Bibliographies thématiques / Transmission practices in dance

Littérature scientifique sur le sujet « Transmission practices in dance »

Auteur : Grafiati

Publié le 20 juillet 2024

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Articles de revues sur le sujet "Transmission practices in dance"

Belyakova, I. G., et A. L. Mileshko. « COMMUNICATIVE AND INTERCULTURAL ASPECTS OF DANCE IN THE SPACE OF INFORMATION CULTURE ». Arts education and science 3, n^o 32 (2022) : 57–65. http://dx.doi.org/10.36871/hon.202203007.

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The availability of nonverbal communication and perception of visual images and patterns of dance movements in the Internet space has led to active interaction between representatives of different cultures. The emergence of new digital dance practices confirms the need for new methods and approaches to the study of dance culture and its communication properties, including at the intercultural level. Modern technologies make it possible to transmit and record dance information at a new level. The Internet as a means of communication has significantly expanded the boundaries of dance interaction between representatives of different cultures, while "motion capture" technologies allow recording dance information with maximum accuracy, storing and processing patterns of different dance cultures. The article analyzes the features of the transmission and perception of information in the dance art. Within the linear and nonlinear communication models, dance can contain semantic, emotive, deictic, phatic, cognitive and other information. Viral dances, dance videos in Tik Tok, dance videos on video hosting sites represent a new level of intercultural interaction. The transmission of information through several sensory channels at once, as well as the universality of nonverbal information, ensures mutual understanding and helps to eliminate communication barriers. Thus, the application of the information approach to the consideration of dance in the space of modern culture allows to study the peculiarities of the perception and transmission of dance, including between representatives of different cultures interacting in the global information space.

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Gardner, Sally. « The Dancer, the Choreographer and Modern Dance Scholarship : A Critical Reading ». Dance Research 25, n^o 1 (avril 2007) : 35–53. http://dx.doi.org/10.3366/dar.2007.0018.

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This paper undertakes a critical re-examination of the ways in which dance-making relationships between the dancer and the choreographer in American modern dance have been conceptualised in dance discourses. The essay proposes that a defining aspect of modern dance practices (from the moment that, after Duncan and Fuller, it became a group as well as a solo form) was the dancing together of the choreographer and the dancer(s) as the central mode of dance creation and transmission. In dance discourses, however, this dancing relationship is frequently not acknowledged. Texts by dance scholars Susan Leigh Foster, Amy Koritz and Randy Martin which draw on theoretical frameworks from outside dance are analysed in terms of the ways the theoretical frameworks that underpin them both make it possible to raise the question of the nature of the dance-making relationship while at the same time can also make the dancer's and the choreographer's dancing together invisible or unrepresentable. The analysis shows how scholarly discourses and the theoretical frameworks upon which they are built are already invested in regimes of intelligibility and visibility which have consequences for the representation of modern dance. This analysis forms the basis for proposing the need for a non-individualised, inter-subjective and intercorporeal understanding of the dancer and the choreographer and their relationship in modern dance.

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MARINESCU, ANGELICA. « What’s in a dance ? Dalkhai : from a religious community ritual, to a pro-scenium performance ». International Review of Social Research 11, n^o 1 (14 décembre 2021) : 298–313. http://dx.doi.org/10.48154/irsr.2021.0028.

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An educational international project, initiated by a Romanian organisation, comprising folk dances from around the world, has challenged me to go deeper into understanding one of the most popular dance forms of Western Odisha, Dalkhai. Traditionally a religion-based folk dance connected to the agrarian culture of local Adivasi communities, it has been gradually developed into a cultural pattern of Odisha, Eastern India. Considering folklore as intangible cultural heritage of humanity, according to UNESCO definition, I explore the expression of this ritual-dance, in connection to the Adivasi culture, as Dalkhai is considered the goddess of fertility, initially worshipped by the tribal people/Adivasi like Mirdha, Kondha, Kuda, Gond, Binjhal, etc., but also in its recent metamorphosis into a proscenium representation. The Dalkhai dance is becoming visible and recognised at state, national and even international form of dance, while in the Adivasis communities it is noted that the ritual becomes less and less performed. Consulting the UNESCO definitions and documents on Intangible Cultural Heritage is useful for understanding how to approach a choric ritual, involving a tradition, music and dance, enhancing the importance of safeguarding cultural diversity while confronting cultural globalization. Its approach, in accordance with ‘universal cultural rights’, emancipatory politics concerning world culture and multiculturalism, opposes the disappearances and destruction of local traditions, indigenous practices. Heritage concerns the whole community, conferring an identity feeling, and supporting the transmission to the next generations, sustainable development, often involving economic stakes, becoming essential for developing the territories (Chevalier, 2000).

