Artículos de revistas sobre el tema "Dance (discipline)"
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Bonbright, Jane M. "Dance: The Discipline". Arts Education Policy Review 102, n.º 2 (noviembre de 2000): 31–32. http://dx.doi.org/10.1080/10632910009599987.
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Spivey, Kathy C. "The Dance withThe Discipline". Journal of Health Care Chaplaincy 11, n.º 1 (septiembre de 2001): 117–21. http://dx.doi.org/10.1300/j080v11n01_04.
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Vukadinovic, Maja. "Psychological research in dance". Zbornik Matice srpske za drustvene nauke, n.º 181 (2022): 47–61. http://dx.doi.org/10.2298/zmsdn2281047v.
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This paper examines dance as a significant ethnological, historical, geographical, sociological, artistic, musical, aesthetic, psychological, biological, and psychotherapeutic phenomenon. The main focus is on its psychological aspects and the interconnectedness of psychological and physical components, which enables a unique experience not only for the person who dances but also for the observers. In the first part, the complex phenomenon of dance is elaborated, differences between spontaneous dance and dance as an artistic discipline are highlighted and a new comprehensive definition of dance is offered. Secondly, different aspects of dance are looked at through the prism of questions that intrigue researchers in various psychological disciplines such as developmental psychology, social, cognitive, health and clinical psychology, physiological, evolutionary, and finally the psychology of creativity. The last chapter provides the basic determinants of artistic dance from the perspective of the psychology of creativity. Specific issues related to artistic dance are discussed, including the characteristics of a creative person - choreographer or performer, creative process, work of art - dance, audience and creative environment. The paper concludes with a brief overview of the importance of psychology for the field of dance, and vice versa, emphasizing the continuous interchange between the two.
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Gallardo, Jorge Sérgio Pérez. "A disciplina de dança na formação profissional do professor de educação física: Um relato de experiencia". Latin American Journal of Development 3, n.º 5 (25 de octubre de 2021): 3397–404. http://dx.doi.org/10.46814/lajdv3n5-051.
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Os problemas da preparação profissional do professor de Educação Física para ministrar a disciplina de Dança nos cursos de graduação são: tratar a disciplina apenas como atividade; estar ausente do objetivo de Universidade, que é formar professores investigadores e o maior de todos é o machismo imperante nos homens que entram a estudar a carreira para ser desportistas ou treinadores da modalidade de que eles praticam. Para mitigar este problema focalizamos a disciplina como fonte de investigação das manifestações da cultura corporal Dança, formando grupos de pesquisa e utilizando um analises histórico-crítico superador para as análises, discussão e vivencia de cada uma das danças investigadas, conseguindo reverter os problemas supra citados.
The problems in the professional preparation of the Physical Education teacher to teach the Dance discipline in undergraduate courses are: treating the discipline only as an activity; to be absent from the University's objective, which is to train research professors and the greatest of all is the machismo prevailing in men who enter to study their careers to be sportsmen or coaches in the sport they practice. To mitigate this problem, we focus on the discipline as a source of investigation of the manifestations of dance body culture, forming research groups and using a critical historical analysis that overcomes the analysis, discussion and experience of each of the dances investigated, managing to reverse the aforementioned problems.
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Rakočević, Selena. "Tracing the discipline: Eighty years of ethnochoreology in Serbia". New Sound, n.º 42 (2013): 58–86. http://dx.doi.org/10.5937/newso1341058r.
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The interest for traditional dance research in Serbia is noted since the second part of the 19th century in various ethnographical sources. However, organized and scientifically grounded study was begun by the sisters Danica and Ljubica Janković marked by publishing of the first of totally eight volumes of the "Folk Dances" [Narodne igre] in 1934. All eight books of this edition published periodically until 1964 were highly acknowledged by the broader scientific communities in Europe and the USA. Dance research was continued by the following generation of researchers: Milica Ilijin, Olivera Mladenović, Slobodan Zečević, and Olivera Vasić. The next significant step toward developing dance research began in 1990 when the subject of ethnochoreology was added to the program of basic ethnomusicological studies at the Faculty of Music in Belgrade and shortly afterward in 1996 in the Academy of Arts in Novi Sad. Academic ethnochoreological education in both institutions was established by Olivera Vasić. The epistemological background of all traditional dance research in Serbia was anchored mostly in ethnography focused on the description of rural traditions and partly in traditional dance history. Its broader folkloristic framework has, more or less, strong national orientation. However, it could be said that, thanks to the lifelong professional commitment of the researchers, and a relatively unified methodology of their research, ethnochoreology maintained continuity as a scientific discipline since its early beginnings. The next significant milestone in the development of the discipline happened when traditional dance research was included in the PhD doctoral research projects within ethnomusicological studies at the Faculty of Music in Belgrade. Those projects, some of which are still in the ongoing process, are interdisciplinary and interlink ethnochoreology with ethnomusicology and related disciplines. This paper reexamines and reevaluates the eighty years long tradition of dance research in Serbia and positions its ontological, epistemological and methodological trajectories in the broader context of its relation to other social sciences/humanities in the contemporary era of interdisciplinarity and postdiciplinarity.
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Lepecki, André. "Dance Discourses: Keywords In Dance Research". Dance Research Journal 44, n.º 1 (2012): 95–99. http://dx.doi.org/10.1017/s0149767712000010.
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The formation of what Randy Martin has called “critical dance studies” (1998) has gained increased momentum over the past decade. Martin's notion of critical dance studies clarified how dance scholarship was being reshaped by the explicit inclusion of critical theory in its methodologies and epistemologies. One of the major consequences for dance studies in embracing critical theory was the identification of dancing and choreographic practices as being also theory. Understanding dance as theory is not equivalent to seeing dance as the sole provider of the theoretical tools it needs for its own analysis (this would be intolerably solipsistic). Rather, it means that dance becomes a privileged practice ready to provide analytical tools for theorizing other areas of social performances: politics, culture, formations of disciplines and their bodies (docile or resistant). Dance is a mode of theorization that theory itself would need in order to address the social and political problematic brought by issues close to dance such as mobilization, embodiment, subjectivities, participation, representation, desire, discipline, control, etc.
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López Arnaiz, Irene. "Living Archive. Nyota Inyoka’s Archive: Traces of the Ephemeral and Ancient Dances Reenactment". Anales de Historia del Arte 32 (14 de julio de 2022): 327–50. http://dx.doi.org/10.5209/anha.83074.
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The French National Library keeps since 1983 the personal archive of the dancer and choreographer Nyota Inyoka (Fonds Nyota Inyoka). This archive comprises twenty-eight boxes of documents, besides costumes belonging to the dancer, which are constitutive as material of enormous value for the necessary recovery of this figure that has fallen into oblivion in the history of dance. This article aims at providing a first approach to the Nyota Inyoka Archive by ramifying the study in two directions. On the one hand, it allows us to articulate some keys to her choreographic proposal and her theoretical conception of dance. On the other hand, it enables us to broaden the reflection towards the relationship between the archive and the dancing body. Nyota Inyoka's repertoire revolves around ancient cultures that refer mainly to traditions from ancient Egypt and South and Southeast Asia. Thus, the archive takes on an important presence linked to the discipline of dance in a double sense. Firstly, the ephemeral nature of this art favors the archive to become an essential element for dance research. Whilst if we take into consideration the choreographic process of the dancer based on visual sources from Egyptian and Asian art, her body is constituted as a living archive. In this sense, I will offer a reading of Nyota Inyoka’s work as a kind of avant la lettre reenactment of ancient dances.
