Bibliografie tematiche / Dance of expression

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Letteratura scientifica selezionata sul tema "Dance of expression"

Autore: Grafiati

Pubblicato: 31 agosto 2024

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Articoli di riviste sul tema "Dance of expression"

Wang, Ziqiao. "Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example". Journal of Educational Theory and Management 2, n. 3 (8 ottobre 2018): 84. http://dx.doi.org/10.26549/jetm.v2i3.992.

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Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that the eyes are the windows of the soul, and the folk dance is more about expressing a feeling to the audience. If the dancer don’t have a good performance and face expression, he or she can’t express the dance work at all. Therefore, this article takes the training of national folk dance as the starting point, combining technical training, stage performance, professional dancers and amateur dancers, taking the Uygur as an example.

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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It". Dance Research 37, n. 1 (maggio 2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.

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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.

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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION". IEDSR Association 6, n. 12 (29 marzo 2021): 218–26. http://dx.doi.org/10.46872/pj.258.

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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.

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Kariasa Putra, I. Komang, Tjokorda Udiana Nindhia Pemayun e Gede Yosef Tjokropramono. "Sanghyang Dedari Dance as a Painting Creation Idea". CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, n. 2 (24 ottobre 2022): 87–91. http://dx.doi.org/10.59997/citakara.v2i2.1849.

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Balinese dance is a variety of dances originating from the island of Bali. Balinese dance does not always depend on the storyline. The main goal of Balinese dancers is to dance each stage of movement and sequence with full expression. Sang Hyang Dedari dance is a Balinese dance that is used as a religious tool. Balinese people still believe that when girls aged 9-12 years dance this dance, they will be possessed by the holy spirit of an angel. Usually, the Sang Hyang Dedari Dance is played or danced before the rice harvest around April to resist disease outbreaks, and this dance has been designated as an endangered cultural heritage. By taking the theme of Sanghyang Dedari Dance, it is hoped that it can represent ideas in the creation of painting. The writer's interest in this dance is because this dance is very sacred and unique because starting from the headdress and the clothes used are very simple, and the flowers used are also colorful and easy to get and so that the younger generation in particular to know and preserve Balinese culture, that in some areas still do this tradition. At the visualization stage, the author emphasizes the decorative flow. In addition, it also uses the method of creation, namely Exploration, Improvisation, Formation, and Final Completion. And through these stages, 6 works were created entitled: 1) "Sanghyang Dedari Dance", 2) "Ngukup", 3) "Dancer Possessed by Sanghyang Dedari", 4) "Sanghyang Dedari Dancer", 5) "Aci Bethara Sri", 6 )"Rolling". In the end, a work was created which was appointed to the title "Sanghyang Dedari Dance as an Idea for Painting Creation". The author hopes that the Balinese people are more familiar with the Sanghyang Dedari Dance.

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Murti, Karinsa Krisna, e Slamet Slamet. "FUNGSI TARI NADRAK PAGUYUBAN RUKUN SANTOSA DESA BRONGKOL KABUPATEN SEMARANG". Greget 20, n. 2 (16 marzo 2022): 165–80. http://dx.doi.org/10.33153/grt.v20i2.4141.

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The article entitled Functions of the Nadrak Dance Association of Rukun Santosa, Brongkol Village, Semarang Regency aims to determine the function of Nadrak Dance. Nadrak dance is one of the folk dances in the Rukun Santosa Association which is danced in groups. The main problem of this research is the function of the Nadrak Dance. This research uses function theory. The theory of function was expressed by Bastomi. This research is qualitative. The data were collected through observation, interviews, and literature study. The results of this study the authors reveal the form and function of the Nadrak Dance. Form includes elements of motion, rhythm, expression or feeling, costumes, stage, and dancers. Nadrak Dance functions as a sacred art (religious interests) and secular art (a means of communication, education, and recreation).

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Berdnik, M. "The Impact of Historical Choreographic Origins on Forming Emotional Content in Latin American Ballroom Dance". Culture of Ukraine, n. 80 (30 giugno 2023): 76–81. http://dx.doi.org/10.31516/2410-5325.080.09.

