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Bibliografías temáticas / Dancing body

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Literatura académica sobre el tema "Dancing body"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 9 de junio de 2025

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Artículos de revistas sobre el tema "Dancing body"

1

Flanderová, Veronika. "For the dancing body." Kontradikce 4, no. 2 (2020): 198–204. http://dx.doi.org/10.46957/con.2020.2.19.

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Ericksen, Julia A. "Dancing the Body Beautiful." Contexts 11, no. 2 (May 2012): 48–53. http://dx.doi.org/10.1177/1536504212446460.

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Bergonzoni, Carolina. "We Are Travellers: The Body as a Compass." Journal of the Canadian Association for Curriculum Studies 18, no. 2 (March 16, 2021): 192–98. http://dx.doi.org/10.25071/1916-4467.40590.

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This article introduces the practice of walking-as-dancing. In this article, the terms walk and walking are often considered as synonymous with wandering since the practice of walking-as-dancing that I will describe does not have a set goal. When walking-as-dancing, I explore the improvisational nature of a wandering movement that allows me to let go of certainty and attune to the not-yet-known. I define the body as a compass that guides us through the path of the curriculum-as-lived (Aoki, 1993) and the curriculum itself. Through the analysis of the practice of walking-as-dancing, I will show how the knowledge of the body is already in us; it is us.

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Born, Caroline. "Life Dancing: Birthing the Body." Self & Society 21, no. 1 (March 1993): 18–20. http://dx.doi.org/10.1080/03060497.1993.11085303.

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Markula, Pirkko. "The Dancing Body without Organs." Qualitative Inquiry 12, no. 1 (February 2006): 3–27. http://dx.doi.org/10.1177/1077800405282793.

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Beaucé, Patrick. "Dancing, drawing, designing." Drawing: Research, Theory, Practice 8, no. 2 (October 1, 2023): 281–93. http://dx.doi.org/10.1386/drtp_00121_1.

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This paper describes and analyses a drawing practice in a research project on corporeality and gesture, with a view to designing objects and spaces. This research, carried out at the École nationale supérieure d’art et de design de Nancy (France), questions our presence with things and others, the sharing of space and the world, by questioning the gestures that underpin them. Drawing is one of these gestures. Its pedagogical aims are pragmatic and practical: to question our physicality in artistic training and to provide prescriptive elements, i.e. methods and techniques of looking, reading, writing, designing and drawing. Turning away from knowledge that makes the body an object, such as ergonomics, the approach turns towards a knowledge of the self by the subject itself: somatics. The objective of the so-called somatic practices is to better understand and appreciate one’s own body experience in an aesthetic way. They are different from our habits, from our everyday connection to environments and propose to discover the variety of movements offered to our body when making movements. They propose a path towards body awareness that cannot be acquired through theoretical teaching, but only through the practice of movement. The role of the aesthetic appreciation of the body experience and the creativity of somatic practices and more generally of dance allows us to make the hypothesis that they are tools for design research the objective of which is precisely to consider the body in movement in order to conceive objects and spaces differently. To verify this hypothesis, we describe a creative protocol, followed by dance students and design students, which combines dance, drawing and furniture design. The drawing is in turn notation, imprint, sensitive recording, trace of movement, score, memory and quasi-object supporting a morphogenesis. Because it constantly revives movement, the objects resulting from the process are open to gestural and postural invention.

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Summers-Bremner, Eluned. "Reading Irigaray, Dancing." Hypatia 15, no. 1 (2000): 90–124. http://dx.doi.org/10.1111/j.1527-2001.2000.tb01081.x.

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My essay incorporates Irigaray's notion of the sensible transcendental, a dynamic attempt to reconstitute the body/mind dualism which founds Western thought, into a reading of the practice of European concert dance. I contend that Irigaray's efforts toward articulating a language of the body as active agent have much to offer (feminist) analyses of dance practice, and develop this claim through a reading which reflects philosophically on the changing nature of my own dance activity.

