motive of human-robot interaction is to make robots and humans interact through different aspects of the real world. As robots become more and more realistic in appearance, so has the desire for them to exhibit complex behaviours. A growing area of interest in terms of complex behaviour is robot dancing. Dance is an entertaining activity that is enjoyed either by being the performer or the spectator. Each dance contain fundamental features that make-up a dance. It is the curiosity for some researchers to model such an activity for robots to perform in human social environments. From current research, most dancing robots are pre-programmed with dance motions and few have the ability to generate their own dance or alter their movements according to human responses while dancing. This thesis explores the question Can a robot learn to dance? . A dancing framework is proposed to address this question. The Sarsa algorithm and the Softmax algorithm from traditional reinforcement learning form part of the dancing framework to enable a virtual robot learn and adapt to appropriate dance behaviours. The robot follows a progressive approach, utilising the knowledge obtained at each stage of its development to improve the dances that it generates. The proposed framework addresses three stages of development of a robot s dance: learning ability; creative ability of dance motions, and adaptive ability to human preferences. Learning ability is the ability to make a robot gradually perform the desired dance behaviours. Creative ability is the idea of the robot generating its own dance motions, and structuring them into a dance. Adaptive ability is where the robot changes its dance in response to human feedback. A number of experiments have been conducted to explore these challenges, and verified that the quality of the robot dance can be improved through each stage of the robot s development.
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Robinson, Laura. "Performing the surplus, making a spectacle : male street dance crews on television talent shows." Thesis, University of Surrey, 2016. http://epubs.surrey.ac.uk/809720/.

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Since 2008, male Street dance crew performances on U.K. television have burgeoned in popularity due to their displays of athleticism and synchronicity. Despite growth in popular dance scholarship, however, this phenomenon has been overlooked, in accord with the dismissal of spectacle as decorative and superficial. This thesis addresses this absence by presenting a critical investigation into the construction and performance of spectacle by male Street dance crew performances on U.K. talent show competitions. It explores the key concepts that shape the notion of spectacle in relation to televised popular dance, and enquires into how crews manifest these in their performances. It also addresses the extent to which these performers have any agency to resist their status as spectacular. Drawing upon a screen dance analysis and utilising theoretical perspectives from late capitalism and visual theory, this thesis focuses on 58 performances from Britain’s Got Talent and Got to Dance. Analysis revealed that choreographic and cinematic strategies of virtuosity and excess results in the construction of ‘the surplus’, which in itself aligns with post-Fordist labour practices and spectacle as a condition of commodified society. Crews perform the surplus through their transgression of corporeal boundaries and by performing excess labour in order to register within the media spectacle of reality television. This is expressed through the structure and content of their cinematically edited choreography, their performance of cultural identity and the relationship between technology and the body. By performing the surplus, crews are reduced to consumable images through the erasure of their histories, labour systems, and the displacement of the human. Dancers challenge this representation, however, through emphasis on choreographic themes and televised rhetorics of physical effort, brotherhood, and human emotion. It is, therefore, the thematic material and the fleshy humanity of the dancer that both registers and resists these performances as spectacular.
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Caldwell, Rachel. "Autobiography in movement and prose| The self-made image." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1557458.

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Autobiographies have been written by notable 20th Century choreographers, establishing a strong connection between autobiographical writing and the art of choreographing. The autobiographical process, specifically the act of self-reflection, lends itself to the formation of a self-image, which is evident in both the choreographers' writing and their choreography. Because of similar processes in choreography and autobiographical writing, choreographers are inclined towards the autobiographical act, as it is an invaluable tool for self-discovery and expression. Through this process, choreographers have been able to formulate and perpetuate lasting images of themselves, supported by both their choreographic work, and their written autobiographies. Examples of this can be seen in the works of 20th Century modern dance choreographers: Isadora Duncan, Martha Graham, Yvonne Rainer and Twyla Tharp.