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Modern ballroom dance is actively developed as a sport whereas the art of dancing, which is characterized by emotions, is disappearing now. The causes are dealt with the low level of performing Latin American ballroom dance as an art and the necessity to develop the origins of this dance. It is also important to perform a particular Ballroom dance emotionally considering its historical roots. It is fact that now the great number of competitive dance couples give a lot of attention to the physical training of choreographic compositions with a large number of acrobatic tricks and little respect to the aesthetic aspects of dance. Otherwise, they simply do not know how to express the depth of the emotional content of the dance. Dance couples are lack of understanding how to perform a particular ballroom dance. The issue of this study is relevant in Latin American ballroom dance studies as well as should be solved by experienced instructors and their desire to show dancers the importance of aesthetically emotional aspects of dance. The purpose of this study is to explore the historical origins and stylistic features of Latin American ballroom dance which became the basis of modern Latin American ballroom dance. The methodology. The author provides an analysis of specific features of the Latin American ballroom dance. The results. It is shown that according to the history of the origin and standardization of ballroom dance each dance has its own unique style and characteristics as well as its individual emotional features. Cha-cha-cha is characterized by easy flirtation and pleasure. Samba is a dance of celebration, ardour and expression. Rumba is full of passion, impressing and love. Pasodoble is emotional and dramatic-theatrical dance. Jive is light, cheerful and carefree. And these are general features of the emotional and aesthetic component of dance that are very desirable to see in dance and experience them together with the performers. The scientific novelty. An attempt is made in this paper to show the presence of historical stylistic and emotional features of the Latin American ballroom dances, which are danced as a competition all over the world, are not sufficiently developed in the performance skills of the dancer. Ballroom dances have diverse origins, rhythms, tempos and aesthetics, but have one thing in common: they are all danced emotionally. A recommendation for further research is the perspective of improving the methodology of teaching the emotional component of Latin American ballroom dance by suggesting the development of aspects such as: active ways of spreading information about the importance of the creative, emotional component of dance (e.g. seminars, master classes), teaching acting skills, developing training exercises for performing the emotional part of the dance, and conducting research in sports psychology. The practical significance. The material of this article can be used in the practical activities of choreographers, ballroom dance performers and Latin American ballroom dance competition dancers.

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Zhai, Xianfeng. "Dance Movement Recognition Based on Feature Expression and Attribute Mining". Complexity 2021 (30 aprile 2021): 1–12. http://dx.doi.org/10.1155/2021/9935900.

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There are complex posture changes in dance movements, which lead to the low accuracy of dance movement recognition. And none of the current motion recognition uses the dancer’s attributes. The attribute feature of dancer is the important high-level semantic information in the action recognition. Therefore, a dance movement recognition algorithm based on feature expression and attribute mining is designed to learn the complicated and changeable dancer movements. Firstly, the original image information is compressed by the time-domain fusion module, and the information of action and attitude can be expressed completely. Then, a two-way feature extraction network is designed, which extracts the details of the actions along the way and takes the sequence image as the input of the network. Then, in order to enhance the expression ability of attribute features, a multibranch spatial channel attention integration module (MBSC) based on an attention mechanism is designed to extract the features of each attribute. Finally, using the semantic inference and information transfer function of the graph convolution network, the relationship between attribute features and dancer features can be mined and deduced, and more expressive action features can be obtained; thus, high-performance dance motion recognition is realized. The test and analysis results on the data set show that the algorithm can recognize the dance movement and improve the accuracy of the dance movement recognition effectively, thus realizing the movement correction function of the dancer.

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Kalaimani, M., e AN Sigappi. "Posture Recognition in Bharathanatyam Images using 2D-CNN". Data and Metadata 2 (4 dicembre 2023): 136. http://dx.doi.org/10.56294/dm2023136.

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The postures are important for conveying emotions, expressing artistic intent, and preserving appropriate technique. Posture recognition in dance is essential for several reasons, as it improving the performance and overall artistic expression of the dancer. The Samapadam, Aramandi, and Muzhumandi are three postures that serve as the foundation for the Bharathanatyam dance style. This work proposes a model designed to recognize the posture portrayed by the dancer. The proposed methodology employs the pre-trained 2D-CNN model fine-tuned using the Bharathanatyam dance image dataset and evaluates the model performance.

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Berlianty, Teng, Yosia Hetharie e Putri Anggia. "Legal Protection of Bambu Gila Dance as a Traditional Cultural Expression". Yuridika 39, n. 1 (30 gennaio 2024): 43–78. http://dx.doi.org/10.20473/ydk.v39i1.48389.

