Literatura científica selecionada sobre o tema "Minimal Dance"

The possibility of tradition collaborating with dance, music and performance art is an amazing art. However, it becomes problematic if the space to perform one of the parts of tradition, namely dance as an art or work in certain regions or localities, is still minimal. Either from the history of dances from certain regions, for example Central Kalimantan, especially the Ma'anyan Dayak community, or the method of usage or meaningful values in the form of ribut rukun, togetherness, care and exploration space. This research method uses a literature review that examines the results of previous studies as secondary sources, online media, and accompanying photos of dances originating from Central Kalimantan. The findings show that the Dayak Giring-Giring dance, Manganjan Dance and Tambun Bungai Dance have a variety of cultural richness, the meaning of friendship, as well as a rich history that must get space from generation to generation to the global community as a cultured, dignified, valuable and communal dance.

AbstractIn this paper we discuss Minangkabau traditional dances in the form of an encyclopedia prototype. The objectives of writing this paper are: (a) to describe the community's needs for information about Minangkabau traditional dances; (b) describes the process of making an encyclopedia of traditional Minangkabau dance prototypes; and (c) describe the constraints and efforts in making an encyclopedia prototype of Minangkabau traditional dance. This study uses a descriptive method with data collection techniques through direct observation and direct interviews with seven different professions, such as the community, students, students, tourists and owners of the Syofyani dance studio. Based on the analysis of the data it can be concluded as follows: First, the need for information about Minangkabau traditional dances is very minimal from the community, this can be seen from people who are not very interested in information about Minangkabau traditional dances because Minangkabau traditional dances are rarely performed and there are no information media which specifically discusses Minangkabau traditional dances. So that the Minangkabau traditional dance is shifted by outside dances such as dance and k-pop. Second, the making of an encyclopedia prototype of Minangkabau traditional dance through several stages, namely: (a) information needed about traditional Minangkabau dances; (b) data collection is done by interviewing techniques; (c) prototype product design encyclopedia of Minangkabau traditional dance using the Photoshop CS6 application; and (d) the resulting form is an encyclopedia prototype which contains information about the types of dance, dance philosophy, property used, music, clothing used in the dance, along with supporting images. Third, constraints and efforts in producing encyclopedias prototype products, namely: (a) resource persons who know about information about Minangkabau traditional dances are difficult to find and efforts to overcome them are done by making an appointment beforehand to the speakers; (b) data collection such as books on Minangkabau traditional dances is difficult to obtain and efforts to determine them are carried out by obtaining data from journals that discuss traditional dances.Keywords: Prototype, Encyclopedia, Minangkabau Indigenous Dance

Der Text befasst sich mit vier minimalistischen Produktionen aus der aktuellen Medienkunst (Themen: Schwarmbewegungen, Tanz, moderne Kunst u. a.). In ihnen korreliert das phase shifting der Musik von Steve Reich von 1967 mit neuartigen Visualisierungsformen und –technologien. Das Zusammenspiel von digitaler Identität und analoger Differenz mit ihren klanglichen und visuellen Polyrhythmiken und patterns führt zu „entropischen Verschiebungen“, die ungewöhnliche „psycho-physische Effekte“ bewirken. Die mit den prozessualen Systemen einhergehende ästhetische Erfahrung wird in eine „Architektonik des Sinns“ der Moderne des 21. Jahrhunderts eingebettet. The paper deals with four minimalist productions on the field of actual media art (themes: covey movements, dance, modern art etc.). With them the phase shifting of Steve Reich’s music from 1967 correlates with novel visualisations and technologies. The interplay of digital identity and analogue difference with its acoustic and visual polyrhythms and patterns leads to “entropic shiftings”, which cause unusual “psycho-physical effects”. The aesthetical experience of the process-related systems is embedded into an architecture of sense of modernity in the 21st century.