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Books on the topic "Male dancers"

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Burt, Ramsay. The male dancer: Bodies, spectacle, sexualities. 2nd ed. Milton Park, Abingdon, Oxon: Routledge, 2006.

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Peris, O. Don Eric. Ramli!: The heart of sutra. Kuala Lumpur, Malaysia: Sutra Dance Theatre (M) Sdn. Bhd. in association with Silverfish Books Sdn. Bhd., 2004.

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McCann, Colum. Tant͡sovshchik: [roman]. Moskva: Phantom Press, 2014.

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Geōrgiou, Vyrōnēs. Vyrōnēs: Ho agerastos laikos choreutēs. Leukōsia: [s.n.], 2005.

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Burt, Ramsay. The male dancer: Bodies, spectacle, sexualities. 2nd ed. New York, NY: Routledge, 2007.

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1900-1977, Shankar Uday, and Paścimabaṅga Rājya Saṃgīta Ākādemi, eds. Uday Shankar. Calcutta: West Bengal State Sangeet Academy, Information & Cultural Affairs Dept., Govt. of West Bengal, 2000.

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Tortajada, Margarita. Danza y género. Culiacán Rosales, Sinaloa [Mexico]: Colegio de Bachilleres del Estado de Sinaloa, 2001.

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Burt, Ramsay. The Male Dancer. London: Taylor & Francis Inc, 2004.

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Burt, Ramsay. The Male Dancer. London: Taylor & Francis Group Plc, 2004.

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Baer, Nancy Van Norman. The appropriation of the feminine: Androgyny in the early Ballets Russes, 1909-1914. Pacific Grove, CA: Park Place Publications, 1998.

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Book chapters on the topic "Male dancers"

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Cook, Peter. "Generalist Elementary Male Teachers Advocating for Dance and Male Dancers." In Masculinity, Intersectionality and Identity, 53–74. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-90000-7_3.

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Christofidou, Andria. "Male Dancers Negotiating the Gendered and Sexual Attachments of Dance." In Men, Masculinities and Sexualities in Dance, 149–67. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77218-5_8.

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McIntosh, Hamish, Alfdaniels Mabingo, Clare Battersby, and Carol Brown. "Empowering Young Male Dancers: Perspectives of Adult-Collaborators from the Outside-In." In Dancing Across the Lifespan, 45–62. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-82866-0_4.

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Gorwa, Joanna, Anna Fryzowicz, Robert Michnik, Jacek Jurkojć, Jarosław Kabaciński, Katarzyna Jochymczyk-Woźniak, and Lechosław B. Dworak. "Can We Learn from Professional Dancers Safe Landing? Kinematic and Dynamic Analysis of the ‘grand pas de chat’ Performed by Female and Male Dancer." In Innovations in Biomedical Engineering, 233–40. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15472-1_25.

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Schulze-Fellmann, Janine. "The Male Dancer." In Gender Studies im Dialog, 267–92. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839458075-014.

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Burt, Ramsay. "Introduction." In The Male Dancer, 1–7. 3rd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003159926-1.

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Burt, Ramsay. "Dancing New Relations." In The Male Dancer, 175–99. 3rd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003159926-9.

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Burt, Ramsay. "Dancing in the City." In The Male Dancer, 108–32. 3rd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003159926-6.

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Burt, Ramsay. "Masculinity, Dance, and the Postmodern." In The Male Dancer, 133–54. 3rd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003159926-7.

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Burt, Ramsay. "Identity Politics." In The Male Dancer, 155–74. 3rd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003159926-8.

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Conference papers on the topic "Male dancers"

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Gimunová, Marta, Tomáš Vodička, Kristián Jánsky, Miriam Kalichová, Antonín Zderčík, Alena Skotáková, Petr Hedbávný, and Kateřina Kolářová. "The effect of classical ballet, Slovakian folklore dance and sport dance on static postural control in female and male dancers." In 12th International Conference on Kinanthropology. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9631-2020-4.