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This study aims to examine the bambu gila dance as a potential intellectual property for traditional cultural expressions in Maluku which should receive legal protection as part of efforts to defend cultural heritage from claims of ownership by other parties or other countries. Bambu Gila Dance is one of the famous traditional arts from Maluku. The traditional cultural expression in the form of the Bambu Gila dance is expressly protected by the Indonesian intellectual property rights system. However, protection for Bambu Gila Dance as a traditional cultural expression cannot be realized so that it can only be used by other parties illegally. This research is a normative juridical research supported by primary legal materials and secondary legal materials with a conceptual approach and statutory approach. Legal protection for the traditional Bambu Gila dance from Maluku Province has not been effectively implemented, both based on Article 38 of Law Number 28 of 2014 Concerning Copyright, as well as in terms of the actions of government officials who have not been able to inventory traditional dance performance artworks as an expression traditional culture in Maluku including the Bambu Gila Dance. The role of the Provincial and Regency Governments in Maluku is crucial in realizing legal protection for traditional dances, including the Bambu Gila Dance, as intangible cultural heritage through the establishment of regional regulations. These regulations serve as legal basic to provide legal certainty as part of efforts for preventive legal protection for the Bambu Gila Dance.

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Nurharini, Atip, Ika Ratnaningrum, Putri Yanuarita Sutikno, Farid Ahmadi e Intan Permata Hapsari. "Dance Literacy As An Expression of Experience and Creativity in Dance Education". International Journal of Psychosocial Rehabilitation 23, n. 4 (20 dicembre 2019): 994–1004. http://dx.doi.org/10.37200/ijpr/v23i4/pr190427.

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Più fonti

Tesi sul tema "Dance of expression"

Crabtree, Rachel. "Identity: An Expression of Life Through Dance". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/509.

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"Identity: An Expression of Life Through Dance" is a reflection on the process of choreographing and performing a series of dances based on self-discovery and research on innovators of dance and their techniques.

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Barros, Ricardo Ribeiro de Oliveira. "Dance as a discourse : the rhetorical expression of the passions in French baroque dance". Thesis, University of Hull, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550510.

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Alcofra, Gabriela Machado Freire Tournillon 1986. "O rosto na dança : um olhar sobre expressão e expressividade na dança contemporânea". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284989.

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Orientador: Júlia Ziviani Vitiello
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Essa dissertação investiga a expressão do rosto na dança contemporânea, tendo como motivação inicial a observação de uma padronização da expressão do rosto em uma aparência neutralizada, sem tônus ou variação expressiva, em espetáculos variados apresentados no Rio de Janeiro em 2010. Divide-se em duas vertentes: na primeira faz uma contextualização histórica observando a relação entre expressão do rosto e expressividade do espetáculo de acordo com cada período histórico, indo desde o balé clássico até a dança contemporânea no Brasil, suas origens, heranças e influências; na segunda vertente faz relações entre o rosto como identidade do sujeito na sociedade e o rosto expresso na dança contemporânea, levantando associações entre o figurativo e o abstrato na dança e a experiência estética como ativador da presença cênica. A pesquisa é atravessada por laboratórios de criação em uma metodologia teórico-experimental, criando os espetáculos Movimento Sem Face e Dança sobre Nada e os vídeos Estudos para um Movimento sem Face
Abstract: This dissertation investigates the expression of the face in contemporary dance, having as initial motivation the observation of a standardization of the expression of the face in a neutralized appearance, without variation or expressive tone, in varied performances presented in Rio de Janeiro in 2010. It is divided into two parts: the first is a historical contextualization observing the relationship between facial expression and expressiveness of the show according to each historical period, ranging from classical ballet to contemporary dance in Brazil, its origins, influences and heritages; in the second strand makes relations between the face like the subject's identity in society and the face expressed in contemporary dance, raising associations between the figurative and the abstract in the dance and the aesthetic experience as activator of stage presence. The research is crossed by laboratories of creation in a theoretical-experimental methodology
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena

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Eno, Dianne E. "Mountain Dance: A Transdisciplinary Exploration of Environmental Dance as an Autopoietic Expression of Ecological Connectivity and Synthesis". Antioch University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1535143191801524.

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Bishko, Leslie Marlene. "Qualities of motion : expression in animation and the influence of dance". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291143775.

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Serret, Mathilde. "Élaboration d'un dispositif de danse-thérapie à expression primitive et évaluation de ses effets auprès de patients atteints de la maladie de Parkinson". Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2011.