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Woolley, Andrew. « From Arrangements to New Compositions : Seventeenth-Century French Dance Music in Portuguese and Spanish Keyboard Sources to 1720 ». De musica disserenda 16, n^o 1 (10 mars 2020) : 9–35. http://dx.doi.org/10.3986/dmd16.1.01.

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Focussing on four keyboard manuscripts, this article discusses the dissemination, arrangement and adaptation of French-style dance music in Portugal and Spain in the late seventeenth and early eighteenth centuries. It highlights the importance of short scores in facilitating its transmission and discusses how adaptations accorded with local tastes and practices.

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Conroy, Renee M. « Lesley Main (ed.), Transmissions in Dance : Contemporary Staging Practices ». Dance Research 37, n^o 2 (novembre 2019) : 265–66. http://dx.doi.org/10.3366/drs.2019.0278.

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Nardone, Michael. « Skirmish at the Oasis : On Sonic Disobedience ». Leonardo Music Journal 26 (décembre 2016) : 92–96. http://dx.doi.org/10.1162/lmj_a_00983.

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In this article the author theorizes how the idea of a sonic avant-garde resounds today. Focused on technics of noise and site specificity, the author describes the sounds and sites of the Idle No More round dance interventions of the winter of 2012–2013 and hears these protests via the dissonant transmission of the sonic practices and geographical-racial theories of the historical avant-garde.

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Leach, James. « Ownership and transmission in contemporary dance and beyond : A short introduction to the special issue ». International Journal of Cultural Property 29, n^o 2 (mai 2022) : 103–6. http://dx.doi.org/10.1017/s0940739122000182.

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AbstractThe aim of this special issue is the investigation and contextualization of specific arts practices for what they can show us about the transmission and ownership of knowledge. Our authors make explicit the modes of sharing that are part of the creative process in contemporary dance and in Irish traditional music and examine the principles of transmission and social mores that allow ideas to move between practitioners. This introduction sets out some context for the issue and our approach, which is to work alongside practitioners to understand and reveal the social principles and expectations of ownership that are part of the process of producing these art forms.

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Crawford, Sally. « Shifting the Beat : Exploring Tap Dance Performance and Identity on a Global Stage ». Congress on Research in Dance Conference Proceedings 2014 (2014) : 52–58. http://dx.doi.org/10.1017/cor.2014.7.

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The globalization of tap dance carries the possibility of hybridization as well as homogenization of the dance form. The transmission of tap dance to England during the late-nineteenth and early-twentieth centuries enabled individuals to learn repertoire for syllabus examinations and theatrical productions. In 2006, the implementation of the tap jam, an informal event featuring improvised tap dance and live music, introduced the concept of spontaneous musical and movement composition. The tap jams represent shifting cultural processes in global performances of tap dance. This paper will examine the application of global perspectives in how tap dance is performed and practiced in other countries. My discussion will draw from an ethnographic investigation of two tap dance communities located in Manchester and London, England. Utilizing examples from my fieldwork, I demonstrate how the tap jams in England act as a site for constructing individual performance identity, highlighting a move away from homogenized tap performance.

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BELIBOU, Alexandra. « Tibetan Sacred Dances ». BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (20 janvier 2021) : 17–24. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.2.

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Entering the world of Tibetan spirituality, we observe a multitude of rituals that involve movement and music, used by the monks for various therapeutic and ritualic purposes. The history of Tibetan dance – the Cham tradition - runs in parallel with the history of Buddhism on this territory. Information on these rituals and dances is found in very few Tibetan documents, almost none in European works, and recently in several works printed in English. This can be explained by their oral transmission in special schools, as well as in secret initiations. As the title mentions, in this article, we will discuss the sacred dances of the Tibetans and not the folk ones. Thus, in the following pages, we will mention some of the dances practiced within the sacred rituals by Tibetan monks.

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PV, Suresh. « The Philosophy and Practice of Indian Classical Dance-Changes and Challenges with Digital Humanities ». Journal of Natural & ; Ayurvedic Medicine 4, n^o 3 (6 juillet 2020) : 1–5. http://dx.doi.org/10.23880/jonam-16000260.