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Purpose: Classical ballet, Slovakian folklore dance, and sport dance training differ in their way how to master the art of dance; however, postural control is essential for the correct exe-cution of complex movements used in all types of dance. The aim of this study was to analyse the differences in static postural control between classical ballet dancers, Slovakian folklore dancers and sport dancers and to analyse the effect of body mass, body height and toe grip strength on postural control. Methods: 68 dancers, between 17 to 28 years of age, participated in this study: 21 dancers from Slovakian folklore dance group VSLPT Poľana Brno (12 females, 9 males), 22 dancers from Brno Dance conservatory (16 females, 6 males) and 25 sport dancers competing at Brno Dance Open 2019 (12 females, 13 males). All participants were asked to stand upright, barefooted, arms along the body, both feet on the Emed-at platform (Novel GmbH, Germany) for 10 seconds with their eyes open to obtain the length of COP line (cm), average velocity of COP (cm/s), the elliptic area (mm2) and numerical eccentricity of the ellipse. The toe grip strength was measured for each foot when sitting using toe grip dynamometer (Takei Scien-tific Instruments, Niigata, Japan). To analyse the effect of dance style, to grip strength, body mass, body height, and gender on postural control variables, Kruskal Wallis test, and Spear-man Rank Order Correlation were used. Results: Abetter postural stability measured by the length and average velocity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. Sport dancers are used to a greater load on the forefoot and to a special foot roll-of pattern when dancing, which may lead together with a constantly changing environment during competi-tions to their enhanced postural stability. Despite the differences in dance training and dance footwear of female and male dancers (high-heel shoes in sport and Slovakian folklore female dancers, pointe shoes in female ballet dancers), no statistically significant difference in pos-tural variables between genders was observed. Similarly, in analysed dancers, no effect of age, body mass, and body weight on postural control were observed. The toe grip strength was not observed to affect the postural variables in this study. The greatest toe grip strength was observed in female ballet dancers, despite their younger age. Ballet dance training in-cludes repetitive exercises focused on foot and toes such as battement tendu or demi-pointe and en pointe positions probably resulting in the greater strength of the toes. Conclusion: In this study, better postural stability measured by the length and average ve-locity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. In analysed dancers, no effect of body mass, body weight, gender, and toe grip strength on postural control variables was observed. Future studies focused on postural stability changes in non-dancers after a sport dance, classical ballet and Slovakian folklore dance training program would provide additional knowledge about the process how each type of dance enhance the balance and other coordinative skills.
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Nicoara, Adrian, Silvia Teodorescu, and Constanta Urzeala. "A COMPUTERIZED SYSTEM FOR JUDGING DANCESPORT COMPETITIONS - AN INNOVATIVE APPLICATION." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-199.

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Dancesport involves a variety of body movements performed to the rhythm of a song that is materialized in a choreography piece where the two partners try to convey emotions in a unique and personal way, which leads us to assert that dance has no boundaries, no barriers, it is simply felt and expressed. Dancesport provides the necessary framework to transmit a compositional message, trigger emotions, present an artistic creation, generate a show, that is why assessing the dancers’ performance often has a subjective character as regards technical execution, artistic mastery, plasticity and beauty of movement, shortly, the quality of dance. In this research, we developed and used an evaluation/ judging system which included five criteria: movement to music, posture and coordination, quality of movement and balance, partnered relationship and leading, choreography and presentation, and a larger or smaller number of sub-criteria. The aim was to prove the efficiency of a computerized system intended to reduce subjectivity in the evaluation of dancers’ competitive performance. Transposition of the evaluation/judging system to a computerized application using Web-based technology with extension for tablet ensures effectiveness for the judging panel, reducing the time needed to establish rankings, facilitating the work of the competition Secretariat and removing the possible human errors. The application summarized information on organized competitions, users, couples of dancers, dances, classes, age categories, to which each judge can login to access scoring sheets/per criterion/dance and check each sub-criterion for each component, male and female counterparts. The major difference between the two evaluation systems (one used by the DanceSport Federation, the other developed by us) could be noted in the hierarchy of couples in the mid-ranking, where the value level of dancers was close and their order in the ranking was decided by a few tenths or hundredths of a point.
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Mihaiu, Costinel, and Monica Gulap. "WEB APPLICATION FOR LEARNING, ELABORATION AND DEVELOPMENT OF THE DANCE SPORT FIGURES." In eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-237.