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De récentes études ont démontré que la danse était une approche efficace pour améliorer les symptômes moteurs et non-moteurs ainsi que la qualité de vie chez les patients atteints de la maladie de Parkinson (MP). Nous supposons que la Danse-Thérapie à Expression Primitive (DTEP) est une méthode plus adaptée que les approches à médiations corporelles actuellement proposées et qu’elle pourrait véhiculer des bénéfices plus importants. L'hypothèse principale est que la DTEP aura des effets bénéfiques sur la marche et sur l’équilibre, ainsi que sur le plan psychique, qu’elle améliorera la qualité de vie et le lien social, et qu’elle pourrait constituer une composante importante d'une approche multidisciplinaire de la gestion à long terme de la MP.La première étude, en partenariat avec l’hôpital Bellan et d'une durée de deux ans, a permis d’élaborer, d’observer et d’adapter un dispositif de DTEP afin de développer un dispositif type et de pouvoir proposer une prise en charge novatrice. La seconde étude, en partenariat avec l’hôpital Pitié-Salpêtrière et d’une durée de sept mois, a permis de tester la faisabilité d'une telle étude, d'expérimenter le critère principal que constitue la marche et de mesurer les effets de la DTEP avec les outils d'évaluation qui, après avoir passé en revue les études sur le sujet, nous sont apparus comme les plus pertinents et reconnus dans le milieu médical et auprès de cette population.Le développement d’une approche originale entre Sciences Humaines et Sociales et médecine pourra servir à nourrir les pratiques et la prise en charge des patients en apportant des éléments utiles à la formation des professionnels et à l’organisation des soins. La réflexion qui a fondé la méthodologie des études développées contribuera quant à elle à alimenter la recherche et à mettre en place de nouvelles études
Recent studies have shown that dance may be an appropriate and effective strategy for improving motor and non-motor symptoms, as well as quality of life on individuals with Parkinson’s Disease (PD). Dance-Therapy through primitive expression (DTPE), as a mind-body therapy, may convey superior benefits, not only on physical areas but also on psychological and social ones. The main hypothesis is that Dance-Therapy will lead to greater gait and balance ability, an improved quality of life, will have psychological and social benefits and is an important component of a multidisciplinary approach to long-term management of PD.The first study, which lasted for two years, consisted of elaborating, observing and modifying the DTPE proposals in order to adapt them to the requirements of Parkinson's disease and to develop protocols of sessions in order to propose an innovative management of the disease.The second study, developed after a thorough literature review and which lasted seven months, made it possible to test the feasibility of such a study, to test a first main outcome (gait) and to evaluate the effects of the DTPE with the scales, which, after reviewing the studies on the subject, appeared to us to be the most relevant and well recognized in the medical community.The development of an original approach between Human and Social Sciences and Medicine can be used to feed the practices and care of patients by providing useful elements for the training of professionals and the organization of care. The thinking that has grounded the methodology of the studies developed in this thesis will contribute to fueling research and setting up new studies

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Teixeira, Paula Caruso 1970. "O Santo que dança = uma vivência corporal a partir do eixo co-habitar com a fonte do Método Bailarino-Pesquisador-Intérprete (BPI)". [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285026.