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Leluni, Eriska, Sakman y Offeny. "TARIAN DADAS DALAM PEMBENTUKAN KARAKTER DISIPLIN ANAK PADA SANGGAR IGAL JUE PALANGKA RAYA". Jurnal Paris Langkis 1, n.º 1 (17 de agosto de 2020): 43–50. http://dx.doi.org/10.37304/paris.v1i1.1670.
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Problems discussed by Dadas Dance in Forming Disciplinary Character of Children in Jgal Palangka Raya Studio Igal. This study aims to determine the Dadas Dance in the Formation of Disciplinary Characters of Children in Jgal Palangka Raya Studio Igal. The method used is a qualitative method. The research instruments are included: observation sheets, interview, literature study, documentation.The results of the research that the meaning of dadas dance in shaping the character of discipline that performs dadas dance there, of course, if it is not disciplined in doing dance exercises it cannot be done, must have a high concentration in dancing to adjust the rhythm and motion so that inevitably the studio children indirectly train the studio disciplined character in conducting exercises. The values ??contained in dadas dance are magical values, cultural art values, historical message values, character values ??and aesthetic values ??of beauty and uniqueness in dance and music. So that the dancer dances must have good attitude and character, physically and mentally healthy, if not then, another impression can come in because it has megis values. Factors supporting the formation of discipline character are schedules that are made and mutually agreed upon because each team member must be disciplined in time and also committed. Then the inhibiting factor when there are members who are undisciplined and difficult to memorize the character that he holds and the movement and suitability between motion and music
Penelitian ini bertujuan untuk melihat makna tarian dadas dalam membentuk karakter disiplin anak pada sanggar Igal Jue Kota Palangka Raya. Metode penelitian menggunakan Pendekatan penelitian yang digunakan dalam penelitian adalah kualitatif deskriptif karena dalam penelitian ini menghasilkan kesimpulan berupa data yang menggambarkan secara rinci, bukan data yang berupa angka-angka. Penelitian kualitatif adalah suatu pendekatan ilmiah yang mengungkap situasi sosial tertentu dengan mendeskripsikan kenyataan secara benar, dibentuk oleh kata-kata berdasarkan teknik pengumpulan analisis data yang relevan yang diperoleh dari situasi yang alamiah. Hasil penelitian menunjukan bahwa makna tarian dadas dalam membentuk karakter disiplin yang melakuklan tarian dadas disitu sudah tentu jika tidak disiplin dalam melakukan latihan tarian itu tidak bisa dilakukan harus mempunyai konsentari yang tinggi dalam menari untuk menyesuaikan irama dan gerak sehingga mau tidak mau anak sanggar secara tidak langsung melatih karakter disiplin dalam melakukan latihan. Nilai–nilai yang terkandung dalam tarian dadas adalah nilai magis, nilai seni budaya, nilai pesan sejarah, nilai karakter dan nilai estetika keindahan dan keunikan dalam tarian dan musik. Sehingga penari tarian dadas haru mempunyai sikap dan karakter yang baik sehat jasmani dan rohani jika tidak maka, kesan lain bisa masuk karena mempunyai nilai – nilai megis. Faktor pendukung pemebentukan karakter disiplin adalah jadwal yang di buat dan disepakati bersama sebab setiap anggota tim, harus disiplin waktu dan juga mempunyai komitmen. Kemudian faktor penghambat ketika ada anggota yang tidak disiplin dan sulit menghapal karakter yang ia pegang serta gerakan dan kesesuaian anatara gerak dan musik
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Longley, Alys y Barbara Kensington-Miller. "“Under the radar”: exploring “invisible” graduate attributes in tertiary dance education". Journal of Applied Research in Higher Education 11, n.º 1 (4 de febrero de 2019): 66–75. http://dx.doi.org/10.1108/jarhe-12-2017-0157.
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Purpose Many graduate attributes (such as adaptability, resilience, cultural awareness and professionalism) are often considered aspirational or invisible and conventionally go “under the radar” of standard university dance education. The purpose of this paper is to add to existing theories of dance as an academic discipline and contributes to studies identifying and mapping graduate attributes across the academy. Design/methodology/approach The research project Making the Invisible Visible contextualises this paper. It has involved a two-year, cyclical data-gathering process, involving interviews with leading dance employers and academics, and surveys of students from diverse disciplines entering and completing full-time dance degrees. Findings Due to the centrality of embodiment in studio learning, dance is an unusual discipline within research on graduate attributes and holds a unique place in academia. The creative, embodied, collaborative activities typical to dance learning offer fresh insight to the literature on graduate attributes – both visible and invisible – all graduates from a given institution are expected to hold. Originality/value A narrative methodology is employed to present a series of amalgam characters manifesting specific ways in which invisible graduate attributes inform pedagogies, student–teacher relationships and student understandings of their professional skills.
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BRUCHER, KATHERINE. "Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform". Journal of the Society for American Music 10, n.º 4 (27 de octubre de 2016): 470–95. http://dx.doi.org/10.1017/s1752196316000365.
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AbstractThe automaker Henry Ford founded the Ford Motor Company Music Department in 1924 with the goal of reviving what he called “old-fashioned dancing and early American music.” Ford's interest in the Anglo-American social dances of his youth quickly grew from dances hosted by the Fords for company executives to a nationwide dance education program. This article traces the history of the Music Department's dance education program and examines the parallels between it and the company's earlier efforts in social engineering—namely the Ford Profit Sharing Plan (better known as the “Five Dollar Day”) and the Ford English School. The Music Department's activities offer an opportunity to explore how industry sought to shape music and dance through Americanization efforts and leisure reform as Detroit rapidly urbanized during the first decades of the twentieth century. Supporters of Ford's revival viewed the restrained musical accompaniment and dance movements as an antidote to jazz music and dances, but more importantly, music and dance served as an object lesson in the physical discipline necessary for assembly line labor. Ford's dance education campaign reveals the degree to which industry was once entwined with leisure reform in southeast Michigan.
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Mukhambetzhanov, Sherkhan y Bibigul Nussipzhanova. "THE SPECIFICS OF THE ARTISTIC IMAGERY OF DANCING IN CHOREOGRAPHIC ART". Central Asian Journal of Art Studies 8, n.º 4 (5 de enero de 2024): 151–62. http://dx.doi.org/10.47940/cajas.v8i4.786.