Enduring exposure to high sound pressure levels (SPLs) can lead to noise-induced hearing loss (NIHL). In the performing arts population, NIHL has been studied primarily in the context of sound exposure experienced by musicians and less so by dancers. This research aimed to identify sound exposure that dancers may experience in some dance classes. Decibel levels were recorded in 12 dance classes (6 ballet, 4 modern, and 1 soft and 1 hard shoe Irish dance) at 8 different studios using the NIOSH SLM app on an iOS smartphone with external microphone. A minimum of five recordings of each class was measured, each collected on a different day, yielding a total of 114 measurements. Results showed that 20.2% of all recordings exceeded the recommended NIOSH sound exposure limits of both 100% projected daily dose and 85 LAeq. Analysis between styles of dance demonstrated significantly lower LAeq (p≤0.05) in soft shoe Irish dance compared to ballet (p=0.023), modern (p=0.035), and Irish hard shoe dance (p=0.009). Irish soft shoe dance demonstrated minimal to no risk of high sound exposure. Conversely, 53.25% of ballet, 90.9% of Irish hard shoe dance, and 68.24% of modern recordings exhibited minimal to moderate risk of high sound exposure. Furthermore, we found wide ranges of projected daily noise doses within classes taught by the same teacher. It is recommended that multiple recordings of dance environments be obtained, as a single sound recording may not accurately represent potential exposure. These findings indicate that dancers of Irish hard shoe, modern, and ballet may benefit from noise intervention such as audiometric testing, noise controls, and hearing protection.

Background: The purpose of this study was to evaluate the results of arthroscopic treatment of anterior bony and soft-tissue impingement of the ankle in elite dancers. Methods: The study is a case series retrospectively reviewed. In the period between 1990 and 1999, 11 elite dancers (12 ankles) had ankle arthroscopy after a diagnosis of anterior ankle impingement that markedly interfered with their dancing. Initial nonoperative treatment failed in all subjects. Previous ankle trauma was noted in all subjects. There were seven women and four men (average age 28 years). Tibiotalar exostoses were radiographically noted in six ankles. Standard anteromedial and anterolateral arthroscopic portals and instrumentation were used for resection of bone spurs and debridement of impinging soft tissues. Patients were nonweightbearing for 5 days after surgery and had postoperative physiotherapy. Results: Nine dancers returned to full dance activity at an average of 7 weeks after surgery. One patient did not return to dance performance because of concurrent unrelated orthopaedic problems, but he resumed work as a dance teacher; he developed a recurrent anterior tibial spur that was successfully resected at a second arthroscopy 9 years later. Another dancer developed postoperative scar-tissue impingement and stiffness; she had a repeat arthroscopy 4 months after the initial procedure and subsequently returned to dance performance. All patients eventually had marked postoperative improvement in pain relief and dance performance. Conclusions: Arthroscopic debridement is an effective method for the treatment of bony and soft-tissue anterior ankle impingement syndrome in dancers and has minimal morbidity.

This service is based on an analysis of situations and problems, that until now dance learning at SILN Davao, Philippines is still using the dance studio education pattern. The orientation is that students memorize certain dance movements with imitates the teacher, without being given space to creatively. This has an impact on the closure of various intelligences possessed by students. SILN Davao, also often appears at state events to present the face of Indonesia to the public, but this is hampered by the lack of variety in dance learning in schools, which makes Indonesia seem to have minimal traditional arts. To hack this, this community service seeks to implement the concept of dance learning by applying unplugged computational thinking. The goal is that dance learning is not just a matter of memorizing motion, but students can creative ideas in the form of dance according to their level of development. To achieve this, methods used are community situation analysis, problem identification, setting goals, problem solving plans, social approaches, implementing activities, and evaluating. The results of this implementation show that the concept of dance learning at SILN Davao, Philippines that applies computational thinking unplugged can be applied to other SILNs.

This study investigates the effects of technical cheerleading and dance cheerleading on the psychological health of female college students by utilizing the Symptom Checklist-90 (SCL-90), the Comprehensive Diagnostic Scale for Interpersonal Relationships, and the Social Adaptability Diagnostic Scale. The findings indicate the following: (1) Technical cheerleading has a highly significant impact on sensitivity in interpersonal relationships, paranoia, and psychoticism, and a significant effect on anxiety and hostility; dance cheerleading has a highly significant effect on paranoia; (2) Both technical and dance cheerleading have minimal impact on the overall score distribution of interpersonal relationships among female college students, but the dimensions of their effects differ; (3) The impact of technical cheerleading on the social adaptability of female college students is more pronounced than that of dance cheerleading.

