Готові списки джерел за темами / Dancing bodies

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Добірка наукової літератури з теми "Dancing bodies"

Автор: Grafiati
Опубліковано: 13 квітня 2024

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Статті в журналах з теми "Dancing bodies"

1

Gvion, Liora. "Dancing bodies, decaying bodies." YOUNG 16, no. 1 (February 2008): 67–87. http://dx.doi.org/10.1177/110330880701600105.

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2

Bader, Sandra. "DANCING BODIES ON STAGE." Indonesia and the Malay World 39, no. 115 (November 2011): 333–55. http://dx.doi.org/10.1080/13639811.2011.614085.

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3

Bellerose, Christine. "Ancestral bodies dancing snow." Choreographic Practices 9, no. 1 (April 1, 2018): 81–96. http://dx.doi.org/10.1386/chor.9.1.81_1.

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4

Foster, S. L. "DANCING BODIES: An Addendum, 2009." Theater 40, no. 1 (January 1, 2010): 25–29. http://dx.doi.org/10.1215/01610775-2009-016.

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5

Kharchuk, M. S., and E. N. Gromozova. "The Effect of Phosphorus Metabolism on the Motion of Saccharomyces cerevisiae Volutin Granules." Mikrobiolohichnyi Zhurnal 83, no. 3 (June 17, 2021): 46–55. http://dx.doi.org/10.15407/microbiolj83.03.046.

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It is known that moving volutin granules (“dancing bodies”), mechanism of which occurrence remains poorly understood, can be observed in yeast vacuoles. This study was performed to reveal the presence of a connection between moving volutin granules of Saccharomyces cerevisiae and polyphosphate metabolism in conditions of phosphoric starvation and hypercompensation. Methods. Cytological, biochemical, statistical methods were used in the study. Results. It was observed that the inactivation of the PPN1 gene, which encodes exopolyphosphatase Ppn1, resulted in a change in the number of cells with moving volutin granules (“dancing bodies” index) in the studied conditions. The index of “dancing bodies” was almost always lower in mutant CRN strain than in parent CRY strain. Using linear correlation analysis and factor analysis with the method of principal component, it was established that the “dancing bodies” index in both strains had significant correlation coefficients with exopolyphosphatase activity (EPPA) and the content of polyphosphate fractions (polyP). The difference was that this index in parent strain correlated better with the first three fractions of inorganic polyphosphates, while in mutant strain – with polyP4 and EPPA. Conclusions. Obtained data indicated the direct connection of motion of volutin granules with phosphoric metabolism in the studied conditions. It is assumed that the phenomenon of “dancing bodies” may be a consequence of the activity of vacuolar polyphosphatases.
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6

Bruner Reyes, Patrick. "Relational Bodies: Dancing With Latina, Chicana and Latin American Bodies." Feminist Theology 22, no. 3 (April 29, 2014): 253–68. http://dx.doi.org/10.1177/0966735014527198.

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7

Samuel, Gerard M. "(Dis)graceful dancing bodies in South Africa." Choreographic Practices 6, no. 1 (April 1, 2015): 107–24. http://dx.doi.org/10.1386/chor.6.1.107_1.

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8

McCormack, Derek P. "Geographies for Moving Bodies: Thinking, Dancing, Spaces." Geography Compass 2, no. 6 (October 14, 2008): 1822–36. http://dx.doi.org/10.1111/j.1749-8198.2008.00159.x.

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9

Borovica, Tamara. "Dancing the Strata: Investigating Affective Flows of Moving/Dancing Bodies in the Exploration of Bodily (Un)Becoming." Qualitative Inquiry 25, no. 1 (December 11, 2017): 26–36. http://dx.doi.org/10.1177/1077800417745919.