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The folk stage dance within the framework of choreographic education stands out as one of the most crucial and foundational components of training, alongside classical, duet, historical, everyday, and modern dance disciplines. Beyond being solely an academic subject, folk stage dance embodies a living tradition of stage interpretations of dances from diverse cultures. This facet of choreographic art encompasses a myriad of artistic and pedagogical techniques, manners, and dance styles. Consequently, the cultivation of folk stage dance emerges as one of the most intricate and multifaceted tasks confronting aspiring performers and choreographers. The enduring beauty and cultural significance of this discipline render folk stage dance a perennial focal point in the realm of choreographic education in Kazakhstan. In the contemporary landscape of domestic education, the imperative to enhance the organizational and pedagogical conditions for teaching folk stage dance introduces new challenges to the educational sector. Given the nature of choreographic activity, artistry, and creativity in dance, maintaining professional consistency becomes paramount. The qualitative selection of students becomes indispensable, fostering the cultivation of a genuine vocation for choreography. Essential characteristics such as artistic skill, professionalism, expressiveness, and acting prowess have consistently been demanded from ballet dancers, constituting prerequisites that must be fully nurtured within choreographic schools. In optimal organizational and pedagogical environments, these qualities should be thoroughly developed. The specificity of choreographic imagery lies in the utilization of a system of expressive means, uniquely refracted in the plastic language of dance at every stage of cultural and historical development. Plasticity serves as the primary means of expression when crafting a choreographic image
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Kristina, Ayu. "Tari Sufi dan Penguatan Pemahaman Keagamaan Moderat Kaum Muda Muslim (Studi Kasus Tari Sufi Karanganyar, Jawa Tengah)". Sosial Budaya 16, n.º 2 (30 de diciembre de 2019): 137. http://dx.doi.org/10.24014/sb.v16i2.7036.
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Young Muslims as a driver of national change have an important role in introducing Islam that is friendly and open to the modern world. One of them is religious expression through Sufi dance developed by Jalaluddin Rumi. This study was conducted to find out how adolescents interpret Islam through Sufi dances and how Sufi dances that are followed can contribute to adolescents in daily life, especially in shaping attitudes and practices of moderate and tolerant religiosity. With a descriptive qualitative approach, through in-depth interviews from (8) informants who were determined based on purposive sampling the results of the study showed that Islam was interpreted as a pleasure, discipline, politeness that was not only illustrated through human relations with God but also humans and humans and other creatures around it. In social life a Sufi dancer must implement the noble character that is gained when studying Sufi dance. For example must be polite, and hap ashor (humble), patient, sincere, have peace of mind, educated, and able to control themselves.
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Bannon, Fiona. "Dance: the possibilities of a discipline". Research in Dance Education 11, n.º 1 (marzo de 2010): 49–59. http://dx.doi.org/10.1080/14647890903568313.
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Aquino, John Michael D. "Management Practices and Holistic Development of Dance Troupe in Selected Secondary Schools". International Journal of Social Learning (IJSL) 2, n.º 2 (6 de abril de 2022): 186–200. http://dx.doi.org/10.47134/ijsl.v2i2.109.
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Management is a procedure of designing and sustaining an environment where everyone works together to attain the organization's goal. The study is a comparative analysis of the management practices of selected secondary public schools' dance troupe. This study is primarily anchored to the Skills Acquisition Theory (SAT). Specifically, the aims to identify the management practices and holistic development of the dance troupe members. The research study wants to determine the procedures in terms of rehearsals and training, community involvement, qualification of dancers, facilities, financial support, and the level of dancers' attributes in terms of attitude, discipline, and skills. The researcher also wants to determine if there is a significant relationship between the management practices and holistic development on the personal attributes of dance troupe members of the selected secondary public schools. Using a descriptive-quantitative methodology, a self-administered questionnaire was utilized in the survey of 172 dancers. The results revealed that dancers are well-disciplined and highly skilled. The management of the dance troupe struggles in terms of qualifications of the members, facilities, and financial support, which ultimately affect their preparation and training programs. Hence, there is a significant relationship between the management practices and holistic development of dance troupe members. The dance troupe's practices, skills, attitudes, and discipline have to maintain.
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Oyuela Morales, Laura. "La práctica dancística como una estrategia dentro del contexto educativo para el desarrollo de un cuerpo más consciente y atento". Calle 14 revista de investigación en el campo del arte 12, n.º 2 (3 de agosto de 2017): 97. http://dx.doi.org/10.14483/21450706.12358.
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Resumen El presente artículo aborda la práctica dancística como un escape a los modelos de cuerpo inmóvil construidos por la sociedad, reflexionando acerca de las formas en que la danza puede ser un medio óptimo para el desarrollo del cuerpo en movimiento que hace parte de todos los ámbitos de la vida y cuya praxis puede ser introducida en los sistemas educativos como un eje transversal al aprendizaje y al reconocimiento del mundo. Se plantea entonces el siguiente problema: ¿Cómo la práctica dancística puede ser una estrategia dentro del contexto educativo para el desarrollo de un cuerpo más consciente y atento? Cuestión que es tratada desde una metodología descriptiva y reflexiva fundamentada en la revisión teórica de los conceptos de cuerpo, movimiento, modelos culturales y pedagógicos, y danza, para finalmente sugerir la práctica dancística como una estrategia pedagógica óptima para la construcción de un cuerpo consciente y atento.Palabras clavesCuerpo; danza; disciplina; educación; movimiento; reconocimiento corporal The Practice of Dance as a Strategy Within the Educational Context for the Development of a More Conscious and Attentive BodyAbstract This article approaches the practice of dance as an escape from the models of the still body built by society, reflecting on the ways in which dance can be an optimal medium for the development of the body in movement that is part of all areas of life and whose praxis can be introduced in the educational systems as a transversal axle to the learning and the recognition of the world. The following problem arises: How can dance practice be a strategy within the educational context for the development of a more conscious and attentive body? A question that is treated from a descriptive and reflexive methodology based on the theoretical revision of the concepts of body, movement, of cultural and pedagogical models, and of dance, to finally suggest the practice of dance as an optimal pedagogical strategy for the construction of a conscious and attentive body.KeywordsBody; dance; discipline; education; movement; body recognition.Practica Dancística sug estrategiasina ukuma contexto educativo desarrollopepa sug cuerpomanda mas consiente y atento Maillallachiska:Kai articulok aborda chi practica Dancistica mitikugsina modelos cuerpo mana kuiurri ruraska sociedadpe, iuiarrspa imasa danzak kangapaka sug medio suma cuerpo kuiurringapa ambitope kaugsaipe y chik churrangapa iachachiikunape sug eje transversalsina iachaikuipe reconocimiento kai mundope. Churrarenme negpek kai problema: ¿imasa practica dancistikak pódenme kanga sug estrategia sug cuerpok kacho mas consiente y atento? Cuestión ka tratareska sug metodología y descriptiva y reflexiva fundamentada kauaska teorica concepto cuerpo, kuiuriska, modelo cultural y pedagógico y danza, chasa nispak mañansapa practica dancística sug estrategia pedagógica suma iuñachinpaga sug cuerpo conciente y atento. Rimangapa Ministidukuna:Cuerpo; danza; disciplina; educación; kuiurii; reconocimiento corporalLa pratique de la dance comme une stratégie dans le contexte éducatif pour le développement d'un corps plus conscient et attenteRésumé Cet article aborde la pratique de la danse comme une évasion des modèles du corps immobile construits par la société, en réfléchissant sur les façons dont la danse peut être un moyen optimal pour le développement du corps en mouvement qui fait partie de tous les domaines de la vie et dont la praxis peut être introduite dans les systèmes éducatifs comme un axe transversal à l'apprentissage et à la reconnaissance du monde. Le problème suivant se pose : comment la pratique de la danse peut-elle être une stratégie dans le contexte éducatif pour le développement d'un corps plus conscient et attentif ? Une question qui est traitée à partir d'une méthodologie descriptive et réflexive basée sur la révision théorique des concepts du corps, du mouvement, des modèles culturels et pédagogiques et de la danse, pour finalement suggérer la pratique de la danse en tant que stratégie pédagogique optimale pour la construction d'un corps conscient et attentif. Mots clésCorps; danse; discipline; éducation; mouvement; reconnaissance corporelle
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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, n.º 51 (3 de octubre de 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.
