This book makes a substantial contribution to tango studies and slips into a rich vein of detailed, passionate, carefully written academic accounts from Marta Savigliano’s (1995) iconic Tango and the Political Economy of Passion and Julie Taylor’s (1998) poignant ethnography Paper Tangos, to Robert Thompson’s (2005) flourishing Tango:The Art History of Love and Kathy Davis’s (2015) feminist call Dancing Tango: Passionate Encounters in a Globalizing World. Each study brings a disciplinary angle to the tango orchestra and dance floor. Kendra Stepputat’s orientation is around the choreomusical – concentrating on the dance as it reached Europe in different waves, and its distinct musicality or “danceability” as explored through a series of unique experiments.
The phenomenon of the “symbolic image” is examined using the example of the flower in Salome’s hand in Gustave Moreau’s painting “Salome Dancing before Herod” and the lotus in Salome’s hand in J.-K. Huysmans’ novel “Against the Grain.” The history of the terms ‘imago’, ‘archetype’, and ‘symbolic image’ in psychoanalysis is traced, as well as the influence of these psychoanalytic concepts on the perception of imagery in literature and painting. The relevance of the study lies in the enduring interest of literary scholars in issues related to the interplay between psychoanalysis and literature, as well as the theme of ekphrasis in literature. It is demonstrated that one of Moreau’s receptions of the “flower in Salome’s hand” became the lotus in Salome’s hand in Huysmans’ novel “Against the Grain.” It is established that Huysmans perceives Moreau’s famous phytomorph primarily as an unconscious concept of evil, anxiety, pain, illustrating his reasoning with vivid associations related to the perception of the flower in Moreau’s work. In conclusion, the author of the article points out that the imago-images of the “flower in Salome’s hand” and “lotus in Salome’s hand” become the starting impulse for creating an archetype that generates various new versions of “Salome’s flowers,” comparing lotuses and lilies in the works of H. del Casal, Elisa, and O. Wilde.
Slavic languages. Baltic languages. Albanian languages
Egil Bakka, Gediminas Karoblis, Ronald Kibirige
et al.
This article scrutinises the rationales for dancing in the world and how they affect dance sustainability. These rationales are assumptions about societal values of dance that underlie national as well as international cultural policies, so basic that they are rarely challenged. The authors bring a challenge by asking if there is one universally valid and sustainable rationale for dancing, which makes sense to the totality of the global population, given the extreme difference in living conditions. It is written out of a concern that some economically privileged parts of the world’s population are promoting the story of a universally valid rationale for dancing under the term dance art. It draws attention to an alternative rationale for dancing based on the Ubuntu philosophy of the Bantu peoples of Africa.
Мета статті – проаналізувати балетмейстерський доробок М. Трегубова в контексті гастролей Львівського театру опери та балету в м. Києві 1953 року. Методологія. Застосовано історичний (розгляд подій в хронологічній послідовності з урахуванням історико-культурних обставин), історіографічний (розгляд наявної бази наукових праць з проблеми статті) та аналітичний (аналіз джерельної бази, подій, фактів та ін.) підходи. Наукова новизна. У статті вперше детально проаналізовано балетмейстерський доробок М. Трегубова в рамках літніх гастролей Львівського театру опери та балету 1953 року в Києві; введено до наукового обігу нові матеріали. Висновки. Літні гастролі 1953 року Львівського театру опери та балету для М. Трегубова були відповідальними – вперше до Києва він їхав у статусі головного балетмейстера. До гастрольного репертуару відібрали 32 вистави: опери на музику радянських, російських та західноєвропейських композиторів; балетні твори – третя редакція «Хустки Довбуша» А. Кос-Анатольського, «Шурале» Ф. Ярулліна, «Мідний вершник» Р. Глієра авторства М. Трегубова та вистава класичної спадщини – «Есмеральда» Ч. Пуні – Р. Глієра в постановці М. Цейтліна. Глядачі, фахівці та критики тепло зустріли творчий доробок балетної трупи та її керівника. Н. Скорульська, К. Данькевич, А. Свєчніков, І. Морозова, Л. Долохова підкреслювали в рецензіях великий успіх львів’ян, талант та професіоналізм головного балетмейстера М. Трегубова. Найбільшу увагу рецензенти приділили балету «Хустка Довбуша», визнаючи його високий професійний та ідейно-художній рівень, схвалюючи використання зразків українських коломийок та польських танців, органічне поєднання класичної хореографічної лексики з народною. У «Шурале» критики виділили вдало поставлені народні татарські танці, майстерне поєднання танцювального фольклору з класичними рухами; у «Мідному вершнику» – талановиту танцювальну групу й сильний ансамбль, вміння артистів розкривати внутрішній сюжет балетного твору та доносити його до глядача. Преса позитивно сприйняла танці М. Трегубова в першій дії опери «Тихий Дон», а в програмі гастролей було вказано про вихід хореографа в партії Квазімодо в балеті «Есмеральда». Для М. Трегубова перші гастролі в столиці пройшли достатньо успішно, він вкотре здобув визнання, підтвердження свого професіоналізму, творчої працьовитості й таланту, що надихало майстра на подальшу діяльність.
Ningyi Zhang, Sebastián Gómez-Lozano, Ross Armstrong,
et al.
Accelerometers are tools specifically engineered for quantifying differences in force or acceleration over time, providing data regarding the magnitudes and frequency of movement. It could be utilized in the flamenco dance study field for monitoring the movement to reduce the risks of injuries or pain, as well as to give recommendations for making a reasonable and scientific training plan for dancers to improve their technique. The aim of this study is to introduce how to monitor flamenco dance movement with accelerometers, and suggestions for future studies. This study makes a detailed introduction from the following aspects: accelerometer selection, monitor use protocols, and data process and analysis.