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Traditionally, Indian dance forms were taught through the Guru-Shishya system, where the student stays at the abode of the Guru to develop a strong foundation in the field. This enabled the Guru to nurture the disciple and prepare them to become experts in the vocation alongside all the important values that go with any system of knowledge in ancient Indian tradition. The unique features of Gurukul were deep love, respect and mutual communion. There are significant changes in the current world, where digitization is an unavoidable trend. An objective of this paper is to identify the aspects that are ‘modified’ and sometimes, lost in the process of digitizing Indian Classical dance. It would not be of any help to fight natural evolution and dismiss growth but care has to be taken, not to cut asunder the very purpose of the creation of an art which is to restore righteousness in the world through an aesthetic medium. The spiritual role that it plays in the world, needless to add, is indeed as an agent to kindle peace and friendship between people, beyond all barriers. It would be helpful if the potential attributes that are in threat of getting submerged through digitization, are identified by researchers and artists. For example, during dance training, the pure dance technique and structure can become translated to a satisfying extent as the basic emotional stance is that of vigour. On the other hand, the intense involvement in the expressional mode, the devotional ascent and the one to one transmission during actual presence of teacher and taught in close proximity, seems amiss

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Thèses sur le sujet "Transmission practices in dance"

Sini, Alessandra. « « Danza di ricerca » : corporéités, espaces et discours en mouvement. : Les pratiques chorégraphiques de Fabrizio Favale, Michele Di Stefano, Alessandra Sini (Italie, 1995-2010) ». Electronic Thesis or Diss., Université Côte d'Azur, 2024. http://www.theses.fr/2024COAZ2013.

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À la croisée de l'histoire et de l'esthétique de la danse, cette étude propose une approche analytique et poïétique des processus de recherche que les chorégraphes italiens Fabrizio Favale, Michele Di Stefano et Alessandra Sini ont entrepris entre 1995 et 2010. Leurs singularités ainsi que les concepts et les stratégies chorégraphiques qu'ils partagent illustrent la vitalité et la portée critique des réseaux artistiques actifs dans une période significative de l'histoire de la danse italienne récente. Parmi les expressions qui définissent les expériences de la danse contemporaine de la même période, la catégorie émique « Danza di ricerca » est proposée ici pour identifier une démarche constante dans leurs expérimentations, qui se transforment dans le temps, au fil des rencontres et en relation aux politiques culturelles dans lesquelles elles s'inscrivent. La mémoire incarnée de danseuse, chorégraphe, spectatrice et témoin de l'auteure de cette thèse est mise à l'épreuve des outils de l'analyse chorégraphique, du mouvement et de la transmission fournis par les études en danse. Le dépouillement des archives personnelles des chorégraphes, l'étude des documents audiovisuels, textuels et graphiques des évènements performatifs ainsi que des entretiens avec les chorégraphes, des danseurs de leurs compagnies et des personnalités qui ont eu un rôle significatif dans ces parcours artistiques, complètent le portrait collectif d'une génération d'artistes chorégraphiques qui a contribué au développement de la danse contemporaine italienne, en lien et en résonance avec d'autres expériences internationales
At the crossroads of dance history and aesthetics, this thesis proposes an analytical and poetic approach to the research processes that Italian choreographers Fabrizio Favale, Michele Di Stefano and Alessandra Sini undertook between 1995 and 2010. Their singularities as well as the choreographic concepts and strategies they share, illustrate the vitality and critical scope of the artistic networks active in a significant period of recent Italian dance history. Among the expressions defining the contemporary dance experiences of the same period, the emic category “Danza di ricerca” is proposed here to identify a constant approach in their experimentations, which have transformed over time, through encounters and in relation to the cultural policies in which they are embedded. The embodied memory of the author of this thesis as a dancer, choreographer, spectator and witness is tested using the tools of choreographic, movement and transmission analysis provided by dance studies. The analysis of the choreographers' personal archives, the study of audiovisual, textual and graphic documents of performance events as well as interviews with the choreographers, some of the dancers from their companies and some personalities who played a significant role in their artistic careers, complete the collective portrait of a generation of choreographic artists who contributed to the development of Italian contemporary dance, in relation and resonance with international experiences

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Thorndike, Ashley P. « Articulating Dance Improvisation : Knowledge Practices in the College Dance Studio ». The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275069682.

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Brown, Carol. « Inscribing the body : feminist choreographic practices ». Thesis, University of Surrey, 1994. http://epubs.surrey.ac.uk/619/.

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Konnyu, Kristin Julianna. « Dance as a therapeutic intervention : physical therapists' beliefs and practices ». Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1595.