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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
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Dou, Yue. "The Application of Video Technology in Dance Courses". Art and Society 1, n.º 3 (diciembre de 2022): 38–43. http://dx.doi.org/10.56397/as.2022.12.04.
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Photography and audiovisual products are used in many ways as a technological means of recording coherent things. The art of dance as both visual and aural art is a good match for the nature of photographic technology. This has led to the use of photography in dance training and dance documentation as a means of giving visual feedback to dancers. However, due to the reproducibility and high distribution of photography, there are still many challenges regarding copyright and user choice of photography. This article explores the challenges and applications of photographic technology in the art of dance from a variety of perspectives. It also discusses the development of photographic technology as a means of promoting the discipline of dance at a time when virtual teaching is widely used in all disciplines. Using the example of the covid-19 online dance course, it explores the advantages and disadvantages of its use in practice.
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Rakocevic, Selena. "Contribution of Ljubica and Danica Jankovic to establishment of ethnochoreology in Serbia as an academic scholarly discipline". Muzikologija, n.º 17 (2014): 219–44. http://dx.doi.org/10.2298/muz1417219r.
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The Jankovic sisters are pioneers of ethnochoreological research in Serbia. Their scholarly methodology is based on intenisve field research and their development of a unique system of dance notation, which enabled them to evolve a system of dance analysis. The year 2014 celebrates multiple anniversaries of Ljubica and Danica Jankovic, their lives and work, but most importantly, it marks the publication of the first of eight volumes of Narodne igre, beginning an eighty year tradition of scholarly investigation of traditional dances in Serbia. The aim of this article is to draw attention to the Jankovic sisters for their major contribution in developing ethnochoreology in Serbia.
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Delavaud-Roux, Marie-Hélène. "La Grèce antique connaissait déjà la Break Dance!" Dramaturgias, n.º 7 (4 de julio de 2018): 529–40. http://dx.doi.org/10.26512/dramaturgias.v0i7.9536.
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Si la Break Dance, l'une des nombreuses disciplines du hip hop, est née au début des années 1970, dans le milieu urbain et défavorisé new-yorkais du quartier du Bronx, la Grèce antique connaissait déjà un amateur d'une discipline acrobatique que nous pourrions aujourd'hui qualifier de Break Dance. Ce per- sonnage, nommé Hippocleidès, se produisit dans les années 572-570 av. J.-C.1 à l'occasion d'une réunion organisée par le tyran de Sicyone pour remercier tous les aristocrates qui avaient prétendu à la main de sa fille et choisir son gen- dre. Hippocleidès fit scandale par sa danse, jugée très inconvenante et qui lui fit manquer le mariage escompté. Cette anecdote, rapportée par le célèbre his- torien Hérodote au milieu du Ve siècle av. J.-C., révèle la modernité de la Grèce antique en matière de pratiques orchestiques mais la comparaison ne peut pas être soutenue au-delà d'un certain point et ce pour plusieurs raisons. Hippocleidès, à la différence des premiers artistes de Break Dance, n'émerge pas d'un milieu défavorisé. Il est issu de la noblesse. Son exhibition est une improvisation mais ce n'est pas une danse de rue ou même une danse spécifiquement urbaine. Elle ne reflète en rien une pression sociale. Replaçons cette brillante chorégraphie dans son contexte pour mieux la comprendre. On rappellera qu'elle s'effectue dans le cadre de la préparation d'un mariage fastueux, avec un enjeu politique considérable, puis nous verrons qu'elle devient un prétexte pour écarter Hippocleidès car ce prétendant est incompatible avec la politique matrimoniale du tyran de Sicyone comme l'ont montré les travaux d'A. Duplouy.
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Tae, Hyae-Shin y Myung-Sook Park. "Convergent Approaches to Dance as a Discipline". Journal of the Korea Contents Association 12, n.º 12 (28 de diciembre de 2012): 605–15. http://dx.doi.org/10.5392/jkca.2012.12.12.605.
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Allen, Beverly. "Teaching Training and Discipline-Based Dance Education". Journal of Physical Education, Recreation & Dance 59, n.º 9 (diciembre de 1988): 65–73. http://dx.doi.org/10.1080/07303084.1988.10606322.
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Lin, Yulu. "What does the general population think 'Dance and Health' needs to further develop?" BCP Business & Management 49 (16 de agosto de 2023): 214–25. http://dx.doi.org/10.54691/bcpbm.v49i.5428.
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In recent years, the interactive discipline of 'dance and health' has been demonstrated by researchers to have a positive effect on public health. However, further examination and identification of problems are needed in this context to improve 'dance and health'. 'Dance and health' in its form, population, and context, is influenced by the subjectivity of researchers in their practice projects, and more scientific and academic theories need to be constructed to fill the academic gap in this discipline. This research is based on the stance that 'dance and health' benefit the general public. By reviewing the existing literature to confirm the value function of 'dance and health', problems are identified, listening to the general public's views in this research, and further suggestions are made for future development of 'dance and health'.
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Syvokon, Yuriy. "THEORETICAL ASPECTS OF MODERN TEACHING OF CLASSICAL DANCE IN HIGHER EDUCATIONAL PEDAGOGICAL INSTITUTIONS". Academic Notes Series Pedagogical Science 1, n.º 195 (2021): 201–5. http://dx.doi.org/10.36550/2415-7988-2021-1-195-201-205.
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The article presents an analysis of the methods of teaching classical dance as a backbone knowledge in the process of teaching students of choreographic areas of universities of culture. The main task of higher education in the field of choreography is the formation of a «complete» model of a graduate in the unity of performing and pedagogical qualities. At the same time, in the context of introducing standards for teachers, the main task of the training is the question «How to teach to dance?», which puts forward the tasks of scientific understanding of the teaching methods as an important condition for the formation of the pedagogical competence of future graduates. The main methodological setting of the research is the presentation of modern practice of choreographic education and teaching classical dance as a system in which all elements are conditioned and subordinated to performing and pedagogical tasks. The relevance of studying the methods of teaching classical dance in higher educational institution is determined by the conditions of the modern stage, which is characterized by the introduction of educational standards as an expected result of the quality of training of future choreographers; expansion of the nomenclature of profiles and directions of choreographic training; introduction of professional standards for teachers in the field of choreographic art. Classical dance at all stages of formation and development of choreographic education in universities is the foundation of training future professionals in the field of dance, a discipline that forms the performing practical skills and abilities of the dancer; «Lexical» basis of the future choreographer-producer, creator of choreographic combinations, sketches, compositions and performances; scientific and theoretical foundation of methods of teaching choreographic disciplines. The possibility of successful implementation of tasks in accordance with the requirements of modern educational standards of training students-choreographers in higher education is due, inter alia, reliance on internal prerequisites for development, which are determined by historical traditions of teaching classical dance methods A. Ya. Vaganova. XX – early XXI century. researchers stand out as the most important in the development of classical dance.