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Orientador: Graziela Estela Fonseca Rodrigues
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho tem por finalidade principal aprofundar o eixo co-habitar com a fonte do Método Bailarino-Pesquisador-Intérprete (BPI), a partir da pesquisa de campo da autora com os devotos da Dança de São Gonçalo do bairro rural Ponte Nova de Munhoz - MG e com os do bairro rural Fazenda Grande de Pouso Alegre - MG. O Método que será utilizado é o BPI, criado pela professora Graziela Rodrigues do Instituto de Artes (IA) da UNICAMP. Ele é um Método de pesquisa e de criação em Dança que possui três eixos fundamentais, que estão interligados: o inventário no corpo, o co-habitar com a fonte e a estruturação da personagem. O co-habitar com a fonte é o eixo no qual o núcleo das experiências do bailarino-pesquisador-intérprete realiza-se através da pesquisa de campo. O bailarino pesquisador-intérprete co-habita quando interage com o outro (o pesquisado) "até se sentir parte daquela paisagem investigada". O co-habitar ainda abrange análises práticas e teóricas do que se pesquisou (dos movimentos, dos sentidos e das paisagens-cenário, entre outros elementos), laboratórios e o aprofundamento do inventário no corpo do bailarino-pesquisador-intérprete. Durante um ano e meio, a autora co-habitou com os devotos no seu cotidiano (colheita da uva, feitura do vinho etc.) e no seu sagrado (Dança de São Gonçalo). A partir dos laboratórios do co-habitar, elaborou uma síntese prática, um 'roteiro de imagens, movimentos e sentidos', que foi apresentado aos investigados numa paisagem-cenário do co-habitar (no galpão onde se realiza a Dança de São Gonçalo em Pouso Alegre-MG). Após essas vivências, chegou a várias conclusões que confirmaram as características do eixo do co-habitar e do Método BPI. O co-habitar com a fonte potencializa a expressividade e a originalidade do bailarino pesquisador-intérprete iniciadas no eixo inventário no corpo (fase introdutória do BPI)
Abstract: This study is mainly aimed at going deeply into the co-inhabiting axis with the source of the BPI: Bailarino-Pesquisador-Intérprete (Dancer-Researcher-Interpreter) method, from the author's field research with Saint Gonçalo's Dance devotees from Ponte Nova de Munhoz - MG rural district and with the ones from Fazenda Grande de Pouso Alegre - MG. The method that will be used is BPI, created by professor Graziela Rodrigues from Instituto de Artes (IA) of Unicamp. It is a dance research and creation method that has three fundamental axis that are interconnected: the inventory in the body, co-inhabiting with the source and the character's structuring. Co-inhabiting with the source is the axis in which the dancer-researcher-interpreters experiences core is performed through the field research. The dancer-researcher-interpreter co-inhabits when he interacts with the other one (the researched) 'until he feels part of that investigated landscape'. Co-inhabiting still comprehends theoretical and practical analysis of what has been researched (about the movements, the senses and landscapes-scenery, among other elements), lab sessions and going deeply into inventory in the dancer-researcher-interpreter's body. For one year and a half, the author co-inhabited with the devotees in her everyday life (the grape harvest, making of the wine, etc) and in her sacred (Saint Gonçalo's Dance). As from the lab sessions, she prepared a practical summary, 'a guide of images, movements and senses', which was presented to the ones that were investigated in a landscape-scenery of co-inhabiting (at the shed where Saint Gonçalo's Dance is performed in Pouso Alegre - MG). After going through that, she drew several conclusions which have confirmed the characteristics of the co-inhabiting axis and the BPI method. Co-inhabiting with the source enhances the dancer-researcher-interpreter's expressiveness and originality which were started in the inventory in the body axis (BPI introductory stage)
Mestrado
Artes
Mestre em Artes

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Caserta, Rogerio Alencar Negrão. "Expressividade e energia vital na dança flamenca". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284638.

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Orientador: Veronica Fabrini Machado de Almeida
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação tem como objetivo relacionar os conteúdos da ¿Medicina Tradicional Chinesa¿ (M.T.C.), focada nas manobras de acupressão existentes no ¿Auto Tui-ná¿ escolhidas especialmente para a atuação de bailarinos flamencos, que potencializam o desbloqueio da ¿Energia Vital¿ (Qi), para a qualidade expressiva e poética dessa dança, além de prevenirem lesões corporais possíveis nesse estilo de dança
Abstract: The goal of this text is to associate with the contents of the ¿Traditional Chinese Medicine¿ (T.C.M), its focus being the acupressure movements from the ¿Self Tui-Na¿ that were especially chosen for Flamenco dancers' performances, so that it can potentialize the disobstruction of the ¿Vital Energy¿(Qi) and the expressive and poetic qualities of this dance, besides preventing injuries common to this dance style
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Snyder, Marie Carmen Alonzo. "Contemporary female choreographers of Asian descent : three case studies of an evolving cultural expression in American modern dance /". Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1178958x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1995.
Includes tables. Typescript; issued also on microfilm. Sponsor: Judith M. Burton. Dissertation Committee: Ann H. Dils. Includes bibliographical references (leaves 237-248).

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Theis, Taylor. "Duality, Symbolism, and Time: A Convergent Practice in Butoh and Surrealist Expression". Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18390.