Matuya Metta is a Javanese dance-drama performance in the Yogyakarta dance style in the form of group choreography. This drama features the story of Phra Lor, famous in Thai literature. Matuya comes from the word “matu”, meaning mother, and “metta” meaning love. So, "Matuya Metta" means a mother's love. The reason for choosing the Phra Lor story is that there are similarities between the Thai a siang nam ritual and the Javanese tradition called tapa kungkum. Matuya Metta dance drama is expressed dramatically and symbolically. It is danced by three dancers and the piece contains in five segments. Javanese dance in the Yogyakarta style is the basis for the movements, namely the characters of alusan and putri luruh. The music is adapted to the atmosphere in the story and the character’s movements according to contemporary Javanese tradition. The performance combines recordings of gamelan instruments with digital music. The makeup and costume designs are inspired by Javanese dance and Thai ornaments. This dance-drama also uses minimal staging properties and settings to beautify the performance and help the audience understand the story. “Matuya Metta” Penciptaan Drama Tari Jawa dari Kisah Phra Lor Abstrak Matuya Metta adalah pertunjukan drama tari Jawa gaya Yogyakarta dalam bentuk koreografi kelompok. Drama ini menampilkan kisah Phra Lor yang terkenal dalam sastra Thailand. Matuya berasal dari kata “matu” yang berarti ibu, dan “metta” yang berarti cinta. Jadi, "Matuya Metta" berarti cinta seorang ibu. Alasan dipilihnya cerita Phra Lor adalah karena ada kesamaan antara ritual siang nam orang Thailand dengan tradisi Jawa yang disebut tapa kungkum. Drama tari Matuya Metta diekspresikan secara dramatis dan simbolis. Tarian ini ditarikan oleh tiga orang penari dan terdiri dari lima segmen. Tari Jawa gaya Yogyakarta menjadi dasar geraknya yaitu tokoh alusan dan putri luruh. Musiknya disesuaikan dengan suasana dalam cerita dan gerak-gerik tokoh sesuai tradisi Jawa kontemporer. Pertunjukan tersebut menggabungkan rekaman instrumen gamelan dengan musik digital. Desain tata rias dan kostumnya terinspirasi dari tarian Jawa dan ornamen Thailand. Drama tari ini juga menggunakan properti dan setting pementasan yang minim untuk mempercantik pertunjukan dan membantu penonton memahami ceritanya.