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Vroman, Liselotte. "Drawing body, movement and space in architecture and dance". Drawing: Research, Theory, Practice 8, n.º 1 (1 de abril de 2023): 11–26. http://dx.doi.org/10.1386/drtp_00103_1.
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This article discusses drawing as a tool for thinking and understanding embodied spatial experience in an educational context within architecture and dance. In both disciplines, body, movement and space are important components of the creative process. Besides, they also share drawing as a tool for thinking and understanding. However, the types of drawings and drawing techniques used in both disciplines are very different. Based on a literature review, this article offers insights into the knowledge and shortcomings produced by discipline-specific drawings regarding body, movement and space, as well as how it impacts the creative process. Starting from the identified shortcomings, experimental setups in educational environments are used to investigate to what extent the sharing of drawing techniques between both disciplines enables new ways of thinking and understanding, allowing for different attitudes and awareness of the concept of embodied spatial experience. Overall, the article contributes to the discussion of drawing as a creative thinking tool in both disciplines involved.
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Posey, Elsa. "Discipline-Based Arts Education—Developing a Dance Curriculum". Journal of Physical Education, Recreation & Dance 59, n.º 9 (diciembre de 1988): 61–64. http://dx.doi.org/10.1080/07303084.1988.10606321.
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Dewi, Jauhari Kumara. "Nilai-nilai Pendidikan Karakter dalam Gerak Dasar Tari Kejei Bagi Anak Usia Sekolah Dasar". AR-RIAYAH : Jurnal Pendidikan Dasar 6, n.º 1 (30 de junio de 2022): 115. http://dx.doi.org/10.29240/jpd.v6i1.4992.
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Education is one of leading sectors in the development of student character. Specifically, it aims to identify character values and integrate them into elementary school’s life. Kejei dance is one of the dances in which there are character values that have a role in shaping elementary school students’ character with God, themselves, others, and their nationality which expressed in every movement of the Kejei dance. The purpose of this study was to discover the meaning contained in the various basic movements of the Kejei dance in the process of shaping elementary students’ character. This research belonged to qualitative research with a narrative approach. Primary data sources are taken from observing the variety of movements of the Kejei dance. In other words, the data were collected through observation and interviews. Afterwards, the data gathered were analyzed through data reduction and conclusions. The results showed that the Kejei dance contains the meaning and value of character education which is reflected in several types of movements including Sembah Menari movement, Bederap Salah Pinggang movement, Metik Jari movement, Mateak Dayung movement, Sembah Penyudo movement, and Mendayung movement. In sum, the overall meanings of the basic movements of the Kejei dance show religious values, tolerance, discipline, and communication.
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Jazuli, Muhammad. "Aesthetics of Prajuritan Dance in Semarang Regency". Harmonia: Journal of Arts Research and Education 15, n.º 1 (8 de julio de 2015): 16. http://dx.doi.org/10.15294/harmonia.v15i1.3692.
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<p>The scarcity of aesthetic study of traditional arts has evoked my intention to promote a model of aesthetic study in dance performance. The focus of this research is the aesthetics of Prajuritan dance in Semarang regency. The aesthetics were founded on dance choreography and cultural value systems, which grow and develop in the community of Semarang regency. Dances choreography includes dance background, form, shape, theme, number and formation of dancers, moves, musical accompaniment, make-up and costume, and dance floor patterns. Cultural value systems include communicating stories, expressed symbols, function and meaning of Prajuritan dance for its supporting community. The stories were derived from the heroic tale of Prince Sambernyawa (KGPAA, king Mangkunegara I in Mangkunagaran royal palace, Surakarta) when he rebelled against the arbitrary Dutch colonialists, with his famous spell, “<em>tiji tibeh </em>(<em>mukti siji mukti kabeh</em> – being prosperous for one and all)” and Three Dharma of soldiers, namely “<em>rumangsa melu handarbeni, melu hangrungkebi, mulat sarisa hangrasa wani</em>, which means having sense of belonging, protection, and awareness to bravely do whatever to defend his nation and country. Therefore, Prajuritan dance brings the mission to evoke sense of courage, discipline, and responsibility for the young generation. </p>
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Gillis, Margie. "Dance and Desire". LEARNing Landscapes 3, n.º 2 (2 de marzo de 2010): 43–48. http://dx.doi.org/10.36510/learnland.v3i2.335.
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The author describes her lifetime relationship with dance and how it has touched every aspect of her life—physical, spiritual and emotional. The control and discipline methods of teaching dance when she was a child were ill suited to her curiosity and creativity. This curiosity and her "soul’s yearning" have led her to explore dance as a source of knowledge, expression, exploration, communication and soul connection. As a teacher of dance, she describes how it is important to encourage her students to explore their relationship to themselves in dance. Lastly, she gives uplifting guidelines to inspire both teachers and readers.
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Ewing-Pierce, Jennifer. "The ethos of the periphery". Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, n.º 1 (1 de diciembre de 2020): 127–36. http://dx.doi.org/10.1386/peet_00028_3.
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In the scholarly world where disembodied language and intellectualism reign, Kaustavi Sarkar, a dancing archive, performs embodied epistemologies. Even in her native Odissi dance discipline, Sarkar works from the margin as a questioner and an experimenter in a codified practice that values obedience and tradition. It is from this periphery that Sarkar develops a unique ethos of traditional dance that turns the conservatism of classical forms to open-layered intracultural and intercultural dance dialogues through dance.
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Stevani, Ade, Dwi Anggraini y Resnani Resnani. "Studi Deskriptif Fungsi Ekstrakulikuler Seni Tari Bagi Siswa SD Negeri 01 Kota Bengkulu". JURIDIKDAS: Jurnal Riset Pendidikan Dasar 2, n.º 3 (31 de enero de 2020): 160–69. http://dx.doi.org/10.33369/juridikdas.2.3.160-169.
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This study aims to describe the fuction of extracurricular art of dance for students of SD Negeri 01 Kota Bengkulu. Type of qualitative research and descriptive naturalistic research method.the subject of this research is the extracurricular coach of dance art and the student of extracurricular activities of dance art. Data collection techniques use observation, interviews, and documentation. Data analysis is done by data reduction, data presentation (data display), data verification(coclusion drawing/verification) and withdrawal of conclusion (verification data). Testing the validity of the data using persistence of observation, membercheck and triangulation. The result of the research show the extracurricular function of dance which includes 1) development fuction, 2) sosialfuction, 3) rekreativefuction, the three fuctions have been done, but there are some indicators in the function of extracurricular art of dance that has not been done, that is development function in indicator the formation in indicator the formation of the character of discipline. In this indicator the formation of the character of students who follow extracurricular activities of dance art came too late because before the extracurricularschedule of dance art there are students who are still in the canteen and rest. Therefore, there should be a break between classroom hygiene activities and extracurricular activities of dance, so that the indicators of character building discipline are done.