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Анотація:
This article draws on recent sociological work that explores the intangible, sensory, and affective dimensions of social life. In particular, I look at elusive, sensory, and affective elements of young women’s bodily becoming, through feminist lens. My intention behind this is to problematize narrow understandings of (women’s) embodiment in social sciences. I explore the stratification of bodies (through sex, gender, class, and race) and the way in which stratification works on bodies, what it produces, and how it limits and/or enforces bodily potentials. To this end, I follow affective flows between young women’s dancing bodies as they participate in a performance ethnography I have conducted to explore embodiment. To work with partial, dynamic, multisensory data, and to explore the potentiality of what bodies sense, feel, and do, I use a poetic analysis of the participants’ dance encounters.
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Laferrière, Carolyn M. "Dancing with Greek Vases." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 85–114. http://dx.doi.org/10.1163/22129758-12341378.

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Анотація:
Abstract As gods dance, women twirl in choruses, and men leap in kōmos revels on Athenian red-figure vases, their animate bodies must be made to conform to the rounded shape of the vessels. Occasionally, these vases are even included in the images themselves, particularly within the kōmos revel, where the participants incorporate vessels into their dance as props, markers of space, and tools to engage new dance partners. Positioning these scenes within their potential sympotic context, I analyze the vases held by the dancers according to the ancient viewer’s own possible use of these physical vessels. The symposiasts’ own dextrous interaction with the objects echoes the dancers’ behaviors, so that human and ceramic bodies come together in shared movement. The handling of vases thus suggests a tactile, embodied experience shared between dancers and viewers; by evoking viewers’ familiarity with handling similar vessels, the vase-paintings invite viewers to join in the dance.
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Дисертації з теми "Dancing bodies"

1

Thoms, Victoria. "Ghostly present : bodies, dancing, histories." Thesis, Lancaster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420160.

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2

Oriol, Rachel Anne. "Bodies of Knowledge: Representations of Dancing Bodies in Latina Literature." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1595121438676286.

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3

Schulze, Janine. "Dancing bodies dancing Gender : Tanz im 20. Jahrhundert aus der Perspzktive der Gender-Theorie /." Dortmund : Edition Ebersbach, 1999. http://catalogue.bnf.fr/ark:/12148/cb37100296x.

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4

Francksen-Kelly, Kerry. "Intimate bodies and technologies : a concept for live-digital dancing." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/14144.

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Анотація:
This thesis considers the relationship between dance and digital media, and considers a specific type of case regarding this relationship: live and mediated. My motivation has been to identify and investigate, through practice, some of the difficulties presented when live and mediated bodies are placed within the same performance environment. In order to challenge some of the difficulties of what I consider as the problematic medium of digital dance, this thesis offers an examination of the ways in which digital media can positively transform the processes of making movement, and explores how the assimilation of media, as an integral agent within movement generation, can counter the dominance of the digital. Such dominance has been considered using a Practice As Research (PaR) model, and thus the thesis exemplifies both the creation of, and a deep reflection on, three works: Shift (2010-11), Betwixt & Between (2012-13) and Modulation_one (2013-14). Through the development of these works, I have sought to formally analyze and illuminate how media technologies, and in particular projection, can enrich the processes for making movement. This has been done in the context of a proliferation of digital technologies being available within a studio setting. In particular, the works have been established from the perspective of the dancer, which represents a specific case study for challenging the dominance of the digital. What follows in the written thesis is an analysis of what is a continuing and emerging practice. The written thesis therefore serves as both a document of the process and presents an illustration of a methodological approach for generating synergistic relationships with movement and projection. This relationship is proposed as a concept for live-digital dancing, which represents the main contribution to knowledge. The term live-digital advances the idea that a dancer is neither bound or restricted by either a live or digital construct, rather she is inspired to move and respond, in the moment of performance, to an unfolding assemblage of live and digital materials. Significantly, this has been established through the experiential encounters of the dancer moving with simultaneous projections of self. Live-digital therefore offers a methodological approach for constructing digital dance performance environments, which place perception and experience at the fore.
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5

Pavicic, Christine. "Hip hop dancing bodies : eine interkulturelle Studie der Hip-Hop-Kultur /." Hamburg : Kovač, 2007. http://www.verlagdrkovac.de/978-3-8300-2754-6.htm.