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Background: Activity and exercise that are sustainable are essential for maximizing their long-term health and therapeutic benefits. Physical therapists (PTs), as clinical exercise specialists, are committed to the exploitation of these benefits. Dance is often perceived as social and enjoyable, both potentially motivating factors that could contribute to its being such a sustained activity. Purpose: To describe the beliefs and practices of PTs regarding the use of dance as a therapeutic intervention for individuals at risk of or experiencing one or more chronic lifestyle conditions. A secondary aim was to establish an appropriate estimate of statistical power and effect size for subsequent survey or intervention studies. Design: Descriptive study based on a self-administered questionnaire. Subjects and Methods: A 5-page survey questionnaire, comprised of 67 items was developed and pre-tested prior to distribution to 231 PTs (with an anticipated response rate of 40%). Public and private practitioners were randomly sampled from the 2008 list of registered PTs in British Columbia. The randomized population was contacted up to five times according to Dillman’s method. Results: The survey resulted in 136 returned questionnaires (124 returned by respondents, 12 returned undeliverable) resulting in a response rate of 57%. Respondents expressed moderate to high agreement that dance could positively impact clients’ physiological and psychological states. Although most respondents did not prescribe dance, they expressed interest in doing so. Finally, the majority of respondents were amenable to the inclusion of dance in physical therapy practice, professional development education, and research. Rather than inclusion in entry-level education however, most respondents believed dance should be a post-graduate education topic. Discussion and Conclusion: We believe that this is the first study designed to examine the beliefs and practices of PTs with respect to use of dance as a therapeutic intervention. PTs appear responsive to recommending dance as an activity alternative, and are interested in learning more about its use as a therapeutic intervention and/or health promotion activity. Notably, dancing’s perceived social and enjoyable features were cited by PTs as potential facilitating factors that could sustain long-term participation and corresponding health benefits.

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Hildebrandt, Antje. « Expanding the object : post-conceptual dance and choreographic performance practices ». Thesis, University of Wolverhampton, 2014. http://hdl.handle.net/2436/558802.

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This project is concerned with exploring the relationship between postconceptual dance and its state as object. As a practice-led research project it aims to do so both through the written thesis and through artistic practice, which is here presented as a series of video projects that extend representations of dance. Over five chapters I trace the permutation of the ‘object’ from choreographer to spectator, participant, editor, collector and ‘reframer’, arguing for the multiplicity of roles that choreographers, and by extension dancers, take on at the beginning of the 21st century. My interdisciplinary research draws from a variety of theoretical discourses including performance theory, visual cultures and critical theory, and is therefore both relevant to the field of dance studies and beyond the discipline. Given the practice-led nature of the project, my aim has been to expand choreographic performance practices and to increases the range of ‘objects’ that can be considered dance. Therefore, the project resides in the gaps and tensions between practice and theory, performance and documentation, language and dance, text and movement, choreography and objecthood. Throughout I argue that post-conceptual dance operates within an extended field in which dancers and choreographers are expanding the boundaries of the art form, making dance relevant to a broader artistic, cultural, political and social context.

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Gainer, Natalie. « Dancing Latinidad : Salsa Practices and Latino/a Identity at Brasil's Nightclub ». Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/396279.

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Dance
M.A.
This thesis investigates Brasil’s Nightclub, a Philadelphia salsa club, as a site at which notions of Latino/a identity are produced and performed. Research for the thesis was conducted over the course of five months and was ethnographic in nature. From February 2016 until June 2016, the author attended Brasil’s Nightclub and collected participant observations and interviews. Findings reveal how the club accommodates multiple conflicting narratives of Latino/a identity and how these narratives are embodied through salsa dance practices.
Temple University--Theses

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Murphy, Siobhan. « Practices of tactility remembering and performance ». Connect to thesis, 2008. http://repository.unimelb.edu.au/10187/4379.