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Franko, Mark. "The Dancing Body in Renaissance Choreography." Journal of Aesthetics and Art Criticism 47, no. 2 (1989): 199. http://dx.doi.org/10.2307/431845.

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Jisun Lee and MalborgKim. "Dancing Body in Digital Image Era." Korean Journal of Dance Studies 37, no. 37 (July 2012): 63–84. http://dx.doi.org/10.16877/kjds.37.37.201207.63.

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Foster, Susan Leigh, and Mark Franko. "The Dancing Body in Renaissance Choreography." Theatre Journal 40, no. 3 (October 1988): 429. http://dx.doi.org/10.2307/3208343.

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Tesis sobre el tema "Dancing body"

1

Khudaverdian, Clara. "The dancing body." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ39453.pdf.

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Davidson, Julia Rose. "Listening to the Dancing Body| Understanding the Dancing Body as Performative Agent within the Choreographic Process." Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096902.

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<p> The performativity of dance relies on the the power that different dance practices and choreographies have to shape culture, “making and unmaking” identities by “molding” the moving body (Franko, 2012). While theorists have connected dance technique and instruction to the perpetuation of larger cultural and historical ideologies, few methods yet have attempted a critical study of how performative impact is connected to a dancer’s own embodied experience. </p><p> Working from an understanding of embodied experience as central to the performative impact of dance, my research examines the dancing body’s role in constructing its own performativity. I begin with an analysis of how choreography “does” performativity, looking at historical changes in dance theory over time that have led to the imperative to examine agency specifically in relation to individually experienced embodiment. Current scholarship on the status of the 21st century contemporary dancer recognizes this need to study individual embodiment; dancers are creative agents within the choreographic process, able to alter the performative impact of a piece on the basis of how they learn or embody the movement. In order to substantiate this understanding of the dancing body’s agency, my research culminates in an interview project that includes dancers’ voices and lived experiences together with scholarship that prescribes agency and performativity to the moving body. Tracking a group of dancers through the process of learning new choreography, I attempt a method of understanding the moving body itself as communicative agent. The philosophical field of phenomenology supports such an understanding, viewing the body as having its own consciousness and perspective. In addition to phenomenology, I use critical ethnography and oral history practices to construct a reflexive interview process and affect theory to conduct a deep analysis of the dancers’ descriptions. Affect, being defined as those intensities, feelings and forces at the base of personal experience and social patterns, offers a way of comprehending dancers’ felt sense of embodiment from their own perspective. </p><p> An examination of affect within the dancers’ descriptions shows how the dancers’ linguistic moves parallel their diverse kinesthetic experiences of learning movement. The dancers’ heightened kinesthetic awareness throughout the process of learning choreography demonstrates how they experience their bodies in a different phenomenological way and ultimately how they enact performative impact through their very processes of embodiment. The resulting interviews, transcriptions and discussion in this project support practice-based research, in the form of phenomenologically-centered and analyzed interviews, as a way to include dancers’ embodied experiences in studies of the dancing body’s performativity. </p><p> Reference: Franko, Mark. "Dance and the Political: States of Exception." Dance. Ed. André Lepecki. London: Whitechapel Gallery, 2012. 145-48. Print.</p>

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Shrubsall, Gina M., University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The dancing body makes sense of place." THESIS_CAESS_CAR_Shrubsall_G.xml, 2002. http://handle.uws.edu.au:8081/1959.7/805.