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6

Pavicic, Christine. "Hip hop dancing bodies eine interkulturelle Studie der Hip-Hop-Kultur." Hamburg Kovač, 2006. http://www.verlagdrkovac.de/978-3-8300-2754-6.htm.

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7

von, Rosen Sally. "People dancing without bodies: A qualitative study of virtual raving in a pandemic." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22843.

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Анотація:
This thesis revolves around social dance movements in the form of raving and clubbing in Berlin, and how this performative scene is affected by social distancing measures due to the current situation of Covid-19. As an important moment in history, online body performances and virtual spaces aim to complement and substitute social experiences in physical environments. The field of study relating digital technology to club cultures is timely, as virtual raving is changing social bodies’ interactions. Life has gone online for the sake of upholding socialization, as people find themselves in isolation – in a hybrid experience of the digital and material. To assess these changes in social life, this thesis uses an auto ethnographical case study on virtual raving and interviews with rave participants, and deploys Affordance Theory. The affordances accounted for are those of ‘settings’, ‘socialization’, ‘entertainment’, and ‘mobility’. The analysis demonstrates the possibilities and problems of transferring the meditative and social bodily experiences associated with raving, to virtual environments. The resulting discussion addresses issues of global accessibility, virtual raves, and what these mean for a techno raving sub culture, and the people who participate in it.
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8

Lister, B. M. "Precarious labour and disposable bodies : the effects of cultural and economic change upon sexualised labour in lap-dancing venues in Scotland." Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/9540.

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Анотація:
Despite concerns regarding working conditions in Scottish lap-dancing venues being raised in the 2006 report published by the then Scottish Executive’s Adult Entertainment Working Group, women’s experiences of working inside these venues remains under-researched. This thesis provides an up-to-date snapshot of working conditions in the Scottish lap-dancing industry. The study utilised in-depth, semi-structured interviews with dancers which benefitted from the researcher’s involvement in the industry. The inclusion of women’s voices led to the conclusion that wider cultural and economic changes are impacting negatively upon working experiences in venues by adversely altering the dynamics of supply and demand. This means power is felt to be partially shifting from workers to owners, and to a lesser extent, customers. Participants suggest that venues have changed from being enjoyable working environments where money could be made relatively easily to ones where the work embodies the characteristics of precarious labour where competition is rife and projected income is far less certain. A feminist and Foucoudian analysis assists in understanding and explaining these changes. The thesis suggests that simply improving working conditions for women may prove ineffective in the facilitation of a more satisfactory workplace, due to the overriding desire for profit held by both dancers and owners in an industry which has become less financially lucrative. Ultimately, the thesis reveals and explains how shifts outside the lap-dancing venues have affected dancers negatively in different ways, affecting relationships inside the venue, and the actual experience of carrying out the labour. This thesis argues that these shifts have been assisted by the provision of State policy that fails to recognise lap-dancing as a form of labour and is not concerned with dancers safety at work.
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9

Parviainen, Jaana. "Bodies moving and moved : a phenomenological analysis of the dancing subject and the cognitive and ethical values of dance art /." Tampere : Tampere university press, 1998. http://catalogue.bnf.fr/ark:/12148/cb377551707.

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10

Guzmán, Daniela. "Les corps dansants de cueca : Gestuelles discursives pendant la post dictature au Chili (1990-2016)." Electronic Thesis or Diss., Université Côte d'Azur, 2023. http://www.theses.fr/2023COAZ2012.

