Hasil untuk "Dancing"

Molefi Kete Asante

Sebastian Kirschner, M. Tomasello

M. Coughlin, R. Mann, C. Saltzman

M. Beekman, F. Ratnieks

Marisa Joana Berg

Virtual platforms such as Instagram have significantly transformed the way dance is perceived, transmitted, and discursively shaped by introducing new forms of interaction and participation. These changes call for a deeper discussion on how knowledge about dance is produced within and through ‘virtual’ communities. This paper examines how shared learning experiences and interactions contribute to the formation of collective knowledge about dance. It further investigates how dancer identities are constructed on social media by both professional dancers and their followers, particularly in relation to social and bodily norms. By focusing on Instagram posts by ballet-dancing mothers using hashtags such as #momdancer or #ballerinamom, this article illustrates how comments and replies foster community building, offer encouragement, expand traditional notions of the ‘qualities’ of dance, and challenge prevailing body ideals linked to artistic dance on social media. Using an ethnographic approach, this research demonstrates how knowledge production occurs as collective practice and provides new insights into the formation of virtual ‘communities of practice’ and how these online spaces shape contemporary understandings of dance and its dissemination.

Shuhei Tsuchida, Satoru Fukayama, Masahiro Hamasaki et al.

K. Rehfeld, Angie Lüders, Anita Hökelmann et al.

Animal research indicates that a combination of physical activity and sensory enrichment has the largest and the only sustaining effect on adult neuroplasticity. Dancing has been suggested as a human homologue to this combined intervention as it poses demands on both physical and cognitive functions. For the present exploratory study, we designed an especially challenging dance program in which our elderly participants constantly had to learn novel and increasingly difficult choreographies. This six-month-long program was compared to conventional fitness training matched for intensity. An extensive pre/post-assessment was performed on the 38 participants (63–80 y), covering general cognition, attention, memory, postural and cardio-respiratory performance, neurotrophic factors and–most crucially–structural MRI using an exploratory analysis. For analysis of MRI data, a new method of voxel-based morphometry (VBM) designed specifically for pairwise longitudinal group comparisons was employed. Both interventions increased physical fitness to the same extent. Pronounced differences were seen in the effects on brain volumes: Dancing compared to conventional fitness activity led to larger volume increases in more brain areas, including the cingulate cortex, insula, corpus callosum and sensorimotor cortex. Only dancing was associated with an increase in plasma BDNF levels. Regarding cognition, both groups improved in attention and spatial memory, but no significant group differences emerged. The latter finding may indicate that cognitive benefits may develop later and after structural brain changes have taken place. The present results recommend our challenging dance program as an effective measure to counteract detrimental effects of aging on the brain.

Ruozi Huang, Huang Hu, Wei Wu et al.

Dancing to music is one of human's innate abilities since ancient times. In machine learning research, however, synthesizing dance movements from music is a challenging problem. Recently, researchers synthesize human motion sequences through autoregressive models like recurrent neural network (RNN). Such an approach often generates short sequences due to an accumulation of prediction errors that are fed back into the neural network. This problem becomes even more severe in the long motion sequence generation. Besides, the consistency between dance and music in terms of style, rhythm and beat is yet to be taken into account during modeling. In this paper, we formalize the music-conditioned dance generation as a sequence-to-sequence learning problem and devise a novel seq2seq architecture to efficiently process long sequences of music features and capture the fine-grained correspondence between music and dance. Furthermore, we propose a novel curriculum learning strategy to alleviate error accumulation of autoregressive models in long motion sequence generation, which gently changes the training process from a fully guided teacher-forcing scheme using the previous ground-truth movements, towards a less guided autoregressive scheme mostly using the generated movements instead. Extensive experiments show that our approach significantly outperforms the existing state-of-the-arts on automatic metrics and human evaluation. We also make a demo video to demonstrate the superior performance of our proposed approach at https://www.youtube.com/watch?v=lmE20MEheZ8.

Guofei Sun, Yongkang Wong, Zhiyong Cheng et al.