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The grounded theory of this dissertation is that 'the dancing body makes sense of place'. This theory is investigated through hermeneutic praxis based on the theoretical perspective of phenomenology. In exploring how the dancing body experiences place, it is the processes that underlie and give form to dance that capture my attention. 'The dancing body makes sense of place' is a phrase that liberates the description and consideration of the non-verbal processes that underlie the dance/place interface. The phrase offers the possibility of communicating coexisting processes. Interpreted as 'the dancing body makes (sense of place)', the phrase suggests that the development of a 'sense of place' is an outcome of the action of dance. Whilst interpreted as 'the dancing body makes sense of (place)', the phrase implies the understanding of 'place' through dance. The hermeneutic praxis described in this dissertation, is comprised of memory retrieval sessions which allude to how the 'dancing body' experiences space, place and sense of place. During praxis, it emerges that the dancing body infers 'sense of place' through spheres of experience, that may be described as the; 'propriosphere, kinesphere, near-sphere', and 'far-sphere'. Praxis also reveals that the 'dancing body''s' relationship to place in integral in the development of a sense of belonging<br>Master of Arts (Hons)

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4

Shrubsall, Gina M. "The dancing body makes sense of place." Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/805.

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The grounded theory of this dissertation is that 'the dancing body makes sense of place'. This theory is investigated through hermeneutic praxis based on the theoretical perspective of phenomenology. In exploring how the dancing body experiences place, it is the processes that underlie and give form to dance that capture my attention. 'The dancing body makes sense of place' is a phrase that liberates the description and consideration of the non-verbal processes that underlie the dance/place interface. The phrase offers the possibility of communicating coexisting processes. Interpreted as 'the dancing body makes (sense of place)', the phrase suggests that the development of a 'sense of place' is an outcome of the action of dance. Whilst interpreted as 'the dancing body makes sense of (place)', the phrase implies the understanding of 'place' through dance. The hermeneutic praxis described in this dissertation, is comprised of memory retrieval sessions which allude to how the 'dancing body' experiences space, place and sense of place. During praxis, it emerges that the dancing body infers 'sense of place' through spheres of experience, that may be described as the; 'propriosphere, kinesphere, near-sphere', and 'far-sphere'. Praxis also reveals that the 'dancing body''s' relationship to place in integral in the development of a sense of belonging

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5

Shrubsall, Gina M. "The dancing body makes sense of place /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030929.102832/index.html.

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Thesis (M. A.) (Hons.) -- University of Western Sydney, 2002.<br>A dissertation submitted in partial fulfillmemt of the degree of Master of Arts, UWS Nepean, School of Contemporary Arts : Dance, July 2002. Bibliography : leaves 81-84.

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6

Acker, Shaun Albert. "Writing the aerial dancing body a preliminary choreological investigation of the aesthetics and kinetics of the aerial dancing body." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002361.

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This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban’s choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.

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7

Pienaar, Samantha. "Boyzie Cekwana the South African dancing body in transition." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002376.

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Boyzie Cekwana is one of many black male dancers and choreographers that is currently receiving widespread support and recognition for his contribution to the field of contemporary dance in South Africa. Why certain images of the dancing body - as presented by this individual dance practitioner - are currently being promoted as artistically more viable than others by dance critics and the media is the central concern of this thesis. An analysis of the dancing body in contemporary South Africa must take into account the current post-apartheid condition, a condition of transformation and reconstruction that allows people greater freedom to select the country's leaders, popularize its heroes and heroines, market and capitalize on images and icons of a New South Africa. By opting to look specifically at a black male dancer, social appreciations of the body in terms of ethnicity and gender can be challenged. This latter area of research - the role of gender in the production, presentation and appreciation of the dancing body - is largely unchallenged in South Africa. Yet, if South African's want to truly rid themselves of the shackles of hegemonic rule, gender-construction is an area of social experience that needs intensive confrontation. Chapter one will suggest some of the obstacles that might limit the South African dance researcher seeking an indepth analysis of the black dancing body, taking into consideration the country's history of elitist and autonomous rule. Attention will be drawn to multidisciplinary sites of information that might assist the researcher in such an excavation. The context of the research, however, is less interested in historical descriptions of the dancing body than with current motivating factors behind the preferential promotion of certain images over others in contemporary dance. Personal interviews and observations will therefore also provide crucial resource material. In chapter two, a case study of Boyzie Cekwana will be made looking at his personal background and the way in which it may have informed his contemporary experiences as a black male dancer and choreographer. The underlying belief of such a case-study approach is that "it carries implications about the extents to which the resulting analysis is applicable to other similar cases" ¹. This individual analysis includes information gathered from persona1 interviews with Cekwana; the author's own observations and experiences of Cekwana' s work at the Vita FNB Dance Umbrella, the Grahamstown National Arts Festival, and the Durban Playhouse Theatre; and analyses of articles on Cekwana by journalists, and performance reviews by dance and theatre critics such as Adrienne Sichel (The Star Tonight!), Tommy Ballantyne (The Natal Sunday Tribune) and David Coleman (The Mercury). Further examinations in chapter three and four will assess to what degree Cekwana re-presents culture-specific images of gender-modelling in his own performing body and the bodies of his multi-racial and multi-gendered dancers in selected dances. To prevent placing sole responsibility at Cekwana' s feet for the representation of the dancing body to a society in transformation, the role of dance critics and mass mediators in this process of artistic communication will also be dealt with. It is hoped that the ensuing discussion will suggest the possible effects that present frameworks of aesthetic appreciation may hold for choreographers and dancers in the country's future cultural development; this involves confronting a still controversial issue in South Africa the relationship between dance and politics, choreographer and social responsibility. The thesis will round-off very briefly with suggestions to dance practitioners and educators in South Africa of alternative ways of perceiving and appreciating the dancing body based on gender, and· not just racial, constructions; this is especially invaluable in the light of current efforts to include dance as a core-curriculum subject in all schools.