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By creating this application we intended to realize: a. a unitary database for the dance practitioners and for the specialists in the dance sport domain; b. a platform easy to use by those mentioned above, to access the figures of dance sport; c. a way to allow all the dancers and specialists, equally, to bring their contribution to the development of the dance; d. a unitary and coherent evaluating database of the dancers by the judges. So, we have estimated that this application will have a beneficial effect of training the dancers, helping them to learn the figures and the necessary technique to realize them. We have also started from the premise that it will be a tool for the dance instructors, trainers and choreographers, to whom will facilitate the selection of the dance figures and the construction of the choreography. It will create a common language and a unique evaluating system of the dancers, by the judges, during the competitions. It will allow to all the people involved in dance, to bring their contribution to its development and evolution. The application was intended to be a tool for those who want to learn, to participate in the exams and training programs, organized by RDSF and by the Ministry of Education and Sports. The users aim to be instructors, trainers or judges. The application was created as a single page application. It was written using HTML 5 and JavaScript programming language with mvc technology (model-view-controller) and it uses a MySQL database. It was posted on a public server, the access being made by using a password. Each of the RDSF boards and colleges ordered a group of specialists which had access to this password, through which they accessed the information from the application. Therefore, they had the opportunity to access the information, modifying the parameters of the dance figures, according to their personal experience and imagination. In this manner, there have resulted changes of the parameters of the figures, making them more dynamic and look more expressive and interesting.
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Chandnasaro, Dharakorn. "The Series of Archaeological Dance: A Historical Study and Dance Move Recording with Labanotation | ระบำ􀄕ชุดโบร􀄕ณคดี: ก􀄕รศึกษ􀄕เชิงประวัติศ􀄕สตร์ และก􀄕รบันทึกท่􀄕ร 􀄕ด้วยล􀄕บ􀄕นโนเทชัน." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-26.

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The Series of Archaeological Dances is a creative work of Thai dance inspired by information and evidence of ancient antiquities and sites discovered in Thailand to make the archaeological evidence found to be alive again in the form of Thai theatre and dance. The name of the historical period of art identified by the scholars are used to define the names of five performance of the Archaeological Dances, namely, Dvāravatī Dance, Srīvijaya Dance, Lopburi Dance, Chiang Saen Dance, and Sukhothai Dance. Each performance has its own unique style with no related content to each other. This series of dances were premiered on 25 May 1967, in front of King Rama IX and Queen Sirikit. Regarding to the movement of the body, there is unique identity that reflects the ethnicity of the area and the civilization from the land where the archaeological evidence of each era was discovered. They were created according to the imagination of the choreographers of the dance posture. In addition, The Series of Archaeological Dances are popularly performed on various occasions continuously until present day. ระบ􀄬ำชุดโบรำณคดี เป็นผลงำนสร้ำงสรรค์ด้ำนนำฏศิลป์ของประเทศไทยที่ได้รับแรงบันดำลใจจำกข้อมูลและหลัก ฐำนด้ำนศิลปะโบรำณวัตถุสถำนที่ถูกค้นพบได้ในพื้นที่ประเทศไทย เพื่อต้องกำรให้หลักฐำนโบรำณคดีที่ค้นพบได้ กลับมำมีชีวิตชีวำอีกครั้งในรูปแบบของนำฏศิลป์ โดยใช้ชื่อยุคสมัยทำงศิลปะที่นักวิชำกำรประวัติศำสตร์ระบุไว้ มำ ก􀄬ำหนดเป็นชื่อของกำรแสดงจ􀄬ำนวน 5 ชุด คือ ระบ􀄬ำทวำรวดี ระบ􀄬ำศรีวิชัย ระบ􀄬ำลพบุรี ระบ􀄬ำเชียงแสน และระบ􀄬ำ สุโขทัย กำรแสดงแต่ละชุดเป็นลักษณะแบบเอกเทศ ไม่มีเนื้อหำเกี่ยวข้องกัน จัดแสดงรอบปฐมทัศน์เมื่อวันที่ 25 พฤษภำคม พ.ศ. 2510 ต่อหน้ำพระที่นั่งของในหลวงรัชกำลที่ 9 และพระรำชินีในรัชกำลที่ 9 ในด้ำนกำรเคลื่อนไหว ร่ำงกำยมีเอกลักษณ์ที่สะท้อนควำมเป็นชำติพันธุ์ของพื้นที่และอำรยธรรมดินแดนที่ค้นพบหลักฐำนโบรำณคดีแต่ละ ยุคสมัย ซึ่งใช้รูปแบบกำรสร้ำงสรรค์ของนำฏศิลป์ไทยตำมจินตนำกำรของผู้ประดิษฐ์ท่ำร􀄬ำ นอกจำกนี้ระบ􀄬ำชุด โบรำณคดีได้รับควำมนิยมในกำรจัดแสดงอย่ำงต่อเนื่องในวำระต่ำง ๆ มำจนถึงปัจจุบัน
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Ivy Huang, Lewen. "Investigating AI Model Limitations in Recognizing Faces and Bodies in Ballroom Dance Settings." In Human Interaction and Emerging Technologies (IHIET-AI 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004599.