The creation of improvised dancing choreographies is an important research field of cross-modal analysis. A key point of this task is how to effectively create and correlate music and dance with a probabilistic one-to-many mapping, which is essential to create realistic dances of various genres. To address this issue, we propose a GAN-based cross-modal association framework, DeepDance, which correlates two different modalities (dance motion and music) together, aiming at creating the desired dance sequence in terms of the input music. Its generator is to predictively produce the dance movements best-fit to current music piece by learning from examples. In another hand, its discriminator acts as an external evaluation from the audience and judges the whole performance. The generated dance movements and the corresponding input music are considered to be well-matched if the discriminator cannot distinguish the generated movements from the training samples according to the estimated probability. By adding motion consistency constraints in our loss function, the proposed framework is able to create long realistic dance sequences. To alleviate the problem of expensive and inefficient data collection, we propose an effective approach to create a large-scale dataset, YouTube-Dance3D, from open data source. Extensive experiments on currently available music-dance datasets and our YouTube-Dance3D dataset demonstrate that our approach effectively captures the correlation between music and dance and can be used to choreograph appropriate dance sequences.

Bronwyn Tarr, J. Launay, E. Cohen et al.

Group dancing is a ubiquitous human activity that involves exertive synchronized movement to music. It is hypothesized to play a role in social bonding, potentially via the release of endorphins, which are analgesic and reward-inducing, and have been implicated in primate social bonding. We used a 2 × 2 experimental design to examine effects of exertion and synchrony on bonding. Both demonstrated significant independent positive effects on pain threshold (a proxy for endorphin activation) and in-group bonding. This suggests that dance which involves both exertive and synchronized movement may be an effective group bonding activity.

Rita Maria Fabris, Antonella Lazzaretti

Starting from the theoretical foundations of indoor and outdoor dance education for an age group (3-7 years) not much considered by artistic projects and dance studies, the paper starts a first mapping of the educational and cultural contexts (forest kindergartens, preschools, primary schools, cultural centres, parks and museums) in which sensoriality and dance shape the growth and the learning processes of the new generations. Through a qualitative survey methodology, we collected questions (focus groups), and we constructed interviews with experts, diviners of new visions and methodological approaches. Within the mapping we explore two case studies that are significant for the transversality and continuity of the operating proposals.

Roosa Piitulainen, Perttu Hämäläinen, Elisa D. Mekler

Dancing is a universal human activity, and also a domain of enduring significance in Human-Computer Interaction (HCI) research. However, there has been limited investigation into how computing supports the experiences of recreational dancers. Concurrently, a diverse and sizeable dance community has been emerging in VRChat. Little is known about these dancers’ experiences, motivations, and practices. Yet shedding light into these could inform both VR technology development and the design of systems that better support embodied and complex social interactions. To bridge this gap, we interviewed participants active in the VRChat dance scene. Through thematic analysis, we identified six central facets of their experiences related to freedom, community, dance as an individual experience, dance as a shared experience, dance as a performance, and self-expression and -exploration. Based on these findings, we discuss emerging tensions and highlight beneficial impacts of dancing in VR as well as problems that still await resolving.

Mussa B. Ketenchiev, Alim K. Appoev

This article is devoted to the study of Karachay-Balkarian simple verbal paremic statements about dances in terms of their formal semantic structure and ethno-cultural significance. The paper emphasizes that syntactic constructions structure an incomplete paradigm according to the purpose of the utterance, which includes narrative and motivational expressions. The affirmation/negation paradigm is no less significant. The formal semantic structure of these statements is primarily determined by the lexical meanings and grammatical features of words that occupy the positions of the predicate or predicate. These lexemes include verbs of movement, action, knowledge, skills, vision, etc., which in the sentence structure open positions for subjects, objects and circumstantial specifiers of the corresponding semantics. They reveal significant concepts for archaic choreography contributing to the understanding of ethnic cultural specifics of the Karachai and Balkars. The proverbial and archetypal fund of the people presents several cognitive characteristics inherent in national dances, as well as dancers participating in various kinds of solemn and other events, determined by the mentality of the ethnic group.

Alycia Fong Yan, S. Cobley, Cliffton Chan et al.