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Butoh and Surrealism share some common features, three of which are: duality, symbolism and the manipulation of time. This project is an examination of the intersection of these elements and the development of a movement practice using these three, shared focusing lenses of Butoh and Surrealism, culminating in a performance. The methodology of this study sought to generate movement through improvisation and studio exercises based upon a melded Butoh/Surrealist universe developed through applied research in the convergent elements of duality, symbolism and the manipulation of time. The elements that I distilled ultimately informed movement choices shaping a movement offering; a generated example of what could happen when this choreographic process is applied.

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Libri sul tema "Dance of expression"

Drewe, Sheryle Bergmann. Creative dance inspirations: Facilitating expression. Calgary, Alberta: Detselig Enterprises Ltd., 1998.

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Kim, Malborg. On expression and its artistic meaning in dance. Ann Arbor, Michigan: UMI Dissertation Service, 1989.

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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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Devi, Patiṇjārayil Rama. Comparative study of chaturvidha abhinayas between Kathakali and Kuchipudi yakshagana: Comprehensive analysis of four kinds of expressions in Kathakali and Kuchipudi dance drama traditions. Secunderabad, Andhra Pradesh, India: Padinjyarayil Publications, 2013.

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Roy, Marie. Je danse mon enfance: Guide d'activités d'expression corporelle et jeux en mouvement. Montréal: Chenelière / McGraw-Hill, 1998.

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Allen-Mitchell, Arlene. Dance soul, dance!: Inspirational expressions for women in business. Pembroke Pines, FL: Positive Perceptions, 2001.

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Hinkley, Coralie. Innovisions: Expressions of creativity in dance. Nedlands, W.A: University of Western Australia Press, 1990.

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Sweet, Jill D. Dances of the Tewa Pueblo Indians: Expressions of new life. 2^a ed. Santa Fe, N.M: School of American Research Press, 2004.

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Fritsch, Ursula. Tanz, Bewegungskultur, Gesellschaft: Verluste und Chancen symbolisch-expressiven Bewegens. Frankfurt: AFRA Verlag, 1988.

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Buko, Tereska Radha. Dances of universal peace: A multicultural expressive arts spiritual path. [Trumbull, CT]: T.R. Buko, 1993.

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Capitoli di libri sul tema "Dance of expression"

Leonhard, Clemens. "Religious Expression in Music and Dance". In A Companion to Religion in Late Antiquity, 611–34. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118968130.ch29.

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Katan, Einav. "The Dancing Body as a Means of Expression". In Embodied Philosophy in Dance, 179–85. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-60186-5_21.

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Swain, Angela, Juan Berríos e Matthew Kanwit. "Chapter 3. Exploring future-in-the-past variation in Seville and Caracas". In Innovative Approaches to Research in Hispanic Linguistics, 58–80. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/ihll.38.03swa.

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Research on Spanish future-time expression has revealed a diachronic rise for the periphrastic future. However, future-in-the-past expression remains understudied. Two common variants are the periphrastic future in the imperfect (e.g., iba a bailar ‘I was going to dance’) and the conditional (e.g., bailaría ‘I would dance’). Our study is unique in assessing future-in-the-past expression through a controlled task able to elicit greater token counts and its consideration of data beyond Spain. In this exploratory study, we analyzed residents of Seville, Spain and Caracas, Venezuela via a written contextualized task, examining linguistic predictors (temporal distance, polarity, and verb type). Results echo research on future-time expression: the periphrastic form has gained traction and has developed through analogous predictors. Moreover, findings reveal notable cross-variety similarity.

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Engelhard, Einat Shuper, e Yana Sichel. "Diagnosis and Assessment of Sexual Abuse in Childhood Based on Bodily Expression". In Dance/Movement Therapy and Sexual Abuse, 17–32. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003309048-4.

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Yeoh, Pei Ann. "Bridging Impairment and Disability with Music and Dance". In Musik und Klangkultur, 173–86. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839458914-012.

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Music and dance are two interdependent artistic forms that are tied to the experience of a moving-thinking body. This paper seeks to examine the extent of interdisciplinary conditions between music and dance in the context of disability. Furthermore, it seeks to advance understanding between concepts of impairment and disability by exploring collaborative practice between an able-bodied musician and a physically impaired dancer. The research asks: In what setting can creative expression translate disability to transcend the corporeality of performance? Authors such as Mairian Corker (1999), Carol Thomas (1999), and Jenny Morris (1981) have argued for the distinction between impairment and disability; whereby impairment refers to the corporeal entity and disability refers to a larger cultural understanding of disability experience. The body is both a corporeal object and a metaphor for a set of experiences revolving around cultural response to that impairment (Cheu, 2005:135-136). Part of the issue, thus, is the normative gaze of the able-bodied spectator being projected onto the performance, problematizing the tension between disability as impairment versus disability as cultural representation. This tension is explored in a series of recorded performances between musician and dancer, with their collective reflections offering contextual insight on disability in artistic practice.