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The advancement in the face and body detection algorithms has sparked an interest in using them to assist physical education and sports training, where AI can analyze students' body postures and movements to offer corrective guidance and prevent injuries. However, ballroom dance settings are uniquely different from traditional settings often used for face and body detection. On the one hand, most traditional face and body detection algorithms detect individuals instead of a collaborative dyad. Moreover, specific dancing postures may pose additional challenges for AI algorithms to detect. In order to unlock the power of AI in enhancing real-time feedback for dancers on their movements, postures, and expressions, there needs to be a thorough understanding of the capabilities of AI in analyzing complex dance sequences and identifying subtle nuances in body language. In this work, we examined four widely adopted body and face detection models on their effectiveness in detecting ballroom dancers. We found that these models shared key limitations. First, they are more likely to detect the man than the woman in the dyad, especially when the woman is curved backwards. Second, they often detect the couple as one person, mixing different body sections. Third, errors are frequent when the dancers do not face the camera or when they are wearing specialized costumes. This project offers suggestions to diversify the training datasets of such algorithms to make them suitable for new settings including ballroom dance.
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TALPĂ, Svetlana. "The importance of noting dance on paper as a particular method of teaching-learning-evaluation of dance disciplines." In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v2.25-03-2022.p155-159.

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This article discusses practitioners who have contributed to the development of the process of capturing dance or dance movements on paper, through: notation, photography and film. The reflections of these personalities, such as Ann Hutchinson, Rudolf Von Laban, Eadweard Muybridge, Lois Greenfield, Ted Shawn, Norman McLaren and Sue Healey, included the definition of direct research on how these three documentary media interact to describe a dancing in various choreographic genres. The aim of this research is to highlight the importance of noting and capturing the body in motion, to see if it is possible to make an evolution in the process of teaching-learning-assessment of dance disciplines, by analyzing and "reading" a document, being able to communicate dance to the dancer / student when a living body is absent.
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Tragtenberg, João, Filipe Calegario, Giordano Cabral, and Geber Ramalho. "TumTá and Pisada: Two Foot-controlled Digital Dance and Music Instruments Inspired by Popular Brazillian Traditions." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10426.