J. Kattenstroth, T. Kalisch, S. Holt et al.

During aging, sensorimotor, cognitive and physical performance decline, but can improve by training and exercise indicating that age-related changes are treatable. Dancing is increasingly used as an intervention because it combines many diverse features making it a promising neuroplasticity-inducing tool. We here investigated the effects of a 6-month dance class (1 h/week) on a group of healthy elderly individuals compared to a matched control group (CG). We performed a broad assessment covering cognition, intelligence, attention, reaction time, motor, tactile, and postural performance, as well as subjective well-being and cardio-respiratory performance. After 6 months, in the CG no changes, or further degradation of performance was found. In the dance group, beneficial effects were found for dance-related parameters such as posture and reaction times, but also for cognitive, tactile, motor performance, and subjective well-being. These effects developed without alterations in the cardio-respiratory performance. Correlation of baseline performance with the improvement following intervention revealed that those individuals, who benefitted most from the intervention, were those who showed the lowest performance prior to the intervention. Our findings corroborate previous observations that dancing evokes widespread positive effects. The pre-post design used in the present study implies that the efficacy of dance is most likely not based on a selection bias of particularly gifted individuals. The lack of changes of cardio-respiratory fitness indicates that even moderate levels of physical activity can in combination with rich sensorimotor, cognitive, social, and emotional challenges act to ameliorate a wide spectrum of age-related decline.

O. G. Motovilin, E. N. Saverskaya, R. R. Khairov

Diabetes mellitus (DM) in children has an impact on the social world of the child, changing his environment and his own role. A comprehensive approach to the treatment of diabetes in childhood involves taking into account the characteristics of a growing organism, analyzing socio-psychological factors and individual personality traits. The article analyzes the significant social spheres in which a child's relationships are built: family, non-family environment (peers and other children, educators, teachers, doctors). Special attention is paid to the negative impact of the Internet and social networks on the formation of opinions and attitudes of a child with diabetes and his parents to doctors and treatment. One of the tasks of DM therapy is to create a social situation that will contribute to the formation of personal qualities in a child that are necessary for managing the disease and maintaining psychological well-being. The tools for implementing this direction are both traditional diabetes schools and promising types of programs with the creation of groups of children involved in active joint activities: artistic, sports, dance, intellectual, etc. As an example of an innovative approach to teaching, adaptation and inclusion of children with diabetes in society, the social health and educational program “Diabetes. Dances. Children”, which has been implemented since 2020 in Moscow. The program is attended by 15 children and adolescents with diabetes (5-15 years), diabetes experience from 2 months to 10 years. The features of the program consist in the adaptation of dance and physical activities to the glycemic indices of children in dynamics; participation in the program of children, their family environment and friends; accompanying endocrinologists and clinical psychologists; conducting seminars for children and parents as part of an educational marathon; participation of children in dance competitions and festivals, video filming and various creative events.