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öztürk, Alі. "The Power of Dance/Movement as a Means of Expression". In Phenomenology/Ontopoiesis Retrieving Geo-cosmic Horizons of Antiquity, 539–47. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-1691-9_40.

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Uhm, Taeyoung, Hanhoon Park, Mi-Hee Lee, Un-Mi Kim e Jong-Il Park. "Emotional Expression of Korean Dance Assisted by a Virtual Environment System". In IFIP Advances in Information and Communication Technology, 208–13. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15214-6_21.

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Raufman, Ravit. "A dancer who does not dance". In Idiomatic Expressions and Somatic Experience in Psychoanalysis, 85–98. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351117227-8.

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Adholiya, Ashish, e Apeksha Khopkar. "Visualizing Sentiments: Facial Expression Recognition in the World of Kathak Dance Using Deep Learning". In Advances in Data-Driven Computing and Intelligent Systems, 471–87. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-9531-8_38.

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Katan, Einav. "Understanding Expressions". In Embodied Philosophy in Dance, 187–97. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-60186-5_22.

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Atti di convegni sul tema "Dance of expression"

Gantchevа, Giurka. "DYNAMICS IN THE DIFFICULTY IN RHYTHMIC GYMNASTICS COMPETITIVE ROUTINES". In INTERNATIONAL SCIENTIFIC CONGRESS “APPLIED SPORTS SCIENCES”. Scientific Publishing House NSA Press, 2022. http://dx.doi.org/10.37393/icass2022/72.

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

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Raharjo, Eko, Agus Cahyono, Muhammad Jazuli, Widodo Widodo e Onang Murtiyoso. "Dugderan Art Dance as an Expression of Semarang Society". In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.14.

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Cahyono, Agus, Muhammad Jazuli, Widodo Widodo e Onang Murtiyoso. "Dugderan Art Dance as an Expression of Semarang Society". In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.68.

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Wang, Ningning. "Aesthetic Expression of Folk Dance Works in Modern Beijing Area". In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.160.

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Uspuriene, Aiste Barbora, e Julija Svipaite. "THE EFFECT OF DANCE ON GIRLS' MOTOR ABILITIES". In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2021. http://dx.doi.org/10.21661/r-554969.

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It is often forgotten that the health of the body, the ability to overcome stress and weakness depend on a person's physical activity and movement. Movement is an inexhaustible means of self-expression, self-realization and cognition of the surrounding world. Research aim – to analyze the literature and to reveal aspects of the effect of dance on girls’ motor abilities.

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Blidar, Crina-Rozalia. "Traditions and customs in the country of Codru, Maramureş". In Conferinţă ştiinţifică naţională "Salvgardarea şi conservarea digitală a patrimoniului etnografic din Republica Moldova". Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841856.04.