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This paper presents the development process of “TumTá”, a wearable Digital Dance and Music Instrument that triggers sound samples from foot stomps and “Pisada,” a dance-enabled MIDI pedalboard. It was developed between 2012 and 2017 for the use of Helder Vasconcelos, a dancer and musician formed by the traditions of Cavalo Marinho and Maracatu Rural from Pernambuco. The design of this instrument was inspired by traditional instruments like the Zabumba and by the gestural vocabulary from Cavalo Marinho, to make music and dance at the same time. The development process of this instrument is described in the three prototyping phases conducted by three approaches: building blocks, artisanal, and digital fabrication. The process of designing digital technology inspired by Brazilian traditions is analyzed, lessons learned, and future works are presented.
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Zhao Liu, Chenglong Fu, Ken Chen, Yoshinori Koike, Yasuhisa Hirata, and Kazuhiro Kosuge. "Motion control of a passive robot for dancing with a male dancer." In 2010 8th World Congress on Intelligent Control and Automation (WCICA 2010). IEEE, 2010. http://dx.doi.org/10.1109/wcica.2010.5554436.

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Schrock, Peter J., M. Elisa McQueen, Kathryn J. De Laurentis, Merry L. Morris, and Rajiv V. Dubey. "Wheelchair Modification for Hands-Free Motion for Dancers With Disabilities." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-193178.

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Functional modifications to power and manual chairs are currently advancing in the areas of rehabilitation, sports and recreation and in the activities of daily living; however, these modification have yet to be directly applied in the field of performing arts. An assistive device was developed at the University of South Florida (USF) during collaboration between the Department of Mechanical Engineering and the School of Theatre and Dance. The project was initiated by Professor Merry Lynn Morris who identified a need for new conceptions of mobility; her work with dancers, with and without disabilities established the research framework in which choreographic vision could be supported with technological applications. Therefore, a device was designed to alleviate the constraints of current wheelchair designs which inhibit the user’s upper-body artistic movement range and capacity for interaction. The main purpose of the design was to create hands-free motion through the modification of a power wheelchair, which make it useful in the performing arts, but also as an assistive device for persons with disabilities. This device is in its first research phase of development as a prototype and is patent pending.
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Gantchevа, Giurka. "DYNAMICS IN THE DIFFICULTY IN RHYTHMIC GYMNASTICS COMPETITIVE ROUTINES." In INTERNATIONAL SCIENTIFIC CONGRESS “APPLIED SPORTS SCIENCES”. Scientific Publishing House NSA Press, 2022. http://dx.doi.org/10.37393/icass2022/72.

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ABSTRACT Rhythmic gymnastics, like other sports disciplines called “artistic”, is continuously developing in a sports-technical sense. Gymnastics varieties, such as “dance gymnastics”, “rhythmical gymnastics”, “expressive gymnastics”, and “plastic and stage expression gymnastics” have lost their individuality but different elements of their means of expression find their place in the requirements for composition. The efforts of the specialists in this sport are aimed at preserving the identity of this sports discipline, namely, using various musical accompaniments and a wide range of dance movements combined with complex exercises. The aim of the research was to trace the development of the difficulty in routines and a retrospect of the main indicators for making competitive routines for the period 1963-2021 was made with the use of a theoretical and synthesis method. The evaluation of dance elements and complex exercises in competitive programs of gymnasts was in the very first Code of Rules known. There are three different components – difficulty of the exercises, general impression, and accuracy of execution. The general changes in the difficulty of the exercises can be clearly seen if we divide the Codes of Rules into the following periods: 1) 1963-1971, 2) 1976-1984, 3) 1997-2005, and 4) 2009-2021. The changes are due to two major factors: - objective – perfection of the training process, emergence of new exercises, gymnasts’ exclusive motor abilities; choreographs, musicians, dancer’ participation in gymnasts’ preparation; - subjective – creation and modification of the rules by members of rhythmic gymnastics technical committee who are representatives of different schools and cultures, with different concepts about the development of the future image of this sport. The retrospect of the requirements in the competitive rules shows that the greatest transformation of rhythmic gymnastics is in its turning into a complex sport.
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