This paper will explore becoming-with risk in autoethnographic creative practice through a South Asian and posthuman lens. This research is a component of my doctoral research which seeks to engage with ritualistic methodologies as a tool for South Asian choreographic practice.
This article discusses the interaction between the dominant ideology of a society about gender and its musical and dancing practices. More precisely, the article relies on material compiled in the process of pursuing my doctoral dissertation. The research focused on the area of my hometown, Karditsa, a small town in central Greece, and a number of neighbouring villages. It is worth noting, however, that the interchange of expressive and cultural codes between the rural and urban culture of Greece, between the country and the city, between the traditional and more modern or professionally skilled performances has been continuous and indisputable. The analysis concerns certain female activities related to music and dance in the context of traditional community life but also the professional presence of women in the local music scene. Thus, although the transition from the analytic category women to this of gender has theoretically been accomplished long ago, Greek folklore and ethnomusicology have silenced female voices and have been indifferent to or deliberately ignored the manner in which women confirm and reproduce or question and subvert social gender stereotypes through their song and dance. Consequently, this text begins with women, not of course as a general, abstract and undifferentiated category, to approach the performance of gender and music.
Hip-hop was born in the open air and it aimed to offer an alternative to street violence. Dancing, painting graffiti, producing sound, rapping, are located activities that involve the body, gestures, fictions. In the late 80’s, the musics played, the stories rapped and the postures adopted seemed to display great consistency. The thyrse figure, in contrast to the grid, a rigid urban form, fueled a labile imaginary which could be found in the different modes of rap music. It may thus be argued that the rapper became an archi-citadin, a specialist in urban forms, a citizen able to criticize an uncaring city.
Dyas Kirana Khomariah, Setyo Yanuartuti, I Nengah Mariasa
Pengembanan bahan ajar Tari Tudhung Sesandur dibuat berdasarkan rumusan masalah; (1) bagaimana proses pengembangan bahan ajar, (2) bagaimana kualitas bahan ajar, dan (3) bagaimana keefektifan bahan ajar Tari Tudhung Sesandur. Rumusan tersebut bertujuan untuk mendeskripsikan proses pengembangan, kualitas produk, dan keefektifan bahan ajar Tari Tudhung Sesandur untuk pembelajaran seni budaya siswa SMA. Landasan metode pengembangan yang digunakan adalah model Four-D tahapan Define, Design, Development, Disseminate. Hasil penelitian menunjukkan bahwa proses pengembangan bahan ajar Tari Tudhung Sesandur dimulai dengan tahap pendifinisian (Define) untuk menghasilkan rancangan (Design) materi tari yang dikontruksi dari kesenian Sandur menggunakan metode koreografi Alma Hawkins dan dikemas melalui video pembelajaran. Rancangan dikembangkan (Developmen) melalui tahap uji validitas, uji coba dan hasil belajar untuk menentukan kualitasdan keefektifan produk bahan ajar Tari Tudhung Sesandur. Hasilnya menunjukkan bahwa kualitas bahan ajar Tari Tudhung Sesandur dari segi materi tari maupun video pembelajarannya rata-rata memperoleh persentase diatas 85%, dengan predikat sangat layak. Kelayakan produk bahan ajar dipraktikkan melalui hasil pembelajaran siswa berdasarkan aspek menampilkan ragam gerak sesuai hitungan dan iringan, dengan nilai persentase 85.87% sangat efektif. Hasil tersebut menunjukkan kesiapan bahan ajar untuk didistribusikan (disseminate) melalui kanal Youtube. Kesimpulannya adalah produk bahan ajar Tari Tudhung Sesandur dikembangkan berdasarkan kontruksi kesenian Sandur memenuhi kelayakan dan keefektifan untuk pembelajaran seni budaya siswa SMA.
Sylviane Guilherme, Silvia Aparecida de Sousa Fernandes
The text presents a critical analysis of the roots of dance from the perspective of historical and dialectical materialism, the formulations of Marx and Engels, and of the Marxist aesthetes who followed them, proposing a study of the concept, reason and purpose of dance for the human race. It approaches themes such as work as the founding category of the human being. It then discusses human body movement as free creation work, intentional body movements of work and the process of their transition into dance movements. Finally, based on studies on human manifestations developed on the aesthetic level, it shows how the human being arrived at dance as art.
This paper explores the nature of the initiatory experience in ancient mystery cults by focusing on the physiological sensations experienced during the initiation rites, and their possible influence on the mental and emotional states of the initiates.