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Franko, Mark. "Dance/Agency/History: Randy Martin's Marxian Ethnography". Dance Research Journal 48, n.º 3 (diciembre de 2016): 33–44. http://dx.doi.org/10.1017/s0149767716000371.
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This article explores Randy Martin's approach to dance studies at the dawn of the discipline in a set of essays written between 1992 and 1998 regarding dance, ethnography, and representation. On one hand, the Marxian basis of Martin's analysis is foregrounded in this article as Martin's working method, and on the other, a theory of the audience (the relation of the spectator to the dance) is identified as what links dance to socialism in Martin's thought; this is the main theoretical motor of his use of dance as an analytic method for social thought.
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Liederbach, Marijeanne y Megan Richardson. "The Importance of Standardized Injury Reporting in Dance". Journal of Dance Medicine & Science 11, n.º 2 (junio de 2007): 45–48. http://dx.doi.org/10.1177/1089313x0701100203.
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Preventing dance injuries is the fundamental aim of healthcare providers, educators, and scientists interested in the health and well-being of dancers. Since its inception in 1990, the International Association for Dance Medicine and Science has promoted community-wide efforts to standarized measurements associated with dancer health, including the measurement of injuries themselves. To effectively reduce dance injury rates, a consistent and systematic way of documenting injury oc-currence is necessary. Without uniformly kept records showing the type, nature, frequency, and circumstances surrounding dance injury events, it is difficult—if not impossible—to distinguish between variables that influence their occurrence. Injury reporting systems have been used by the sports community for the past three decades and have provided athletes and the persons who train them and care for their health a better understanding of risk variables associated with injury onset. It is only by similar discipline that the dance medicine community can become truly effective at reducing its injury rates. The aim of this paper is introduce infor-mation about the purpose and process of injury reporting and to describe how implementing privacy protected injury reporting systems that monitor dancers in their environment can reliably capture valuable information associated with the conditions surrounding injury events and lead to more effective prevention and treatment strategies.
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Sofron, Oana Alina y Corina Țifrea. "THE SELECTION OF DANCERS CHARACTERISTICS AND PARTICULARITIES". Annals of 'Dunarea de Jos' University of Galati Fascicle XV Physical Education and Sport Management 2 (29 de diciembre de 2021): 14–24. http://dx.doi.org/10.35219/efms.2021.2.02.
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Problem statement: Dance Sport is a special kind of sport, in a continuous transformation and evolution, whose regulations constantly adapt to society and to the present time and still offer, permanently, a total spectacle. In order for athletes - dancers to assert themselves on the dance floor, in competitions, it is not enough just for their interest or desire to participate. There are a number of mandatory conditions that need to be considered, the first of which is staged selection (respecting and following the selection criteria of each stage ). Given the diversity of forms that selection can take in expression sports (according to certain principles) and at the same time taking stock of the most used terms in the field, we further set out some models and classification criteria but also methods and forms of selection. Selection is a long, organized and repetitive process of detecting the innate availability of children / young people, through the prism of a complex system of criteria (medical, biological, motor, psychological, social and cultural), in order to practice and further specialize in a Dance Sport discipline ( Standard Dances, Latin Dances, Mixed - 10 Dances). The selection model represents a vast structure that can be permanently adapted according to human morphological changes and also, psycho-functional changes. It has multidisciplinary and interdisciplinary characteristics, biological, pedagogical, mental, technical, social and cultural. The model has a pronounced prospective character.
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Rebelo, André, Maria João Valamatos, Sofia Franco y Francisco Tavares. "Physical and Physiological Characteristics of Female Artistic Roller Skaters Based on Discipline and Level of Expertise". Polish Journal of Sport and Tourism 29, n.º 1 (1 de marzo de 2022): 30–38. http://dx.doi.org/10.2478/pjst-2022-0006.
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Abstract Introduction. In artistic roller skating, athletes use shoes fitted with small wheels to be used in rinks. The sport consists of seven disciplines characterized by different physical demands. Roller skaters are judged on content and manner of performance, and this includes the skater’s ability to do jumps, spins, and footwork. To date, no study has analyzed the different physical qualities in artistic roller skaters based on their skating discipline and skating level. Thus, the purpose of this study was to compare the body composition, flexibility, balance, reactive strength, maximal strength and aerobic capacity based on skating discipline and skating level. Material and methods. A total of 108 female athletes from the three individual disciplines (figures, freestyle, and solo dance) and three different levels (elite, sub-elite, and non-elite) volunteered to participate in this study. All subjects completed the sit-and-reach, front split, Y-Balance, countermovement jump, squat jump, drop jump, isometric mid-thigh pull and 20-metre multistage shuttle roller skate tests. Six multivariate analyses of variance were performed to identify differences between disciplines and levels. Statistical significance was set at p < 0.05. Results. The findings showed that freestyle skaters have less body fat, and higher levels of reactive and maximal strength than figure and solo dance skaters. Elite skaters demonstrate greater values of flexibility, balance, strength and aerobic capacity compared to their sub-elite and non-elite counterparts. Conclusions. The results of this study showed that there are differences between elite and non-elite athletes and between skating disciplines. Strength and conditioning professionals should take that into consideration when training these athletes.
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Mustika, I. Wayan, Tuntun Sinaga y Iing Sunarti. "Tracing The History of The Serai Serumpun Dance Form as A Cultural Identity of Mesuji Regency, Lampung Province". Mudra Jurnal Seni Budaya 37, n.º 4 (31 de octubre de 2022): 436–45. http://dx.doi.org/10.31091/mudra.v37i4.2143.
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This research is a dance ethnographic study that was conducted to trace the history of the serai serumpun dance which has lost its history. In the past, this dance was thought to have originally belonged to the Mesuji community and was an asset of the Mesuji Regency Education Office as well as the identity of the Mesuji Community of Lampung Province. This research will first discuss the form of the serai serumpun dance which is studied through the discipline of ethnochoreology. Then an assessment will also be made of the supporting culture of the serai serumpun dance, so as to obtain the values contained in it. By knowing these values, an identity of the people of Mesuji Regency will be obtained through the history of the serai serumpun dance.
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Leșe, Ana-Cristina. "Physical Education - Active Support of the Stage Movement (The Training of the Bodily Expression)". Timisoara Physical Education and Rehabilitation Journal 10, n.º 19 (1 de diciembre de 2017): 63–66. http://dx.doi.org/10.1515/tperj-2017-0018.
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Abstract The teaching discipline entitled the Training of the body expression sums those activities that imply the body and which come in varied forms, both as motor structures and as functional features. In the following, we will try to bring arguments in support of the idea that body education (Physical Education) should be the starting point for the Stage Movement (The training of the body expression), first of all, but also for other disciplines of movement, included in the Actor’s Art curriculum (pantomime, fencing, dance).
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Todi, Cristina. "Ipostases of The Choreographic Dialogue". Review of Artistic Education 17, n.º 1 (1 de marzo de 2019): 171–82. http://dx.doi.org/10.2478/rae-2019-0018.