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Анотація:
La cueca est un genre musical, poétique et chorégraphique dit traditionnel pratiqué dans certains pays d'Amérique du Sud tels que le Pérou, la Bolivie, l'Argentine et le Chili, qui revêt des caractéristiques spécifiques dans chacun d'eux. D'un point de vue chorégraphique, il s'agit d'une danse de couple qui représente le jeu de la séduction amoureuse par des mouvements en cercles et demi-cercles et où ses interprètes tiennent dans leur main droite un foulard qu'ils font tournoyer au-dessus de leur tête. Notamment au Chili, au cours des XIXe et XXe siècles, la pratique de la cueca a été influencée par des contextes sociopolitiques particuliers qui ont déclenché des processus successifs d'appropriation par différents acteurs sociaux. À la fin du XXe siècle - début du XXIe, un nouveau phénomène d'appropriation de la cueca émerge à la suite d'une conjoncture sociale et politique particulière, en l'occurrence un changement culturel après une longue période de dictature militaire (1973-1989). Cette recherche vise à analyser la gestuelle des corps dansants de cueca chilienne en tant que langage discursif qui permet de comprendre la construction d'identités plurielles pendant la période post-dictature. L'ancrage théorique de cette analyse considère trois axes : la gestuelle des corps dansants, leur dimension discursive dans la représentation des identités et la circulation et l'appropriation des styles. En ce qui concerne l'approche méthodologique, des références historiques ont été confrontées et mises en dialogue avec des enquêtes de terrain et ma propre expérience, en tant que danseuse et actrice sociale de la période étudiée. L'analyse comparative des différents types de discours, c'est-à-dire textuel, oral et corporel nous permet d'aborder l'analyse du corps dansant de cueca dans une perspective complémentaire, en cherchant à répondre à la nature socio-esthétique du problème central posé dans cette recherche
The cueca is a "traditional" musical, poetic and choreographic genre practiced in some South American countries such as Peru, Bolivia, Argentina and Chile, which has specific features in each of them. From a choreographic point of view, it is a couple's dance that represents the game of love seduction with movements in circles and semicircles, in which its interpreters hold in their right hand a scarf that they spin above their head.Particularly in Chile, during the 19th and 20th centuries, the practice of the cueca was influenced by socio-political contexts that triggered successive processes of appropriation by different social actors. At the end of the 20th century - beginning of the 21st, a new phenomenon of appropriation of the cueca emerges because of a social and political conjuncture, in this case a cultural change after a long period of military dictatorship (1973-1989). This research aims to analyze the gestures of Chilean cueca dancing bodies as a discursive language that allows us to understand the construction of plural identities during the post-dictatorship period. The theoretical anchorage for the development of the analysis considers three axes: the gesture of the dancing bodies, their discursive dimension in the representation of identities and the circulation and appropriation of styles. As far as the methodological approach is concerned, historical references have been confronted and put in dialogue with fieldwork and my own experience as a dancer and social actor of the studied period. The comparative analysis of the different types of discourse, i.e. textual, oral and corporal, allows us to approach the analysis of the dancing body of cueca in an integral and complementary perspective, seeking to respond to the socio-aesthetic nature of the central problem posed in this research
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Книги з теми "Dancing bodies"

1

Dancing women: Female bodies on stage. London: Routledge, 1998.

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2

Society dancing: Fashionable bodies in England, 1870-1920. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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3

Reading dancing: Bodies and subjects in contemporary American dance. Berkeley: University of California Press, 1986.

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4

Foster, Susan Leigh. Reading dancing: Bodies and subjects in contemporary American dance. Berkeley: University of California Press, 1986.

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5

Lisa, Doolittle, and Flynn Anne, eds. Dancing bodies, living histories: New writings about dance and culture. Banff: Banff Centre Press, 2000.

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6

1954-, Doolittle Lisa, and Flynn Anne 1955-, eds. Dancing bodies, living histories: New writing about dance and culture. Banff, Alta: Banff Centre Press, 2000.

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7

Surviving Bhopal: Dancing bodies, written texts, and oral testimonials of women in the wake of an industrial disaster. New York: Palgrave Macmillan, 2010.

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8

Mukherjee, Suroopa. Surviving Bhopal: Dancing bodies, written texts, and oral testimonials of women in the wake of an industrial disaster. New York: Palgrave Macmillan, 2010.

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9

Quebec), Estivale (2000 Montréal. Estivale 2000: Canadian dancing bodies then and now = Estivale 2000 : les corps dansants d'hier à aujourd'hui au Canada. Toronto: Dance Collection Danse Press/es, 2002.