Lucinda Childs est une figure majeure de la danse au XXe siècle. Au début des années 1960, elle participe à la fondation du Judson Dance Theater, un collectif de danseurs, danseuses, chorégraphes, artistes et compositeurs qui renouvellent à New York les formes et les pratiques de la danse. Avec sa compagnie crée en 1973, elle devient l’une des cheffes de file de la danse minimale et de la danse postmoderne américaines, tout en collaborant à partir des années 1980 avec les plus importantes compagnies de ballet en Europe et aux États-Unis. Dans le processus de création, répétition et représentation que Childs met en œuvre seule, avec sa compagnie, ou des compagnies de répertoire, l’écriture et la lecture jouent un rôle déterminant pour concevoir et incorporer ses danses. Grâce à une enquête anthropologique au cœur des studios de danse, Lou Forster montre que le geste technique consistant à danser page à la main se construit à l’intersection de deux histoires parallèles. Au cours des années 1950, John Cage et Merce Cunningham inventent un ensemble de pratiques de lecture et d’écriture afin de s’opposer, détourner et reconfigurer des approches académiques dans lesquelles l’écrit constitue un support pour assoir des partages disciplinaires et des hiérarchies. Cette approche néo-avant-gardiste joue un rôle primordial au Judson ; et parmi les membres de ce groupe, Childs est l’une des chorégraphes qui se montrent la plus attentive à ces pratiques lettrées car elles rejoignent un aspect méconnu de sa formation de danseuse. En effet, elle étudie la danse moderne de 1955 à 1962 au sein de l’important réseau de la diaspora allemande de New York. Elle suit en particulier la formation dispensée dans l’école de la chorégraphe Hanya Holm (1893-1992) où est enseignée une forme américanisée de danse d’expression (Ausdruckstanz). Childs y découvre la cinétographie Laban ou Labanotation, le système d’analyse et d’écriture du mouvement développé par le chorégraphe austro-hongrois Rudolf Laban (1879-1958), dans lequel les danseurs et danseuses répètent page à la main. C’est vers cet événement de lecture atypique pour le monde de la danse que Childs se tourne quinze ans plus tard pour travailler avec sa compagnie. L’histoire de l’art et l’histoire de la danse ont dissocié ces deux versants des modernités chorégraphiques lorsqu’à partir de 1933 une partie de la danse d’expression se compromet avec le régime nazi. Aux États-Unis se construit alors le mythe d’une originalité de la danse moderne américaine, qui s’accentue encore dans le cadre de la guerre froide. La position privilégiée que Childs occupe dans cette histoire connectée la conduit à faire des pratiques graphiques une matrice du postmodernisme. À partir de 1973, elle aborde l’ensemble des techniques canoniques de la danse occidentale, passant au fil des années de la danse d’expression aux activités piétonnières, au ballet néoclassique puis baroque. Se positionnant comme une appropriationiste, elle développe une perspective historique et critique sur ces techniques d’emprunt. Dans ses pièces, elle tend ainsi à rassembler des genres et des histoires de la danse qui ont été séparées et disjointes, élaborant une véritable poétique de la relation
Lucinda Childs is a major figure in twentieth-century dance. In the early 1960s, she was one of the founding members of the Judson Dance Theater, a group of dancers, choreographers, artists and composers in New York City who reinvigorated dance forms and practices. With the establishment of her company in 1973, she emerged as one of the leading figures of American minimal dance and postmodern dance, while collaborating from the 1980s onward with major ballet companies in Europe and the United States. Whether with her own company, with repertory dance companies, or at Judson, literacy plays a crucial role in the conceiving, embodying, and performing of her dances. Through an anthropological investigation within dance studios, Lou Forster demonstrates that the technical gesture of dancing, page in hand, is constructed at the intersection of two parallel histories. In the 1950s, John Cage and Merce Cunningham devised a range of reading and writing practices in order to oppose, divert and reconfigure academic methods in which literacy serves as a foundation to establish disciplinary divisions and hierarchies. This neo-avant-garde approach played a crucial role at Judson. Among the members of this group, Childs was one of the choreographers who paid the most attention to these literacy practices, as they tied in with a lesser-known aspect of her dance training. From 1955 to 1962, she studied modern dance within the extensive network of the German diaspora in New York. Specifically, she attended the school run by the choreographer Hanya Holm (1893-1992), where an Americanised form of dance of expression (Ausdruckstanz) was taught. There Childs discovered Kinetography Laban or Labanotation, the system of analysing and writing movement developed by the Austro-Hungarian choreographer Rudolf Laban (1879-1958), in which dancers rehearse with page in hand. Fifteen years later she turned toward this literacy event, unusual for the dance world, to work with her company. Art history and dance history dissociated these two aspects of choreographic modernity when, from 1933, part of the dance of expression became involved with the Nazi regime. In the United States, the myth of the originality of American Modern dance began to take shape, further emphasized during the Cold War. Childs' unique position in this connected history meant that graphic practices became a matrix for postmodernism. Since 1973, she embraced all canonical techniques of Western dance, moving over the years from dance of expression to pedestrian activities, to Neoclassical and then to the Baroque. Positioning herself as an appropriationist, she developed a historical and critical perspective on these borrowed techniques. In her pieces, she seeks to bring together practices, genres and histories of dance that have been separated and disjointed, crafting a genuine poetics of relation