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Abstract The analysis of the aesthetic face of dance brings to our forefront the fascination for the movement on many artists who experienced the movement and, above all, explored the possibilities of kinetic art or movement movement. In its most elevated form, dance contains not only this element but also the infinite richness of human personality. It is the perfect synthesis of the abstract and the human, of mind and intellect with emotion, discipline with spontaneity, spirituality with erotic attraction to which dance aspires; and in dance as a form of communication, it is the most vivid presentation of this fusion act that is the ideal show.
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Clements, Lucie y Rebecca Weber. "Making Space for the Psychology of Creativity in Dance Science". International Journal of Art, Culture and Design Technologies 7, n.º 1 (enero de 2018): 30–45. http://dx.doi.org/10.4018/ijacdt.2018010103.
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Creativity is commonly recognized as a complex phenomenon; one which entails a range of debates around definition, process and product, domain specificity, cross-discipline generalisability, and appropriate testing measures. The psychology of creativity appears to find a fitting home in dance science, a field concerned with understanding and enhancing dancers' health and performance. Yet dance psychology has been predominated by research which focuses on the mental processes underpinning optimal skill execution and technical performance. This paper outlines an argument for a greater focus on the creative demands of dance within dance science, highlighting some the challenges of, and barriers to, research in the psychology of creativity in dance, before making a number of recommendations to encourage the growth of this important research area.
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Pier, David G. "Dance, Discipline, and the Liberal Self at a Ugandan Catholic Boarding School". African Studies Review 59, n.º 3 (diciembre de 2016): 33–59. http://dx.doi.org/10.1017/asr.2016.86.
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Abstract:In the last years of Idi Amin’s reign, modern dance was introduced at Namasagali College, a Catholic boarding school in rural Uganda, as a means of encouraging modern, liberal self-awareness in students. Drawing on interviews with Namasagali’s former headmaster, teachers, and students, this article offers the first scholarly consideration of this important school, and contextualizes its modern dance curriculum within Africa’s historical modernity/modernization problematic. The school’s progressive educational program, with its focus on creative exploration and ownership of the body, was framed within a neocolonial regimen of discipline and punishment that aimed to drill modern behavior into students. In its clashing modes of government, this school exhibited contradictions that have perennially troubled Western liberal intervention in Africa.
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Alfaro Herrera, Mariana y Giovanni Sánchez Chacón. "Somatic Education and its Relationship with Ballet Learning for Contemporary Dance Dancers: Psychopedagogical Principles for Self-regulated Learning in Artistic Expression". Revista Ensayos Pedagógicos 18, n.º 2 (30 de diciembre de 2023): 1–27. http://dx.doi.org/10.15359/rep.18-2.13.
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In this article, the principles of somatic education and their relationship with ballet instruction for contemporary dance dancers are elucidated. Simultaneously, psychopedagogical guidelines are proposed to foster self-regulation and learning autonomy in artistic expression. The article concludes with the development of a didactic sequence model aimed at ballet instruction for contemporary dance dancers, progressively promoting self-regulation and learning autonomy within this discipline.
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Dickason, Kathryn. "Discipline and Redemption: The Dance of Penitence in Dante’s Purgatorio". Dante e l'Arte 4 (23 de junio de 2017): 67. http://dx.doi.org/10.5565/rev/dea.81.
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Koshchavets, I. M. y O. Ye Grytsenko. "ORGANIZATION OF E-LEARNING IN TEACHING THE DISCIPLINE «CLASSICAL DANCE»". Innovate Pedagogy 1, n.º 54 (2022): 87–90. http://dx.doi.org/10.32782/2663-6085/2022/54.1.18.
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Артёменкова, Н. В. y О. В. Ершова. "Sports dance - definition of the concept of dance discipline in the field of choreographic education, common features and differences with dance sports". Bulletin of Pedagogical Sciences, n.º 4 (13 de mayo de 2024): 239–44. http://dx.doi.org/10.62257/2687-1661-2024-4-239-244.
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в процессе нашего исследования было выявлено, что на современном этапе развития танцевального и хореографического искусства отсутствует знание, понимание и научное определение термина - «спортивный танец». Не установлена его сущность и специфика. Несмотря на то, что на фестивалях-конкурсах, танцевальных турнирах, соревнованиях существует данная номинация, а в культурно-досуговых учреждениях и учреждениях дополнительного образования имеются коллективы, ансамбли и даже театры спортивного танца. Необходимость научного определения термина «спортивный танец» обусловлена тем, что в профессиональном образовании будущих педагогов-хореографов, руководителей танцевально-хореографических коллективов в дополнительном образовании детей, должно сложиться полное понимание дисциплины «спортивный танец». В данной статье впервые даётся чёткое определение и дефиниции понятия «спортивный танец», как самостоятельной дисциплины в системе хореографического профессионального и дополнительного образования. Анализируются требования к спортивному танцу на многожанровых и хореографических конкурсах, фестивалях, турнирах и соревнованиях в России и за рубежом. Исследуются исторические предпосылки объединения спорта и танцевально-хореографического искусства. В заключении статьи мы впервые даём сравнительный анализ танцевального спорта и спортивного танца, рассматриваем их общие черты и различия. Среди определенных нами критериев оценки следует особо выделить отличия целей, которые ставятся в спортивном танце и танцевальном спорте, степень использования танцевальных движений и акробатических элементов, важность техники исполнения и артистизма, необходимость наличия сюжета, использование музыкального материала, стандарты и требования или их отсутствие к костюмам, возможность использования предметов художественных видов спорта и предметов танцевальных видов спорта, систему оценивания и присвоения званий по итогам выступления, форма отчетности и разницу в определении направления в системе дополнительного образования. in the process of our research, it was revealed that at the present stage of development of dance and choreographic art there is no knowledge, understanding and scientific definition of the term “sports dance”. Its essence and specificity have not been established. Despite the fact that this nomination exists at festivals, dance tournaments, competitions, and in cultural and leisure institutions and institutions of additional education there are groups, ensembles and even sports dance theaters. The need for a scientific definition of the term “sport dance” is due to the fact that in the professional education of future teachers-choreographers, leaders of dance and choreographic groups in additional education for children, there must be a complete understanding of the discipline “sport dance”. This article for the first time provides a clear definition and definition of the concept of “sports dance” as an independent discipline in the system of choreographic professional and additional education. The requirements for sports dance at multi-genre and choreographic competitions, festivals, tournaments and competitions in Russia and abroad are analyzed. The historical background for the unification of sports and dance and choreographic art is explored. In conclusion of the article, for the first time we give a comparative analysis of dance sport and sports dance, consider their common features and differences. Among the evaluation criteria we have identified, we should especially highlight the differences in goals that are set in dance sports and dance sports, the degree of use of dance movements and acrobatic elements, the importance of performance technique and artistry, the need for a plot, the use of musical material, standards and requirements or their absence for costumes , the possibility of using subjects of artistic sports and subjects of dance sports, a system of assessment and assignment of titles based on the results of performance, a reporting form and the difference in determining the direction in the system of additional education.
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Rosenthal, Miriam, Alyssa M. McPherson, Carrie L. Docherty y Joanne Klossner. "Perceptions and Utilization of Strength Training and Conditioning in Collegiate Contemporary and Ballet Dancers: A Qualitative Approach". Medical Problems of Performing Artists 36, n.º 2 (1 de junio de 2021): 78–87. http://dx.doi.org/10.21091/mppa.2021.2012.