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10

Parviainen, Jaana. Bodies moving and moved: A phenomenological analysis of the dancing subject and the cognitive and ethical values of dance art. Tampere: Tampere University Press, 1998.

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Частини книг з теми "Dancing bodies"

1

Duffy, Ali. "Bodies." In Dancing Motherhood, 62–84. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003107118-3.

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2

Goody, Alex. "Dancing Bodies." In Modernist Poetry, Gender and Leisure Technologies, 147–91. New York: Palgrave Macmillan US, 2019. http://dx.doi.org/10.1057/978-1-349-95961-7_4.

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3

Patten, ‘H’. "Dancehall dancing bodies." In Dancehall In/Securities, 78–100. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003205500-7.

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4

Satin, Leslie. "Bodies in Space, Bodies as Space." In Dancing with Georges Perec, 93–119. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003143741-5.

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5

Akinleye, Adesola. "Dancing Un-Visible Bodies." In Dancing Across the Lifespan, 113–28. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-82866-0_8.

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6

Barjacoba-Souto, Goretti. "Dancing with Stephen." In Creative Bodies in Therapy, Performance and Community, 171–79. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003222484-16.

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Amans, Diane. "Duty of Care: Keeping Older Bodies Safe." In Age and Dancing, 132–45. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29651-1_13.

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Ballal, Archana. "Dancing in the kitchen." In Creative Bodies in Therapy, Performance and Community, 131–42. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003222484-12.

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Militz, Elisabeth. "On Affect, Dancing and National Bodies." In Everyday Nationhood, 177–95. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57098-7_9.

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10

Nance, C. Kemal. "Black Bodies Dancing Defiance: Deez Nuts!" In Masculinity, Intersectionality and Identity, 245–61. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-90000-7_12.

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Тези доповідей конференцій з теми "Dancing bodies"

1

Dube, Chioniso. "Comparison of dancing humanoid upper bodies." In 2013 6th Robotics and Mechatronics Conference (RobMech). IEEE, 2013. http://dx.doi.org/10.1109/robomech.2013.6685492.

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2

GROMALA, DIANE, and YACOV SHARIR. "Dancing with the Virtual Dervish: Virtual Bodies." In Proceedings of the VRST '94 Conference. WORLD SCIENTIFIC, 1994. http://dx.doi.org/10.1142/9789814350938_0028.

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3

Spagnolie, Saverio, Samuel Christianson, and Carsen Grote. "Video: Dancing raisins: levitation and dynamics of bodies in supersaturated fluids." In 76th Annual Meeting of the APS Division of Fluid Dynamics. American Physical Society, 2023. http://dx.doi.org/10.1103/aps.dfd.2023.gfm.v0047.

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4

Ivy Huang, Lewen. "Investigating AI Model Limitations in Recognizing Faces and Bodies in Ballroom Dance Settings." In Human Interaction and Emerging Technologies (IHIET-AI 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004599.

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Анотація:
The advancement in the face and body detection algorithms has sparked an interest in using them to assist physical education and sports training, where AI can analyze students' body postures and movements to offer corrective guidance and prevent injuries. However, ballroom dance settings are uniquely different from traditional settings often used for face and body detection. On the one hand, most traditional face and body detection algorithms detect individuals instead of a collaborative dyad. Moreover, specific dancing postures may pose additional challenges for AI algorithms to detect. In order to unlock the power of AI in enhancing real-time feedback for dancers on their movements, postures, and expressions, there needs to be a thorough understanding of the capabilities of AI in analyzing complex dance sequences and identifying subtle nuances in body language. In this work, we examined four widely adopted body and face detection models on their effectiveness in detecting ballroom dancers. We found that these models shared key limitations. First, they are more likely to detect the man than the woman in the dyad, especially when the woman is curved backwards. Second, they often detect the couple as one person, mixing different body sections. Third, errors are frequent when the dancers do not face the camera or when they are wearing specialized costumes. This project offers suggestions to diversify the training datasets of such algorithms to make them suitable for new settings including ballroom dance.
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