Human sociality, with its wide scope, early ontogeny and pervasiveness across cultures, is remarkable from an evolutionary perspective. We form bonds with other individuals and live in large social groups. We help, empathise with and share our resources with others, who are unfamiliar and genetically unrelated to us. It has been suggested that interpersonal coordination and rhythmic synchronisation of movements may be one proximate mechanism that enables such widespread human sociality and facilitates cooperation. In the last decade, considerable research has examined the effect of movement synchrony on social bonding and cooperation. However, when this thesis started, there was virtually no experimental study investigating the ontogeny of the movement synchrony-social bonding link, which is proposed to have deep evolutionary roots and important, long-lasting consequences in social life. This thesis aims to investigate the effects of movement synchrony on social bonding and cooperative behaviour across different time points in ontogeny. Three experimental studies were conducted examining infancy, early childhood and middle childhood. Each study explored a different aspect of social bonding and cooperation based on the motor, social and cognitive developments that mark that age group. Study 1a found that at 12 months of age, infants prefer individuals who move in synchrony with them, when the individuals are social entities, but not when they are non-social. Study 1b showed no preferences for synchrony at 9 months in either social or non-social contexts, however. Study 2 revealed that in early childhood, performing synchronous movements actively with a peer facilitates helping behaviour among the children, as well as eye contact and mutual smiling during the interaction. Finally, Study 3 showed that the social bonding effects of movement synchrony applied to inter- group settings and that performing synchronous movements with out-groups increased bonding towards the out-group in middle childhood. This thesis followed an interdisciplinary, integrative and naturalistic approach, where (i) literature from a wide range of disciplines motivated and guided the present research; (ii) links between motor, social and cognitive aspects of development, which are often investigated separately, are formed; and (iii) the experiments were designed in ways that represent the real-life occurrences of the investigated phenomena. The current findings provide the first substantial evidence that movement synchrony facilitates social bonding and cooperation in childhood and thereby provides a foundation for future research.

L’intention de ce travail est d’interroger la notion de minimalisme dans le cadre de la musique électronique populaire. Dans une première partie, il s’agit d’expliciter le concept de minimalisme en revenant sur la genèse de cette esthétique, apparue dans les arts plastiques dans les années 1950 aux Etats-Unis, puis sur sa transposition dans le domaine musical sous l’égide de compositeurs tels que La Monte Young, Terry Riley et Steve Reich. L’évocation des compositeurs minimalistes américains nécessite de justifier l’emploi du concept de « minimalisme » pour évoquer des univers a priori différents. Cette clarification se fait en plusieurs points : le rapport des musiciens à l’histoire, leur positionnement économique, les outils dont ils disposent et la réflexion qu’ils produisent sur leur art, leur contexte social, leur relation à l’interprétation et au concert, enfin leur gestion de problématique telles que la répétition ou la danse. La seconde partie du mémoire porte sur la techno en tant que telle. Après un historique du contexte d’apparition de ce genre musical, au début des années 1980 à Detroit aux Etats-Unis, ainsi qu’un aperçu des instruments électroniques ayant facilité la naissance de la techno et des conséquences structurelles de ces instruments, nous étudions l’émergence de la branche dite « minimale » de la techno. Enfin, l’étude du compositeur allemand Robert Henke permet d’approfondir des notions de composition assistée par ordinateur, et d’élargir notre propos au minimalisme dans la musique électronique populaire non dansante
The purpose of this study is to call into question the concept of minimalism in popular electronic music. The first part of the dissertation focuses on the concept of minimalism itself by mentioning the genesis of this aesthetic, which appeared in plastic arts in the 1950 in the United States, then its translation in the music field under the aegis of composers such as La Monte Young, Terry Riley and Steve Reich. To justify the use of the concept of minimalism while referring to different musical genres, a clarification is made in several steps: the relation of the musicians to History, their economic positioning, the technical means at their disposal as well as their reflection on their work, their social context, their relation to interpretation and live performance, and their views on problematics like repetition and dance. The second part focuses on techno itself. After tracing the history of the emergence of this musical genre at the beginning of the 1980’s in Detroit, as well as an outline of the electronic instruments which played a part in this emergence and their structural effects on the music, we can study the emersion of the « minimal » branch of techno. Lastly, studying the music of German composer Robert Henke allows us to broaden our subject by including an example of minimalism in popular electronic non-dance music