Existing research often tends to focus on the centrality of the secret doctrinal knowledge transmitted in the initiatory process. However, ancient sources, from the Classical to Imperial Roman period, imply that the essence of this process was embodied in the eye-opening experiences of the initiates, which involved many sensorial elements. For instance, Aristotle claims that those who are initiated into the mysteries do not learn anything, but rather have an experience and are put in a certain state of mind (Fr.15); Lucian emphasizes the importance of dancing in the mysteries in stating that despite their secret nature, initiation rites are commonly described in public as “dancing the mysteria” (salt.15); Aristides Quintilianus asserts that the goal of the initiatory process is to be purified from depression and anxiety through the melodies and dances of the rites (3.25). Other sources mark the importance of different elements such as darkness and light, certain smells and scents, fasts, feasts, and visual and physical interactions with material objects.
The objective of my paper is twofold: 1) To offer a brief observation of the varied functions of the senses in the initiatory experience, and 2) To begin integration of the ancient evidence with methods and results provided by studies from other disciplines – especially neuroscience and cognitive science. As I wish to demonstrate, this interdisciplinary approach may illuminate significant aspects of the initiatory experience and explain some of the ways in which sensorial elements experienced by the initiates might have influenced their mind and mental states, beliefs and memory.
This is the second review of the preprinted article "Dancing for the Saints in the Time of COVID-19: Responses to the Lockdown in the Texcoco and Teotihuacan Regions in Central Mexico." The review will be taken offline once the final article has appeared. The reviewed article can be found under the following link: (PREPRINT) Dancing for the Saints in the Time of COVID-19: Responses to the Lockdown in the Texcoco and Teotihuacan Regions in Central Mexico | Entangled Religions (rub.de)
O corpo, matéria-prima sobre a qual a arte da dança se modela, sempre fora alienado de parte considerável da história da filosofia ocidental, principalmente da tradição platônica de representação. A história da dança no ocidente acompanhou de perto tal movimento, por vezes utilizando o corpo como ferramenta, e não como fim. A produção filosófica de Deleuze se dedicou quase que inteiramente em um ataque à representação, e, como aqui analisaremos, também é perceptível esse movimento na produção artística de Merce Cunningham.
In this article the main topic is related to the movement interpretation of music which is founded on the artistic version of the Dalcroze method. The essence of movement interpretation is a synthesis of music and movement designed in space. This perfect form of music materializing in the movement of the human body is a clear and interesting offer of becoming acquainted with music and refers to the contemporary indicators of contemplation of art. The discussed issues will be presented in the historical context, particularly emphasizing the formation and the development of Eurhythmics during Dalcroze's stay in Hellerau and the spread of it throughout the world, as well as the consecutive approach to movement interpretation with the emphasis on Polish approach to movement interpretation and its application in music education system. In addition, also in the context of personal experiences of the author, connected with creating of movement interpretations presented by children and adolescences on the stage. The author analyzes the process of creating movement interpretations of music, shows its subsequent stages, leading to the final - visualization of music on the stage in movement and space. Therefore, the author emphasizes the role of movement interpretation in popularizing music, indicating that the movement interpretations of music offer a perfect way of perception of a music work, which leads both the performers and the recipients to the world of music.
Мета дослідження – проаналізувати ключові аспекти творчої діяльності відомих хореографів українського походження Вацлава та Броніслави Ніжинських і розкрити їхню роль у розвитку світового та вітчизняного балетного мистецтва. Методологія. У дослідженні застосовано історико-хронологічний та біографічний методи для з’ясування фактів творчої біографії митців; системний метод дав змогу комплексно й об’єктивно дослідити основні тенденції творчості хореографів у контексті тодішнього розвитку балетного мистецтва. Наукова новизна дослідження полягає в цілісній систематизації основних біографічних відомостей та особливостей творчого шляху Вацлава й Броніслави Ніжинських, а також у висвітленні взаємозв’язку їхньої творчості зі світовим та вітчизняним балетним мистецтвом. Висновки. Творча діяльність родинного тандему Вацлава й Броніслави Ніжинських належить до визначних явищ у хореографічному мистецтві України початку ХХ ст.; вона суттєво вплинула на європейські та загальносвітові тенденції розвитку балетного мистецтва. Б. Ніжинська, творчий пошук якої здійснювався в середовищі новітніх авангардних ідей культури й мистецтва, є автором педагогічних методів та принципів нової балетної школи руху, що склали важливе підґрунтя для формування професійної діяльності в тогочасному хореографічному мистецтві. Винятковий артистизм, пластичність і майстерність відзначають професійну діяльність В. Ніжинського. У творчому доробку брата й сестри чи- мала кількість балетних постановок, які сприяли формуванню новаторського погляду на балетне мистецтво, роль у виставі танцівника й багатогранне розкриття образу.