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8

Samuel, Gerard M. "Dancing the Other in South Africa." Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/22781.

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At the centre of discourse of Dance in South Africa is the notion of Other. The form and approach in Contemporary Dance in South Africa in the 21st century has been shaped by cultural forces such as apartheid and colonialism. This thesis sets out a phenomenological study of Othering in Dance in South Africa through a hermeneutical unpacking of 'Older dancing'. Its critical question grapples with the notion of age as a new marker of alterity in Dance and asks: How does dancing the Other bring new ways of seeing bodies? The lived experiences of four categories in Older dancing: dancers, choreographers, directors and dance critics, in and outside of South Africa since the 2000s, will be analysed. My own position in each of the categories above has allowed me to participate in Contemporary Dance and the performing arts field in South Africa for over 45 years. A partial history of Contemporary Dance in South Africa is explicated in order to provide paradigmatic frames for this study. The philosophical enquiry of this thesis has foregrounded Dance Studies as a discrete research field in order to highlight dance and the body itself, and to reassert an enviable position of dancing bodies as research instruments and knowledge producers. A hermeneutical narrative analysis was deployed following twelve interviews that were conducted over 4 years (2012-2014). Seven South African and five non-South African 'voices' were analysed and coded against four primary lines of enquiry in Experience: notions of cultural inscription and dancing bodies as blank slates; questions of (in)visibility and frailty of older persons, wisdom and (in)dependent older dancers and the ontologies of marginalisation for Older dancing within concert theatre Dance. This suggested a thesis of wider Body-space reading and continuum for Dance that could be useful in understanding epistemology of prejudice. Recommendations that flow from this study will relate to Dance Studies in South Africa that is already moving away from its anthropological roots in tribal dances, experimentations with multicultural dance, towards unpacking intersectionality, public art and the contested label African dance. It provides Body-space as a further theoretical tool with which to observe dancing and bodies as states of becoming that will be of interest to Dance Studies, Performance Theory and Cultural Studies.

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9

Ramphal, Vena Radha. "A word on movement : thinking approaches to the dancing body." Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420643.

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Kissell, Kristin. "Dancing Theology - A Construction of a Pneumatology of The Body." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/941.