Understanding the impacts of hydrological drought is crucial to the conservation of freshwater fishes. In British Columbia, Nooksack dace (Cyprinidae: Rhinichthys cataractae) are an endangered riffle specialist and are threatened by extremely low summer flows. The purpose of this thesis was to explore the impacts of drought on Nooksack dace, whether pool habitats may act as refugia to mitigate these impacts, and to define minimum environmental flow requirements. The first two objectives were addressed using a combination of field survey and experimental manipulations. A reduction in Nooksack dace population size with declining summer flow in Bertrand Creek, and a marked decrease in growth at low discharge in experimental riffles, indicated that low discharge has negative impacts on dace at both population and individual levels. Pool habitats were found to play a minor role in mitigating the negative impacts of hydrological drought (e.g., decreased growth rate), save as a refuge from stranding when riffles dewater. The third objective was addressed using the Instream Flow Incremental Methodology (IFIM). Because this study involved an endangered species an emphasis was placed on evaluating two fundamental assumptions of the methodology. Experimental results for Nooksack dace growth at different depths and velocities provided support for the first assumption, that density-based Habitat Suitability Curves (HSCs) accurately reflect habitat quality, but only for the lower limits of the HSCs. Next, a significant positive relationship between Weighted Usable Area (WUA) and dace biomass was found, supporting the assumption that such a relationship exists. However, this relationship was weak indicating a high degree of uncertainty in how Nooksack dace biomass will respond at high discharges. The IFIM model predicted that habitat availability for Nooksack dace begins to decline most rapidly at discharges of 0.12 m³.s-¹. As there is low confidence in upper ranges of the HSCs this low flow threshold may underestimate declines with discharge, and therefore protection of at least 0.12 m³.s-¹ is considered necessary for the persistence of Nooksack dace individuals and populations. Compared to conventional instream flow criteria, 0.12 m³.s-¹ represents ~10% mean annual discharge which is the threshold for severely degraded habitat.

This chapter draws out some minimal or superficial effects of Stéphane Mallarmé’s writings on dance, and of his other prose texts which mention dance tangentially. The first thing to note is that, as the chapter title suggests, these texts are scribbled at the theatre and only ever envisage dance within the horizon of the stage, even if the latter is ultimately presented as a perverse and banal location. There is no primitive dance in Mallarmé, then. But nor is there dance detached from the gaze which establishes it as such. Hence, there is nothing that ever escapes the conventional artifice of theatrical spectacle.

AbstractThe perceived Origin of full-body human Movement (OoM), i.e., the part of the body that is perceived by an external observer as the joint from which movement originates, represents a relevant topic for movement analysis. Indeed, its automated detection is important to contribute to the automated analysis of full-body emotions and of non-verbal social signals, and has potential applications, among others, in dance and music teaching, cognitive and motor rehabilitation, sport, and entertainment. In this work, we further develop a recently proposed algorithm for the automated detection of the perceived OoM, by improving the visualization of its output. Specifically, the core of that algorithm relies on clustering a skeletal representation of the human body based on the values assumed by a movement-related feature on all its vertices, then finding those vertices that are at the boundary between any two resulting clusters. In the work, we improve the visualization of the clusters generated by that algorithm in successive frames, by “colouring” them by means of the resolution of a sequence of minimum cost bipartite matching subproblems. Finally, based on a real-world dataset, we show that the proposed modification of the algorithm provides, indeed, a better visualization of the clusters than its original version.