Main objective of the study is to comprehension of possible potential opportunities for presenting social dance in Ukrainian choreography; the identification of the main vectors of the historical conditions of its development as independent forms of choreographic art; to identify and define the key characteristics of social dance; form a definition of the term social dance. Methodology. The general scientific method of objectivity, historicism, comparison and system. The method of objectivity and historicism made it possible to trace the prerequisites, the main stages in the formation and development of social dance. The method of comparison was used in the analysis of sports-ballroom and social dance, makes it possible to identify the common and distinctive features. The system approach allowed a comprehensive approach to the problem. Important elements are the interconnection of its parts – the structural elements of everyday, ballroom, folklore dance. The method of observation is used for the analysis of social dance, has revealed its international character and at the same time the foundations of national and style parameters. Scientific novelty: the scientific researches on social dance in art history research of 20–21 centuries are generalized; specifies the specificity of social dance in the newest artistic and creative forms; the categorical apparatus of descriptions of social dance is specified. Conclusions. Social dance to originate from a ballroom and folk dance formed their respective forms, which nearly a hundred years of history have developed a simple and affordable, the canons of performance, manners, the position of performers in pairs and basic dance steps simplification, clarity of rhythm and dynamics of their implementation. According to the fact that they are performed both at balls, and at parties of rest, and at home. From the foregoing, we can formulate the following definition: social dance – dancing or dance styles of the different nations of the world, which are predominantly for leisure, communication between partners, their main goal is to achieve positive emotions rather than choreographic virtuosity. They are of Latin American and folklore origin. Social dance – a new perception of dance culture of the present, the main of which is easy and effortless execution of any type of dance, whose goal is the satisfaction of aesthetic, social and communication needs of the person, and not for professional performance or sporting achievements.
Self-regulation and self-regulated learning (SRL) are important features in music education. In this research self-regulated learning model is presented as a complex, multidimensional structure. SRL starts with the self-regulation. Self-regulation is formed through interaction with the environment, thus self-learning, self-analysis, self-judgment, self-instruction, and self-monitoring are the main functions in self-regulatory structure. Co-regulation is needed, and helps self-regulation to be activated and monitored. In music education, co-regulation refers to the instructions that teacher introduces in the lessons. These instructions have to enhance learning and develop regulation over emotions, cognitive, auditor, and motor skills in students. Learning techniques and learning strategies are core components in music education. Adapting those, students become aware of their learning processes, actions, thoughts, feelings and behaviors that are involved in learning. It is suggested that every teaching methodology has to develop learning techniques, as well as metamemory and metacognition in students, in order to gain expertise. The author has emphasized her attention to every aspect that is believed to belong to SRL. There are not many articles on the SRL in music education, written by musicians, in compare with those written by psychologists and neurologists,. Therefore, the author has suggested that this paper would encourage music teachers and performers to take an advantage in the research of SRL. These researches would help music educational systems and teachers to develop and promote learning techniques and strategies. The results would show improvement in student’s learning and self-regulation.
In Indonesia, dancing education get less attention or called has lower quality than others. This is the reason why dancing education included into local curricula and considered as a subject matter which is not useful to evaluate the progress of learners.
The aim of dancing education is not to study gesture only, but also mental attitude, discipline, self-confidence, the attitude to accept, appraise and cooperate with other person. Through dancing education, learners do not receive art knowledge based on social and cultural value only; however, they have opportunities to do creative activities by trainings. Creative activities are manifestation of their communication skill with other people and their environment and self-actualization in their live.Â
About those manners, teacher as the mainstay expected bring her/his role as mediator to improve societies art appreciation. It means that role of art teacher, especially dancing, not only arranges Learning Application Plan (Rencana Pelaksanaan Pembelajaran) but also gives information by printed or electronic medium, produces work of art and presents some performances within her/his society.Â
The key and effort to improve aesthetical ability of children is how the government appreciates work of art and brings it into its policies proportionally.