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Dance is the language of the soul. Dance, as a theological source, can remind us of who we are in and with the living perichoresis of the Trinity. Dance, as embodied art, can provide us with a new way of viewing and discussing pneumatology and that we too, in our incarnate reality, participate in perichoresis. Within this work I seek to answer the questions of how dance is a source of theology, why a pneumatology of the body is significant, and how dance provides a framework for a pneumatology of the body. The creation of a pneumatology of the body is a rooting or re-membering of the Spirit and our own spirit in incarnational—skin and bones—reality that includes us in Trinitarian perichoresis. Pneumatology of the body is dancing with the Holy Spirit in our given time and space to retrieve the dignity of our embodied inspirited selves as made in the imago Dei. The gifts and fruits of the Holy Spirit are not abstract concepts. Through dance as embodied art we can move from abstract, intellectual concepts of the Spirit to incarnational truth of our flesh and blood, wounds and joys, where the Trinity dwells within and around.Dance as a source of theology can provide a framework for a pneumtology of the body. The Holy Spirit as relationality holding all of life together is our Holy Bridge. Within this work, we re-member our foundational belief in the interconnectedness of body and soul, and that we too participate in the Trinitarian perichoresis as part of God’s dancing revelation. In a world of division and duality, the Spirit as Holy Bridge brings us back home to the core of who we are individually and collectively, while dance provides a space for honoring difference and duality together in harmony. Dance gives expression to situations and things in our lives that are challenging to grasp conceptually and intellectually, while allowing for the embodied witnessing of a person’s and community’s story.A dancing theology as a framework for a pneumatology of the body reminds us that Spirit is our Holy Bridge between body, senses, feelings, challenges, and transformations, between my body soul temple and your body soul temple, and between individual and communal. By dancing with us in our daily lives, the Holy Spirit draws us ever deeper across loving bridges into communion with Trinitarian perichoresis. The Trinity is the Dance of Life in which the Spirit performs the role of empowering the never-ending communion and relational vitality that is God in and with Godself.

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Libros sobre el tema "Dancing body"

1

Munsi, Urmimala Sarkar, and Aishika Chakraborty. The Dancing Body. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003484059.

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Gottschild, Brenda Dixon. The Black Dancing Body. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-03900-2.

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Duchamp, L. Timmel. Love's body, dancing in time. Seattle WA, USA: Aqueduct Press, 2004.

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4

King, Jamie. Rock your body: The ultimate hip-hop inspired workout to slim, shape, and strengthen your body. Emmaus, Pa: Rodale, 2007.

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5

Copyright Paperback Collection (Library of Congress), ed. Body lines. New York: Aladdin Paperbacks, 1998.

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6

Rykwert, Joseph. The dancing column: On order in architecture. Cambridge, Mass: MIT Press, 1996.

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7

Peyer, Katia de. Dancing with myself: Sensuous exercises for body, mind, and spirit. Willow Springs, MO: Nucleus Publications, 1991.

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8

Ajayi, Omofolabo S. Yoruba dance: The semiotics of movement and body attitude in a Nigerian culture. Trenton, NJ: Africa World Press, 1998.

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9

Wang, Yunsheng. Min zu jian shen wu: Shape your body develop you [i.e. your] taste. [Fuzhou Shi]: Fujian Sheng Chang long ying shi gong si, 2004.

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Maletic, Vera. Body, space, expression: The development of Rudolf Laban's movement and dance concepts. Berlin: Mouton de Gruyter, 1987.

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Capítulos de libros sobre el tema "Dancing body"

1

Sweeney, Bernadette. "The Dancing Body: Dancing at Lughnasa." In Performing the Body in Irish Theatre, 111–37. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230582057_5.

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Sarkar Munsi, Urmimala. "Becoming a body." In The Dancing Body, 10–25. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003484059-1.

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Mukherji, Parul Dave. "Artistic labour in dance and painting: revisiting the theory-practice debate via mimesis (Anukrti) and the abject body." In The Dancing Body, 26–38. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003484059-2.

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Sarkar Munsi, Urmimala, and Aishika Chakraborty. "Introduction: The dancing body: labour, livelihood and leisure." In The Dancing Body, 1–9. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003484059-101.