L’attenzione manzoniana nei confronti delle unità fraseologiche – le unità minime della fraseologia – confluisce, oltre che negli scritti linguistici e nell’epistolario, anche nell’operazione sistematica di postillatura del Vocabolario degli Accademici della Crusca, nell’edizione curata dall’abate Cesari del 1806. L’esemplare manzoniano, conservato presso la Sala Manzoniana della Biblioteca Nazionale Braidense, costituisce uno dei principali «ferri del mestiere» dello scrittore per la creazione del tessuto linguistico dei Promessi sposi. In particolare, il suo ruolo nella definizione della lingua del romanzo diventa cruciale nel momento di revisione della Prima minuta, in vista della stampa. Tra il 1823 e il 1825, Manzoni si dedica allo studio del vocabolario, dialogando con le sue voci attraverso una fitta rete di note, che ne arricchiscono il patrimonio lessicale e fraseologico attraverso i rimandi alle letture dei testi toscani svolte in quel periodo. Tra le postille, di cui Dante Isella ha proposto una classificazione per cronologia e tipologia, numerosi sono i riferimenti alle unità fraseologiche. Tali strutture diventano essenziali a partire dalla Seconda minuta, perché capaci di veicolare nella scrittura un maggiore senso di oralità e di medietà. Scopo del contributo sarà, dunque, quello di portare alla luce la ricerca manzoniana svolta a livello fraseologico attraverso le tracce lasciate sulle pagine della Crusca veronese, in cui è possibile ricostruire l’innovativo canone letterario utilizzato per dare forma alla lingua della seconda stesura del romanzo

This chapter begins with an overview of La Meri’s life and career and her contribution to the spread of knowledge about different cultures around the world, including world dance and culture. It then discusses her work in relation to modern concerns with theoretical issues—such as appropriation, cultural imposition, orientalism, and so forth—and relates it to concepts that have been investigated in gender and cultural studies. It is important to note that she performed non-Western and Western dances in both Western and non-Western locations. After La Meri settled in the United States, she performed her international repertoire to American audiences, most of whom would have known little or nothing about the foreign cultures where the dances originated. But it’s equally important to understand that both the briefness of La Meri’s actual training in the various dance forms and her minimal or non-existent knowledge of any of the local verbal languages would have limited her understanding of the foreign cultures whose dances she studied, performed, and taught—and about which she wrote.

The paper aims at analysing the comic rewriting of Dante’s Commedia by Burattini and Sommacal through the character of Cattivik, a clumsy thief and a ‘proud’ parasite of society. His journey across the realms of the afterlife takes three steps – Un’avventura infernale (1992), Cattivik in Purgatorio (1993), and Cattivik in Paradiso (1994) – and in fact overturns Dante’s experience: while Dante undertakes a journey of purification, Cattivik falls randomly into a messy hellish underground, where sins are laughable, punishments minimal, the damned are free to roam and the devils are incompetent. Further on, he arrives in a ‘scatological’ Purgatory, to finally ascend to a spectacularized Paradise, where his hard rock music prevails over angelic choirs. The parody, apparently bold and irreverent, is nonetheless tightly linked to its hypotext, from which it draws its core values, such as the vis polemica against the negative aspects of contemporary society. Such modern-oriented approach aims at re-establishing a fertile dialogue between Dante’s discourse and the contemporary public.

Applied parasitology considers cyprinid fish as a source of infection of humans and domestic animals with zoonotic trematodes. A preliminary assessment of the species diversity of trematode metacercariae was carried out on one reservoir (Usman River) in the Lipetsk Region in 2021-2022. In 2023, the geography of collections was expanded; research was carried out on five rivers in the southern part of the Lipetsk Region. The materials were collected on rivers Voronezh, Matyra, Sosna, Snova, and Usman. We examined 197 cyprinid fish of 8 species: roach (57 specimens), bleak (22 specimens), rudd (42 specimens), silver bream (43 specimens), bream (3 specimens), dace (6 specimens), Prussian carp (17 specimens) and gudgeon (7 specimens). Eight trematode metacercariae species were recorded, the total prevalence for 8 cyprinid species was 87.3%. The highest prevalence rates were observed for metacercariae Pseudamphistomum truncatum, Paracoenogonimus ovatus and Posthodiplostomum cuticula; half as high for Opisthorchis felineus, Metorchis bilis and Metorchis xanthosomus; and minimal for Rhipidocotyle campanula and Apophallus muehlingi. Distribution irregularities were detected for trematode metacercariae in individual reservoirs. The most common was P. ovatus recorded in all cyprinid species.