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‘Practices of tactility, remembering and performance’ is a practice-led inquiry in which performance-making and writing are equal partners. The thesis comprises a performance folio and a dissertation. The folio comprises two performance works.
the backs of things: This 35-minute work for two dancers had a public season mid-way through the candidature (September 8th – 11th 2005). A DVD documentation is submitted with the dissertation.
here, now: This 50-minute multi-modal performance was presented for assessment during a public season of six performances (March 22nd – 25th 2007). It is a solo piece in which I perform. The work was attended by the examiners and a DVD documentation is submitted with the dissertation.
The dissertation provides a ‘narrative of a practice’ focused on tactility, remembering and performance. It elucidates what has arisen through the dual modalities of performance-making and writing. The dissertation is not an exegesis of the performance folio. Rather, it is a critical and reflective account of the practice within which the performances reside.
The arc of emergent meaning in the narrative of practice comprises three phases: Precedents; Choreographic Tactility; and Intercorporeal Remembering. In the first phase, I discuss the precursors to my subsequent practice of tactility and remembering. I detail how I sought to diminish the effects of the objectifying gaze by staging a series of interventions into the visual field of the dance. In the second phase, I articulate my use of touch, naming it a practice of choreographic tactility. I outline the connectivity of touch and suggest that it fosters an understanding of the intercorporeal nature of selfhood. I posit practices of tactility as arenas for a relational ontology.
In the third phase, I take the notion of intercorporeality thus established and show how it engenders an embodied knowledge of remembering. I define a range of heuristic devices that I established so as to craft remembering in my performance practice. Finally, I draw the discussion of tactility and remembering towards what I term an ‘aesthetics of tactility’. I describe this as a performance domain where intercorporeal remembering is privileged. This is instantiated in the poetic remembering of here, now with which the dissertation closes.

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Theodoridou, Danae. « Short (research) stories : drama and dramaturgy in experimental theatre and dance practices ». Thesis, Roehampton University, 2013. http://hdl.handle.net/10142/283932.

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This practice-as-research project discusses modes, processes and aesthetics of contemporary dramaturgy, as practiced in experimental theatre and dance works in Europe from the 1990s onwards. In order to do this, the project draws particularly on discourses around ‘drama’ and suggests that the term can be redefined and usefully rehabilitated for both analysis and the creation of experimental performances. More specifically, this project defines drama (deriving from the Greek dro=act) as stage action, and dramaturgy (deriving from the Greek drama + ergo= work) as a practice that works endlessly for the creation of this drama/action on stage and is therefore always connected with it. In order to approach the newly proposed notion of ‘experimental drama’, this research uses the six main dramatic elements offered by Aristotle in his Poetics: plot, character, language, thought, the visual and music. Furthermore, it adds a seventh element: the spectator and contemporary understandings around the conditions of spectatorship. It then offers an analysis of dramaturgical processes and aesthetics of experimental stage works through these elements. Given that this is a practice-as-research project, it is accordingly multi-modal and offers its perspectives on dramaturgy and experimental drama through both critical and performance texts, documentation traces (photographs and video recordings) of artistic practice – all present in this thesis – and a live event; all these modes complement each other and move constantly between the stage and the page to proceed with the research’s inquiries. The current thesis has borrowed the dramaturgical structure of two artistic projects, created within the frame of this research practice, to generate its writings. The introductory parts of this text place the work within the discourse on practice-as-research and discuss the project’s proposal for an analysis of contemporary dramaturgy through drama. The Short (Research) Stories that follow analyze experimental works, created both within the frame of this research practice and outside it, by other artists, following the Aristotelian model. The element of spectatorship intervenes in this analysis instead of standing separately in the thesis. The project’s closing live event returns from the page to the stage to continue and add to discussions around central issues of the work, in its various distinct modes.

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Masunah, Juju. « A case study of the multicultural practices of two United States dance educators implications for Indonesian K-9 dance education / ». Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211764897.

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Curda, Barbara. « Enjeux identitaires, relationnels et esthétiques de la transmission de la danse Odissi en Inde. Le cas d'une école émergente à Bhubaneswar ». Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20063.