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AIMS: Research demonstrates that dancers benefit from reduced injury risk and improved health by engaging in strength training and conditioning (STC). Historic bias within the discipline of dance, however, establishes a long-standing stigma that gains in muscle mass and strength lessen a dancer's aesthetic appearance, and thus many dancers rebuff STC as a supplement to dance training. However, there is growing evidence that dancers and dance educators are beginning to understand the importance of additional resistance training and cardiovascular conditioning. This study explored dancers' perceptions and utilization of STC using a general qualitative approach. METHODS: Twenty-three female collegiate dancers (13 contemporary dancers, 10 ballet dancers, mean age 19.95 x 0.97 yrs) volunteered to participate in this study. The principal investigator conducted individual, semi-structured interviews. RESULTS: Inductive analysis revealed three major themes: 1) evolving body image, 2) motivation, and 3) education. Trustworthiness was established using member checks, peer debriefing, and journaling. This study concluded collegiate dancers utilized STC as a means to enhance the individual's body image. This was driven by a continuum of motivating factors. Although collegiate dancers are utilizing STC, education on STC techniques and practices was minimal. CONCLUSIONS: While further research is needed, results from this study suggest STC could be initiated and promoted in the discipline of dance to further enhance physical fitness and general well-being. Dancers and dance instructors should receive education about the importance of STC within dance training as well as how to safely implement STC exercise into training regimens.
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Riyaningsih, Etik, Maryono Maryono y Harini Harini. "Establishment of Learners’ Character Through Learning Traditional Dance in Senior High School". Harmonia: Journal of Arts Research and Education 18, n.º 1 (30 de agosto de 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.
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Wang, Yuyan. "Child Psychology in the Dance Classroom". Education, Language and Sociology Research 4, n.º 4 (24 de octubre de 2023): p116. http://dx.doi.org/10.22158/elsr.v4n4p116.
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Child psychology is a discipline that studies the laws of children’s mental activities, and with the improvement of social standards, the application of psychology in children’s education is becoming more and more widespread. This paper takes children’s psychological development as a fulcrum to gain deep insight into children’s psychological characteristics in dance teaching. Taking children as the research object, it studies the specific application of psychology in the process of children’s dance teaching through its own teaching practice.
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Savrami, Katia. "The Price of Everything and the Value of Nothing: “Scholarly Activity” and Creative Collaborations on Dance in the Days of Austerity in Greece". Congress on Research in Dance Conference Proceedings 2016 (2016): 355–60. http://dx.doi.org/10.1017/cor.2016.47.
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This paper initially exposes the resistance and reluctance of the Greek state to systematically support dance by means of long-term planning/institutionalization. Despite its establishment, during the 1970s, as an independent discipline studied at professional dance schools and under the jurisdiction of the Ministry of Culture, dance has never really gained its rightful status in the Greek academia, nor has it ever been approached with the intention of truly comprehending and appreciating its nature. Further, the paper critically discusses government planning for dance education and funding for Greek dance companies. Finally, the author explains how the Greek dance community eventually has, on its own initiative, developed the necessary infrastructure in order to maintain and promote dance, both in education and in production. The Greek dance community—practitioners for the most part, plus a small number of researchers/academics—has implicitly influenced the existing state structures and cultural centers, and applied what in the current art/educational context is termed Scholarly Activity and Creative Collaborations. These ad hoc but regular actions might nevertheless prove to be the right choice for the sustainability of dance as an art form in Greece, within the current financial, political, cultural, and social predicament.
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Bambang Yuniarto y Fia Fauziyah Sahidin. "The Meaning of Bandopati Losari Mask dance as a Symbol of Cultural Expression". Formosa Journal of Multidisciplinary Research 2, n.º 7 (29 de julio de 2023): 1233–48. http://dx.doi.org/10.55927/fjmr.v2i7.4678.
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This journal aims to analyze the meaning of Topeng Kelana Bandopati Losari Dance as a symbol of cultural expression, This type of research is descriptive qualitative. The results of this study show that dance is a cultural heritage that is still very thick in its authenticity and shows the character of this nation. Mask dance character: Panji Sutrawinangun, Patih Jayabadra, Samba/Pamindo, Tumenggung Magangdiraja, Jinggano, Tumenggung-Patih, Kelana or Rahwana, Rumyang. The Kelana mask is a depiction of someone who is wrathful, greedy and unjust. Topeng Kelana dance is often associated with Panji stories. The character education values that we can apply daily from Topeng Kelana Bandopati are religious values, discipline, hard work, love for the country, responsibility, tolerance and helping.
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Loza, Susana. "Sampling (hetero)sexuality: diva-ness and discipline in electronic dance music". Popular Music 20, n.º 3 (octubre de 2001): 349–57. http://dx.doi.org/10.1017/s0261143001001544.
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Cyborgs, fembots and posthumans: electronic dance music and the biopolitics of fucking machinesIn the technophilic West, netizens, infomorphs and the audio digerati triumphantly-if-precociously herald this as the dawn of disembodiment. These reality hackers dream in binary code. They yearn to manufacture human-alien hybrids, ethical androids and genetically programmed clones. They already engineer digital soul divas, aural cyborgs, Nintendo's voluptuously overdrawn robo-bimbos, and the supernaturally and surgically perfect bodies purchased at Lasers R' US. They share the meat-hating philosophies of the cyber-protagonists of Neuromancer, Snow Crash and Software. They willingly computerise their passions via text sex, MUD-based gender masquerades, naughty newsgroups, techno-fetishistic video games, virtual reality-based erotic escapades, and pornosonic digital samples. Nonetheless, it seems that for the rest of us to join these intrepid cybernauts in their Age of immaterial Information, our too-solid bodies must first be anaesthetised with utopian visions and sounds of an incorporeal future. So electronic dance music, popular culture and modern science inject the flesh with fantasies of immortality, limitless pleasures, and unadulterated agency. With their tax-funded market research and their potent techno-imaginings, entertainment systems, netters, digital dance music producers, and radically hopeful scientists prepare human matter to be dematerialised and devoured byte by agonising byte. In other words, they passionately fabricate the human-machine hybrid also known as the cyborg, the fembot and the posthuman. These techno-organic entities traverse the space between desire and dread; their indeterminate forms simultaneously destabilise and reconfigure the dualistic limits of liberal humanist subjectivity. Each incarnation plots the feared consequences and perplexing possibilities of boundary transgressions between the human and the machine quite differently.
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Hamera, Judith. "Cautionary Contours: Joann Kealiinohomoku's Silhougraphs® and Dance Analysis in Black and White". Dance Research Journal 53, n.º 1 (abril de 2021): 23–43. http://dx.doi.org/10.1017/s0149767721000036.
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AbstractJoann Kealiinohomoku's Silhougraphs®, traces of the silhouettes of dancers, were her attempt to operationalize her cultural relativist commitments and create a new method of dance analysis. Silhougraphs illuminate underexamined scholarly presumptions, methods, and tools that both contributed to and paralleled the emergence of dance studies as a discipline. Silhougraphs are also a cautionary tale demonstrating the ways culturally sensitive research commitments and methods can unintentionally yet decisively reiterate tools and logics of racist typologies.