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Keywords: dance, curricula, role of teacher, and approach. Â
Shai Porat, Naira Goukasian, Kristy S. Hwang
et al.
Introduction: We investigated the effect dance experience may have on cortical gray matter thickness and cognitive performance in elderly participants with and without mild cognitive impairment (MCI). Methods: 39 cognitively normal and 48 MCI elderly participants completed a questionnaire regarding their lifetime experience with music, dance, and song. Participants identified themselves as either dancers or nondancers. All participants received structural 1.5-tesla MRI scans and detailed clinical and neuropsychological evaluations. An advanced 3D cortical mapping technique was then applied to calculate cortical thickness. Results: Despite having a trend-level significantly thinner cortex, dancers performed better in cognitive tasks involving learning and memory, such as the California Verbal Learning Test-II (CVLT-II) short delay free recall (p = 0.004), the CVLT-II long delay free recall (p = 0.003), and the CVLT-II learning over trials 1-5 (p = 0.001). Discussion: Together, these results suggest that dance may result in an enhancement of cognitive reserve in aging, which may help avert or delay MCI.
Neurology. Diseases of the nervous system, Geriatrics
The current flamenco seems to be crossed by a distinction between on the one hand the supporters of tradition and on the other hand those of creativity. This distinction is often understood as an antinomy, of which it can be shown to be articulated around the pivot which constitutes the idea of purity, which would be sought by the former and banished by the latter. But from the moment when it can be shown, that purity is in fact an object of desire common to the two branches of the alternative, it becomes necessary to question their supposed antinomy. This is what this article proposes to do, first by drawing up an inventory of the forms that the dialectic tradition/creativity can take in flamenco; then, by examining the axiological ambiguity proper to the idea of purity; finally, by showing how certain examples of creative flamenco dance invite a redefinition of historical concepts of flamenco, including that of purity.
Background: Individuals living with Parkinson’s disease (PD) can experience a range of movement disorders. Therapeutic dance is enjoyable and thought to improve mobility, balance and well being in some people with PD. The primary objective of this study was to evaluate the feasibility and safety of a 4 week Argentine tango dance program for people with PD. Methods: Six community dwelling individuals with mild-moderate PD were recruited from Parkinson’s support groups, movement disorder clinics and the Parkinson’s disease Association in Australia. To minimise falls risk, participants were required to be less than 75 years of age and physically independent (Hoehn and Yahr stages I-III). They were also required to speak English. Participants attended a 1 hour dance class at a dance studio twice per week for 4 weeks. A professional dance instructor led and choreographed the classes. Physiotherapists were present to assist participants during the class and served as dance partners as necessary. The primary outcome was feasibility which was determined by measures of recruitment, adherence, attrition, safety (falls, near misses and adverse events) and resource requirements. Secondary measures included the Beck Depression Inventory and the Euroqol-5D, administered at baseline and post intervention. Therapy outcomes pre and post-intervention were analysed descriptively as medians and inter-quartile ranges and using Wilcoxon matched pair signed-rank tests.Results: The Argentine tango dance intervention was shown to be safe, with no adverse events. Adherence to the dance program was 89%. Depression scores improved after intervention (p=0.04). Some challenges were associated with the need to quickly recruitment participants and supplying physiotherapists to act as dance partners. Conclusion: The program was shown to be feasible and safe for people with mild to moderately severe PD.
Mantivemos nesse segundo número o recorte temático que norteou aquele anterior, ou seja PENSAR/FAZER - FAZER o PENSAR - PENSAR o FAZER - Método - Processo - Criação.
The research had been carried out with the aim to investigate relations of longitudinal dimensionality of the body and success in performing dancing structures with preschool children. The specimen consisted of 180 preschool children aged 6 (100 boys and 80 girls). For assessing longitudinal dimensionality of the body the following parameters were applied: body height, body height in sitting position, leg length, arm length, lower leg length and foot length. For assessing the success in performing dancing structures the following metric instruments were applied: Waltz steps, Polka steps, Moravac steps. The criterion was the mark for evaluating the success in performing the given dancing structures. The 'judges' evaluated the performance for each child with marks from 1 to 5. In order to establish the relation between the variables of dimensionality of the body and success in performing dancing structures, the canonical correlation analysis was applied. Based on the results of the degree of significance, it was established that there is not a statistically significant connection between the two sets of variables with the girls. Based on canonical correlation with the boys, the general connection of longitudinal dimensionality of the body and performing dancing structures was established.