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Cette thèse porte sur le rapport entre les normes sociales, les pratiques pédagogiques et l’esthétique dans la danse Odissi en Inde. Apparue sur la scène post-coloniale dans la période de l’après-indépendance du pays en tant que « danse classique », l’Odissi véhicule, en dépit du caractère hétérogène, voire multiculturel, de ses pratiquants, des revendications identitaires relatives à l’Etat indien d’Orissa, rebaptisé Odisha en 2011. La recherche a été menée à partir de terrains successifs effectués principalement dans la ville de Bhubaneswar, capitale de l’Orissa, et plus particulièrement dans une école de danse émergente.Un examen des narrations historiques concernant les années de fondation de la danse ainsi que des éléments mythiques sur lesquels les protagonistes basent les représentations de celle-ci, permet d’identifier l’organisation sociale de la communauté des pratiquants, qui se manifeste notamment dans la généalogie officielle de l’Odissi. Dans le cadre de l’observation des pratiques de danse dans l’école, il apparaît que cet ordre social est réactivé discursivement par le maître aux moments des entraînements quotidiens des danseurs. Il use ainsi d’assignations identitaires dans le cadre de son activité pédagogique, tissant des liens dialectiques entre certaines valeurs morales, une éthique relationnelle entre pratiquants, et les pratiques. Ce mode d’action renforce certes la structure hiérarchique de l’école. Toutefois, du point de vue des pratiquants, cette instauration d’un sens moral de la situation se rapporte à certaines qualités esthétiques intrinsèques à la danse, qui apparaît alors comme une manière d’être plus qu’une manière de faire
This thesis addresses the relation between social norms, pedagogical practices and aesthetics in Odissi dance in India. Despite the heterogeneous and even multicultural nature of its practitioners, Odissi, which appeared as a “classical dance” on the post-colonial stage during the country’s post-Independence era, is a vehicle for identity claims relative to the Indian State Orissa, renamed Odisha in 2011. The research was undertaken during successive fieldwork periods mainly in the state capital of Bhubaneswar, and more specifically in an emerging dance school.The social organisation of the community of practitioners, which manifests itself in the official genealogy of Odissi, is identified through an examination of historical narratives on the foundation years of the dance, and of mythical elements on which protagonists base their representations. From observation of dance practices in the school, it becomes clear that this social order is reactivated discursively by the master during daily training sessions. He literally uses identity ascriptions in his pedagogical activity, creating links between certain moral values, a relational ethics between practitioners, and dance practice. This mode of action certainly reinforces the hierarchical structure of the school. However, from the point of view of the practitioners, the institution of a moral sense of the situation is related to certain aesthetic qualities of the dance, which then appears as a mode of being rather than a mode of doing

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Livres sur le sujet "Transmission practices in dance"

Kämpfe, Vicky. Dance Practices as Research. Cham : Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-30581-8.

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Ravn, Susanne, et Leena Rouhiainen. Dance spaces : Practices of movement. Odense : University Press of Southern Denmark, 2012.

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Sieni, Virgilio. La trasmissione del gesto = : The transmission of the gesture = La transmission du geste. Firenze : M&m, 2009.

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Sam, Samdani G., dir. Heat transfer technologies and practices. New York : McGraw-Hill, 1996.

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Melanie, Bales, et Nettl-Fiol Rebecca 1953-, dir. The body eclectic : Evolving practices in dance training. Urbana : University of Illinois Press, 2008.

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Melanie, Bales, et Nettl-Fiol Rebecca 1953-, dir. The body eclectic : Evolving practices in dance training. Urbana : University of Illinois Press, 2008.

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Dinges, Martin. The transmission of health practices (c. 1500 to 2000). Stuttgart : Franz Steiner Verlag, 2011.

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SAE Transmission and Drivetrain Committee., dir. Design practices : Passenger car automatic transmissions. 2^e éd. Warrendale, PA : Society of Automotive Engineers, 1988.

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SAE Transmission/Axle/Driveline Forum Committee., dir. Design practices--passenger car automatic transmissions. 3^e éd. Warrendale, PA : Society of Automotive Engineers, 1994.

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SAE Transmission/Axle/Driveline Forum Committee. Design practices--passenger car automatic transmissions. 4^e éd. Warrendale, Pa : Society of Automotive Engineers, 2012.

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Chapitres de livres sur le sujet "Transmission practices in dance"

Sachsenmaier, Stefanie. « Silent Transformations in Choreography—Making Over Time : Rosemary Butcher’s Practice of ‘Looking Back and Ahead’ ». Dans Transmissions in Dance, 163–88. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64873-6_8.

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Markula, Pirkko, et Marianne Clark. « Dance practices ». Dans Routledge Handbook of Physical Cultural Studies, 93–101. Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series : : Routledge, 2017. http://dx.doi.org/10.4324/9781315745664-10.

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Kämpfe, Vicky. « The Living Heritage of Dance : Dance Archives in Practice ». Dans Dance Practices as Research, 127–44. Cham : Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-30581-8_5.

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Midgelow, Vida L. « Improvisation Practices and Dramaturgical Consciousness : A Workshop ». Dans Dance Dramaturgy, 106–23. London : Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137373229_6.

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Candelario, Rosemary, et Matthew Henley. « Research Ethics, Orientations, and Practices ». Dans Dance Research Methodologies, 20–38. London : Routledge, 2023. http://dx.doi.org/10.4324/9781003145615-3.