Hassan Zolfaghari

Abstract Introduction Mysterious story of Lulies and Kowlies (different types of Gypsies) is very exciting in history. In the literature of nations, they have always been under the focus of people and poets inspiring them in their works. These happy, singing, wandering people have always been a source of entertainment and joy for the people. Maybe that’s why some people consider gypsies as Kabulis. Gypsies are scattered all over Iran and are known by different names. This study investigates the social status of these musicians Luli in Persian proverbs.  Methodology The research method is descriptive and analytical. To do this research, we used the book Encyclopedia of Persian Proverbs (Zolfaghari, 2009) and selected two hundred Persian proverbs from a total of one hundred thousand proverbs. Based on the extracted proverbs then, we examined the status of Lulies and Kowlies among the people. Apart from this, and where ever deemed necessary, we also referred to the poets’ written stories and literature and poems.  DiscussionAccording to an ancient legend, Bahram-E-Gour ordered to bring one thousand Rameshgar (Minstrel) from India to Iran, according to Ferdowsi. But Tha’labi and Nizami mentioned the number as four thousand and six thousand respectively. Kowlies are considered the remnants of past Gousans (See Boyce and George Farmer, 1989: 243). It should be said that Gousan is a noun that means minstrel. The Gousans were traveling poets, musicians, narrators of national stories of Iran, kings’ entertainers, and were respected among the people of their community. The best, most famous, and most masterful Gousans used to enter the houses of the nobles and the court of kings. They have been in Iran since ancient times. The difference between the famous court Gousans and the wandering Gousans was that “in addition to better singing and playing, they also used to be a poet, or they had become masters in poetry and possibly had known calligraphy.” (Khaleghi Motlagh, 2007: 24). But as we will see, the Kowlies were among the people and were not very respected. Unlike Gousans, Kowlies were not narrators of ethnic stories; they entertained people with dancing and singing in celebrations. Kowlies used to live in different areas of Iran and were known as the following names:Pahlavan: Local musicians and players in BalouchestanToushmal: Music players in Bakhtiari tribe and Lori communities of Toushmal.Jat: The cameleers of Balouchestan who are also gypsies.Jouki: Living in Mazandaran and Gorgan. They were nomads and mostly engaged in smithy.Changi: Music players of Korna, Naghareh, Sorna in Ghashghayi tribe who were also gypsies.Kharat: Music players in Kermanshah, as Kharat was used to make Tonbak, Dohol, Sorna, Normeh Nay.Deli: Nomads in Lorestan who gather corn and harvest while singing in Lori.Domi: Gypsies of India who immigrated to the west of Iran and live in Lorestan.Zargar: Also known as Romanlo or Romano, who are gypsies of Ghazvin.Sazeneh, Sazandeh or Hindi: Music players of Lori-Bakhtiari language.Sozmani: Gypsy dancers who used to live in Sanandaj and Kermanshah. Ladies were dancers, and men used to play music and sing.Ghorbati: A title for gypsies from India in Khorasan. They were foreigners for the people. In Kerman, gypsies are also known as Ghorbati.Fioj: A common Arab group in south Khorasan near Birjand, Ghaen, Gonabad, Torbat Heidarieh, Kashmar, and Khavaf.Gharachi: A term for dark-skinned people which was used for Turks.Ghorshomar: Gypsies of Khoarasn who were also known as Ghorshomal, Ghorbati, Ghorbat, Nafar, Fioj who used to sell iron and screening devices.Kaseb: In northern Khorasan, the lady partners were called Kaseb or Jat. they were Shia. They were mostly working in the industry.Goodar/Godar: Originally Indian and dark-skinned living in Mazandaran and playing music.Goorooni: In Lorestan, the gypsies are categorized into Louti and Goorooni.Louti: In Lorestan, Kurdistan, Kermanshah, Ilam, Mazandaran, and Khorasan, they were music players.Louri: Nomad music players in Sistan who learned playing from their ancestors.Mehtar: Music players of Kohkeluye who were gypsies.Mirshekal: Music players of Bakhtiari tribe. Lulies and Kowlies are an integral part of Iranian culture. And in all societies they are engaged in dancing, acting, singing, divination, blacksmithing and carpentry. The behavior of these Lulies has been reflected in Persian proverbs and poems of poets. Kowlies can not be considered the survivors of Gousans. Gousans were well-respected poets, musicians, narrators of Iranian national stories, entertaining kings and the people of their community. But the Kowlies were among the people and were not highly respected. People do not like Lulies because of their hatred behavior. This hatred is reflected in two hundred Persian poems and dozens of poems by poets. In Persian proverbs, more attention has been paid to the bad behaviors and negative aspects of Lulies and Kowlies. Still, in classical poems, their positive aspects of charm and happiness are emphasized. Although Lulies and Kowlies are synonymous, Luli has a subtle and feminine use, but not Kowli.  Conclusion Lulies have entered Persian literature with their musical instruments and socio-cultural characteristics. Kowlies are omnipotent. They work as bath workers, singers, blacksmithing, and coppersmithing and are skilled in many jobs. The main occupations of Kowlies, which are reflected in Persian proverbs and poems, are:Singing, playing, and dancing: This group, as the custodians of traditional music, used to participate in celebrations such as weddings and circumcisions, Nowruz celebrations, mourning ceremonies and used to earn money by playing songs.Mareke-Giri (Street Performance): One of Mareke-Giri types was swaying, as in the parable of “Swaying in front of a Kowli is a mistake.”Theft and robbery: They are known for theft and robbery. The term “loti-khor” refers to the same behavior of the Kowlies, equivalent to lifting. Rumi mentions the attribute of their theft a lot: (Rumi: 1378: 883)Fortune-telling: Fortune-telling was mainly the work of gypsy women. In the poetry of contemporary poets, the beauty, fortune-telling, and travels of gypsy girls are reflected.Prostitution: Some Luli women are sometimes known as prostitutes. The owner of Anandraj considered Lolikhaneh (Place of Lulies) to be synonymous with Whorehouse.Sieve Maker: It is in the parable: “He stopped the sieve in front of the gypsy and said, ‘How do you see me?’ “As you see me,” he said.Sale of medicinal plants: They cast spells or sell magic spells to make girls'' fortune brilliant and happy.