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Sharma, Shambhavee. "Choreographing the queer: Visual and textual stimuli in Mandeep Raikhy's dance-making process." In The Dancing Body, 123–35. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003484059-8.

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Prakash, Brahma. "The erotic power of the dancer: labour of the erotic and the bodies of the sensory in the Arkestra of North India." In The Dancing Body, 72–87. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003484059-5.

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Chakraborty, Aishika. "Calcutta cabaret: dance of pleasure or perversion?" In The Dancing Body, 53–71. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003484059-4.

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Tambe, Anagha. "Folk dance/vulgar dance: erotic lavani and the hereditary performance labour." In The Dancing Body, 39–52. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003484059-3.

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Bhattacharya, Spandan. "Disco flamboyance, performative masculinities and dancer heroes of Bengali cinema." In The Dancing Body, 110–22. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003484059-7.

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Chakravorty, Pallabi. "The body and the contagion: a symbiosis of yoga, dance, health and spirituality." In The Dancing Body, 136–48. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003484059-9.

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Actas de conferencias sobre el tema "Dancing body"

1

Zari, Nurmalinda, and Juju Masunah. "Body Relationship with Dancing Skills." In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.49.

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Bergonzoni, Carolina. "Family (Hi)Story in My Dancing Body." In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2002407.

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Liu, Xiaofang. "The Interactive Spatial Aesthetics between Holographic Display Technology and Dancing Body Language." In IS4SI 2021. Basel Switzerland: MDPI, 2022. http://dx.doi.org/10.3390/proceedings2022081155.

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Kim, Eunhee, Taehwa Park, Jaeyoung Moon, Wonsang You, Taegwan Ha, and Kyung-Joong Kim. "DAncing body, Speaking Hands (DASH): Sign Dance Generation System with Deep Learning." In SIGGRAPH '23: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3588028.3603687.

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Amie, Kandyce. "Hidden Curriculums of the Black Dancing Body: Teaching Within and Among Racialized Perceptions." In AERA 2022. USA: AERA, 2022. http://dx.doi.org/10.3102/ip.22.1890666.

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Takaaki Shiratori, Shunsuke Kudoh, Shin'ichiro Nakaoka, and Katsushi Ikeuchi. "Temporal scaling of upper body motion for Sound feedback system of a dancing humanoid robot." In 2007 IEEE/RSJ International Conference on Intelligent Robots and Systems. IEEE, 2007. http://dx.doi.org/10.1109/iros.2007.4399102.

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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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Zarubko, Elena, Victor Karandashev, Madgerie Jameson-Charles, Stephanie Hutcheson, and Jane Carter. "Sensory Experience in Interpersonal Physical Attraction: Cross-Cultural Comparison." In International Association of Cross Cultural Psychology Congress. International Association for Cross-Cultural Psychology, 2016. http://dx.doi.org/10.4087/wmtb3911.

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The purpose of the study is to explore the role of visual, auditory, tactile-kinesthetic, and olfactory factors in determining physical attraction to another person in romantic love. Participants from three regions (the USA, Russia, Caribbean countries) completed the survey evaluating the role, which senses play in their attraction to a romantic partner. The questions that were asked were about the importance of the impressions for physical attraction to a partner, rather than the specific physical characteristics, which make a person attractive. Factor analysis identified several factors, which cluster together various sensory experiences, such as expressive behavior, dancing, singing, facial structure, body characteristics, hair and eyes features, voice, expressive manner of speaking, skin, dressing, lips. In all three cultural groups, people value the expressive behavior and smile, expressive speaking, body characteristics and facial structure in their romantic partners. In addition, the participants revealed cross-cultural differences.

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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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Mu Yingjie, Zha Xianfeng, and Wang Wei. "Notice of Retraction A study on effects to body ingredient and blood lipoids for youth obese feminine by acrobatics dancing." In 2011 2nd IEEE International Conference on Emergency Management and Management Sciences (ICEMMS). IEEE, 2011. http://dx.doi.org/10.1109/icemms.2011.6015717.

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