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Taylor-Guthartz, Lindsey. « Transmission, mimesis, and gender ». Dans Female Faith Practices, 105–22. London : Routledge, 2023. http://dx.doi.org/10.4324/9781003228431-11.

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Kämpfe, Vicky. « Conclusion : Perspectives for the Living Heritage of Dance ». Dans Dance Practices as Research, 145–55. Cham : Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-30581-8_6.

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Kämpfe, Vicky. « Performative Methods as an Approach to Dance Practice ». Dans Dance Practices as Research, 95–126. Cham : Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-30581-8_4.

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Kämpfe, Vicky. « The Intangible in the Context of Performative Situations ». Dans Dance Practices as Research, 43–60. Cham : Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-30581-8_2.

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Kämpfe, Vicky. « The Cultural Heritage of Dance and Research Practice ». Dans Dance Practices as Research, 1–42. Cham : Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-30581-8_1.

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Actes de conférences sur le sujet "Transmission practices in dance"

Dagnino, Francesca, Michela Ott, Francesca Pozzi et Erdal Yilmaz. « SERIOUS GAMES DESIGN : REFLECTIONS FROM AN EXPERIENCE IN THE FIELD OF INTANGIBLE CULTURAL HERITAGE EDUCATION ». Dans eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-099.

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This paper tackles the issue of Serious Games design by drawing on the experience conducted in the framework of the i-Treasures project, which deals with the preservation and transmission of Intangible Cultural Heritage (ICH). In i-Treasures a collection of Serious Games has been developed addressing four relevant ICH areas: singing, dancing, craftsmanship and music composition. So far one game for each of the four areas has been developed; the ultimate aim of the games is making learning and transmission of specific ICH expressions (namely Tsamiko dance, human beat box, pottery, contemporary music composition) more motivating, engaging and, ultimately, effective. Starting from the concept of pedagogy-driven game design, the main pedagogical choices adopted are outlined. Further considerations on the overall design process are also proposed by focusing, in particular, on the need for engaging in a collaborative work a variety of professionals (in the case partners of the project) with different expertise, skills and background. Short intro: Games are increasingly adopted to favour learning in a variety of different educational areas. This paper deals with their adoption in the area of Cultural Heritage Education, in particular in the field of Intangible Cultural Heritage (ICH). Actually, it focuses on the design of Serious Games (SGs) for supporting and enhancing learning and transmission of practical skills, such as those required to perform specific ICH expressions (e.g.: dances, handicraft). In this area, the potential of SGs is relevant because the learning opportunities they offer are "situated", that is the learner acts in a virtual context which closely resembles the one where the cultural expression is usually practiced. Nevertheless, the SGs' educational potential and actual effectiveness may vary appreciably as a consequence of the design choices made a priori before starting the implementation.

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Correia, Nuno N., et William Primett. « Best Practices for Technology-Mediated Audience Interaction in Dance Performances ». Dans MOCO '24 : 9th International Conference on Movement and Computing. New York, NY, USA : ACM, 2024. http://dx.doi.org/10.1145/3658852.3659083.

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Garg, N. K., D. K. Palwalia et Harish Sharma. « Transmission pricing practices : A review ». Dans 2013 Nirma University International Conference on Engineering (NUiCONE). IEEE, 2013. http://dx.doi.org/10.1109/nuicone.2013.6780147.

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Portniagina, A. M. « Inclusive Dance Practices For Social And Cultural Adaptation Of People With Disabilities ». Dans International Conference on Economic and Social Trends for Sustainability of Modern Society. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.10.03.88.

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Lee, M. K., et C. W. Pak. « Maintenance practices for transmission overhead lines ». Dans 9th IET International Conference on Advances in Power System Control, Operation and Management (APSCOM 2012). Institution of Engineering and Technology, 2012. http://dx.doi.org/10.1049/cp.2012.2158.

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Pegram, J. B., H. E. Orton et R. Samm. « Worldwide underground distribution cable practices ». Dans 1999 IEEE Transmission and Distribution Conference (Cat. No. 99CH36333). IEEE, 1999. http://dx.doi.org/10.1109/tdc.1999.755317.

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DesPortes, Kayla, Kathleen McDermott, Yoav Bergner, Francisco Enrique Vicente Castro, Sauda Musharrat et Aakruti Lunia. « DanceBits 'It tells you to see us' : Supporting Dance Practices with an Educational Computing Kit ». Dans TEI '24 : Eighteenth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA : ACM, 2024. http://dx.doi.org/10.1145/3623509.3633350.