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The current county of Maramureş is made up of four ethnographic areas, geographically, historically and ethnographically distinct, being an ancient Romanian hearth with history chiseled in wood and stone, in soul and in verb. These are called countries of Maramureş, and namely: Maramureşului Country, or Historical Marmaureşul or Voivodal, Lapuşului Country, Chioarului Country and last but not least, Codrului Country. One of the most controversial countries of Maramureş, Ţara Codrului, covers a rather narrow area compared to other ethno-folkloric areas, the ethno-cultural space of this area currently falls administratively in the counties of Maramureş, Satu Mare and Sălaj, although in in the past they belonged to Sălaj county, most of the localities being integrated into the Cehu Silvaniei network. The identification of ancient customs and traditions preserved to this day or the reconstitution of some long-forgotten customs or traditional occupations from the folklore area of Maramures Ţara Codrului would lead to the valorization of the way of transmitting local values, customs, occupations, beliefs and symbols shared by the community, so that, subsequently, they are implemented in the daily life of the new generations. Being one of the most important traditional dances of our country, the Caluşari dance dates back to the pre-Christian period, being related to the ancient cult of the Sun. Considered by some specialists as the decayed descendant of an ancient ritual, coming from the mists of time, this particularly spectacular Romanian folk dance is included in the heritage of humanity. The ritual dance of the Caluşaris, of high artistic value of Romanian folklore, is our symbol for the scenes of the world; it is the emblem that connects equally to history and myth, without ignoring its semantic and value universality. This living symbol of our culture represents the uniqueness of the Romanian people, both through the movements of the footmen and through their clothing. It must be emphasized that the people regarded the game of the Gags as an unusual fact, because the energy and frenzy that the Gags displayed during the game did not seem natural to them, perpetuating the idea that they are led by a supernatural force that gives them powers. In fact, it’s about the enthusiasm, passion and joy with which everyone interprets the role they have in this show, because in the end, the dance of the Horsemen is a majestic show, performed in the purest and most authentic style. In 1907 George Pop from Băseşti, driven by the desire to have an authentic Romanian dance, brought a master, Dr. Iustin C. Iuga from Alba Iulia, who stayed in Băseşti for three months and trained the troupe group that had its first official representation on the day of the great TRIBUN . Later, the Caluşari bands participated in all Astra events or other important events of the time because leading a national dance band was an occasion of pride and national affirmation, the dance of the Caluşaris from Transylvania becoming a national emblem for the artistic expression of the leading Romanian villages. It was believed, in that day that through this dance one contributes to the formation and strengthening of the spiritual unity of the national consciousness, because those who dance the Căluşarul can only be Romanians in origin. Băseşti commune is an area where the authenticity and values of Romanian folklore are preserved. Included in the community known generically under the term Şara Codrului, an area strongly impregnated with local traditions and customs, Băseşti remains a land of preservation of traditions and customs that have long since passed. For more than 100 years, in Băseşti, the bands of gaggles have appeared on the country’s stages, expressing the desire of Romanians everywhere to be united under a single, unique and unbroken banner, thus perpetuating the dream of the great tribune, George Pop of Băseşti. The stage appearances of the two caluşari formations, the big team and the small team, from Cluj and Baia Mare in the 80s, represented crucial moments for this dance, which has now become a constant habit in the lives of the people of Basăşti. The simultaneous dance of the two generations of gaggles symbolizes its antiquity and continuity in our traditional culture. Thus, the constancy and antiquity of the dance of the Caluşari from Băseşti gives it the right to be called a custom specific to Băseşti, with all the rights that derive from it. The dream of a human intertwined with the beauty of this beautiful dance of the Caluşaris, against the background of passion and dedication of the members of the formations established over time, make history in Băseşti, representing a reason for national and, above all, local pride. If the glorious past is the basic piece in maintaining our national consciousness, the present is the link between it and the young saplings, the future generations that can be formed in the spirit of love for nation and country, with the due place given to the elements of national identity, and of course with love for the perpetuation of traditions and customs, especially arousing and developing the passion to play the dance of the Caluşar from Băseşti, this should be a reason for pride and joy for them, like their ancestors. Any spectator who has the opportunity to watch the dance of the Caluşari from Băseşti can claim that it was shown to him in all its archaic splendor, reinforcing his feeling that Romanians have.

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Suhaya, Alya Putri, Tati Narawati e Yuliawan Kasmahidayat. "The Value of Patriotism in Kawung Anten Dance as an Expression of Nationalism". In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.017.

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Fesharaki, Omid, Jesús Cabello Pozo e Jesús Martí Martínez. "CORPORAL EXPRESSION AND DANCE TO MOTIVATE AND TEACH SCIENCES TO PRIMARY EDUCATION STUDENTS". In 16th annual International Conference of Education, Research and Innovation. IATED, 2023. http://dx.doi.org/10.21125/iceri.2023.1242.

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Shikanai, Nao, Kozaburo Hachimura, Misako Sawada e Motonobu Ishii. "Kansei Information and Movement Characteristics Related to the Expression of Joy in Dance: An Investigation for Analyzing Rousing and Stimulating Dance Motions". In 2012 13th ACIS International Conference on Software Engineering, Artificial Intelligence, Networking and Parallel & Distributed Computing (SNPD). IEEE, 2012. http://dx.doi.org/10.1109/snpd.2012.97.

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Dagnino, Francesca, Michela Ott, Francesca Pozzi e Erdal Yilmaz. "SERIOUS GAMES DESIGN: REFLECTIONS FROM AN EXPERIENCE IN THE FIELD OF INTANGIBLE CULTURAL HERITAGE EDUCATION". In 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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