Hilde Rustad

Artikkelen undersøker alder og dans, det å bli eldre som utøvende dansekunstner, danseres pensjonsalder og årsaker til at mange dansere slutter som dansere i relativt ung alder. Den australske forskeren Elisabeth Schwaiger hevder i boka Aging, gender, embodiment and dance; finding a balance (2012) at det eksisterer en konservativ taus forståelse av at dansere forventes å slutte som sceniske utøvere før de fyller 40 år. Hensikten med artikkelen er å sette søkelys på profesjonell danseralder, og på en forståelse av danseralder, som på den ene siden synes som om den er tatt for gitt, og på den andre siden virker utdatert. Gjennom en hermeneutisk-fenomen ologisk tilnærming benytter forfatteren seg av skriftlige og muntlige kilder i form av publisert forskning, rapporter, avisartikler og uformelle samtaler knyttet til temaet samt egen levd erfaring som forsknings-materiale. Erfaringer fra Norge og Japan fokuseres. Kunnskaps bidraget med artik-kelen er blant annet en artikulasjon av at hvordan den profesjonelle danserens alder forstås i Norge, og flere vestlige land, skiller seg ut og er ganske annerledes enn alminnelig forståelse av alder og generell pensjonsalder i samfunnet for øvrig. Artik-kelen løfter også fram danseralder forståelse som kulturrelatert, og at danser alder forstås annerledes i Norge og vestlige land, enn i Japan.

Carmelo Antonio Zapparrata

Eleni Kotsala, Ioli Panidi, Gregory C. Bogdanis et al.

<strong>AIM:</strong> Ballet dancers’ performance is based on the execution of complex technical skills that require an unusually large range of motion (ROM) and increased muscular power. Static stretching is commonly used to increase ROM, but it may induce a transient decrease in muscle power. However, this may depend on the population and stretching protocol. The purpose of this study was to compare the acute effect of a short (20 s) vs. a long (60 s) static stretching protocol on joint ROM and jumping performance in ballet dancers. <b>MATERIAL &amp; METHOD:</b> Sixteen female professional ballet dancers (age, 25.9 ± 2.7; dancing experience, 19.6 ± 3.8 y) performed 5 days of testing using a single-leg stretching and jumping design. Baseline measurements of one-leg countermovement jump (CMJ) and a ballet technical jump with one leg (“temps levé”, TL) were performed on the first visit. On the other four visits, dancers stretched their hamstrings, quadriceps and plantar flexors for 20 or 60 s per muscle group and then performed a CMJ or a TL in a counterbalanced order. This combination of stretching and jumping resulted in four conditions: long stretch-CMJ, long stretch-TL, short stretch-CMJ and short stretch-TL. In all conditions, ankle joint ROM was measured at rest and immediately after stretching. <b>RESULTS:</b> ROM significantly increased following stretching (<i>p</i> = 0.01) with no difference between stretching protocols (<i>p</i> = 0.505). CMJ height decreased post-stretching following both stretching protocols (<i>p</i> = 0.01); however, the long-duration static stretching induced a larger decrease in jump height (<i>p</i> = 0.020). TL height remained unchanged after the short and the long stretching protocols (7.7 ± 2.1 to 7.4 ± 2.2 vs. 7.7 ± 2.1 to 7.2 ± 2.0 cm, respectively, <i>p</i> = 0.701). <b>CONCLUSION:</b> Both stretching protocols similarly increased ankle joint ROM and decreased one-leg CMJ height immediately post-stretching. Also, both stretching protocols did not decrease TL height, probably because dancers are able to compensate for the stretch-induced deficit in muscle power through motor coordination.