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Marshall, Eric. « Eskom transmission live line maintenance techniques and practices ». Dans 2014 11th International Conference on Live Maintenance (ICOLIM). IEEE, 2014. http://dx.doi.org/10.1109/icolim.2014.6934328.

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Gomez, P., et S. Salloum. « Grounding Practices - Considerations for Oil Plants ». Dans 2006 IEEE/PES Transmission & Distribution Conference and Exposition : Latin America. IEEE, 2006. http://dx.doi.org/10.1109/tdcla.2006.311455.

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Chodubski, Michael. « Simulating Residual Stress at Critical Features of Straightened Hollow Transmission Shafts ». Dans ASME 2022 17th International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/msec2022-84977.

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Abstract Simulating plastic deformation of a material with a strength gradient from surface to center is not a standard industry practice. Although separate engineering groups have capabilities to perform thermal-structural or operational load analysis, neither have combined nor is focused on integrating effects from heat treatment and straightening operations. The objective of this research is to develop a simulation model to predict axial residual stress at radial holes in a carburized hollow transmission shaft. Abaqus CAE coupled with DANTE Heat Treatment kinetics software will be utilized to simulate the evolution of thermal and mechanical properties of different carburized shaft designs to determine the resulting residual stress at key features. Simulation data shows that the case and core layers react differently to features when a shaft has a bending or straightening load applied. Generally, shafts with smaller radial holes and a farther loading source exhibited compressive axial residual stresses at the case layer with lower average core tensile residual stresses while the shafts with larger radial hole diameters began with tensile stresses at the case following thru higher average core tensile stresses. The radial hole diameter and location only affected the case layer while all three studied features; hole diameter, location, and chamfer size, had significance on the core residual stress. This goes to show that the case and core layers are more complicated than previously thought. Future work should investigate further into how the core residual stresses play a role in fatigue failures.

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Rapports d'organisations sur le sujet "Transmission practices in dance"

programme, CLARISSA. The Need for an ‘Association’ to Improve Night Entertainment Business Management Practices to Reduce Worst Forms of Child Labour. Institute of Development Studies, juin 2024. http://dx.doi.org/10.19088/clarissa.2024.035.

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In late 2020, CLARISSA undertook scoping studies and literature reviews into supply chain/human chain/urban neighbourhood dynamics in Kathmandu, and their impact on worst forms of child labour (WFCL). To address the evidence gaps identified, the team developed a research framing for exploring in greater detail how small Adult Entertainment Sector (AES) businesses were being run – exploring factors such as managing seasonality, relationships between informal and formal businesses, loans and debts carried by small businesses, and business norms in the sector – and how these factors can perpetuate WFCL. Twenty-five AES business owners running dohoris, dance bars, khaja ghars (small eateries), and massage and spa venues were then interviewed, and the findings were analysed and validated by business owners. The next step was the formation of three Action Research Groups (ARGs) with AES business owners, to undertake further evidence gathering and then formulate and deliver actions and innovations to reduce WFCL. It was decided that one ARG, the focus of this report, would focus on owners of dohoris and dance bars. The chosen location for the group is a major entry point into Kathmandu from the eastern side of Kathmandu Valley, and this has led to a large number of new AES businesses being set up.

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Regenscheid, Andrew, et Geoff Beier. Security best practices for the electronic transmission of election materials for UOCAVA voters. Gaithersburg, MD : National Institute of Standards and Technology, 2011. http://dx.doi.org/10.6028/nist.ir.7711.

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Eto, Joseph H., et Guilia Gallo. Regional Transmission Planning : A review of practices following FERC Order Nos. 890 and 1000. Office of Scientific and Technical Information (OSTI), novembre 2017. http://dx.doi.org/10.2172/1411666.

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Nunez. L51586 A Review of Gas Industry Pipeline Coating Practices. Chantilly, Virginia : Pipeline Research Council International, Inc. (PRCI), juillet 1988. http://dx.doi.org/10.55274/r0010647.

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Reports the results of a survey of 27 pipeline transmission companies concerning their coating practices. The survey focused on coating problems and coating preferences. Prepared by the Corrosion Supervisory Committee of the Pipeline Research Committee.

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Zhou, Shengru, David J. Hurlbut, Lori A. Bird et Qin Wang. Transmission Challenges and Best Practices for Cost-Effective Renewable Energy Delivery across State and Provincial Boundaries. Office of Scientific and Technical Information (OSTI), août 2017. http://dx.doi.org/10.2172/1377266.

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