This study aims to determine the meaning and potential as a tourist attraction for the Baris Jangkang Dance in Sidatapa village. This dance is very distinctive with the Balinese Aga culture which is different from Balinese culture in general. This research is qualitative in nature starting with determining the location in Sidatapa village. Collecting data using in-depth interviews, observation, and document studies. The results were analyzed using interactive analysis. The results showed that the Baris Jangkang Dance in Sidatapa village was popularly known as the Jangkang dance or war dance. This dance is used as a representation of the warrior spirit of the Sidatapa community in dealing with enemies who disturb the peace of the village. Baris Jangkang dance dancers are divided into two types of dancers, namely truna dancers (never dance) and surudan dancers (already dancing). Its position is divided into prabangsa (leader) and prawira (troop). The first potential could be watching dance and drum practice. The second is by watching live during the show. Third, selling various documentations of the Baris Jangka dance in various forms, such as VCDs, photos, clothes and as souvenirs for Sidatapa.
Flamenco has become nowadays a very popular dance style over the world. The percussive footwork and vibration patterns created during dancing imposes high demands on the musculoskeletal system and the forces transmitted from the foot in a proximal direction could contribute to the stress urinary incontinence. Therefore it may be questionable for the women during pregnancy. That is why the purpose of this study was to investigate the level and effects of dynamic loading on the musculoskeletal system of the flamenco dancer during advanced pregnancy. The participant of the study was a female in the third trimester of pregnancy (34.5 yrs, 76 kg, 1.72 m). She has been practicing flamenco for 15 years. The task of the subject was the execution of ZAP-3 Test: a sequence of six footworks performed with the forefoot, heel and toes, alternatively with both feet during 15 seconds at maximum speed. Kinetic data were collected with a Kistler force plate. Afterwards, the subject filled the Waterloo Footedness Questionnaire-Revised and questionnaire on health condition. As the registrations revealed, strikes with different parts of the foot generate different impacts to those elements. The average values of the vertical component of GRF normalized to body weight throughout the whole test ranged between 0.49 («Punta») and 3.22 BW («Tacón de Planta»). On the basis of questionnaire and interview, the pregnant subject reported neither urogenital disorders, nor musculoskeletal injuries. At the same time, gravida emphasized being familiar with the pelvic floor muscles training. Due to visual observation, a proper alignment of the dancer’s body was identified: vertical trunk, stabilized spine, optimal stable pelvic position. Additionally our expectant mother performed proper configuration of the lower limb joints with semi-flexed knees and hips. To conclude, flamenco dancers should be supported to continue their training during pregnancy but the amount of loadings during classes should be discussed (type, Intensity, duration frequency of exercises). Any symptoms of pain or discomfort warrant examination by a physician. Then, as flamenco works on the core of the body, it can also help with pelvic floor muscles, assuming that the subject is aware of the right body alignment and muscle activity. That is why the attention should be more focused on the education of the dancers’ body awareness in ergonomic technique.
Abstract Dance is ubiquitous among humans and has received attention from several disciplines. Ethnographic documentation suggests that dance has a signaling function in social interaction. It can influence mate preferences and facilitate social bonds. Research has provided insights into the proximate mechanisms of dance, individually or when dancing with partners or in groups. Here, we review dance research from an evolutionary perspective. We propose that human dance evolved from ordinary (non-communicative) movements to communicate socially relevant information accurately. The need for accurate social signaling may have accompanied increases in group size and population density. Because of its complexity in production and display, dance may have evolved as a vehicle for expressing social and cultural information. Mating-related qualities and motives may have been the predominant information derived from individual dance movements, whereas group dance offers the opportunity for the exchange of socially relevant content, for coordinating actions among group members, for signaling coalitional strength, and for stabilizing group structures. We conclude that, despite the cultural diversity in dance movements and contexts, the primary communicative functions of dance may be the same across societies.
M. Morris, Susan C. Slade, Joanne E. Wittwer
et al.
Background Therapeutic dancing can be beneficial for people living with Parkinson’s disease (PD), yet community-based classes can be difficult to access. Objective To evaluate the feasibility and impact of online therapeutic dancing classes for people in the early to mid-stages of PD. Methods Co-produced with people living with PD, physiotherapists, dance teachers and the local PD association, the ‘ParkinDANCE’ program was adapted to enable online delivery during the COVID-19 pandemic. Participants completed 8 one-hour sessions of online therapeutic dancing. Each person was assigned their own dance teacher and together they selected music for the classes. A mixed-methods design enabled analysis of feasibility and impact. Feasibility was quantified by attendance and adverse events. Impact was determined from individual narratives pertaining to consumer experiences and engagement, analysed with qualitative methods through a phenomenological lens. Results Attendance was high, with people attending 100% sessions. There were no adverse events. Impact was illustrated by the key themes from the in-depth interviews: (i) a sense of achievement, enjoyment and mastery occurred with online dance; (ii) project co-design facilitated participant engagement; (iii) dance instructor capabilities, knowledge and skills facilitated positive outcomes; (iv) music choices were key; and (v) participants were able to quickly adapt to online delivery with support and resources. Conclusions Online dance therapy was safe, feasible and perceived to be of benefit in this sample of early adopters. During the pandemic, it was a viable form of structured physical activity. For the future, online dance may afford benefits to health, well-being and social engagement.
J. Christensen, M. Vartanian, Luisa Sancho-Escanero
et al.
“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the individual when the activity of “dancing” is enjoyed as a dancer within different dance domains (e.g., professional/”high-art” type of dance, erotic dance, religious dance, club dancing, Dance Movement Therapy (DMT), and what is commonly known as hobby, recreational or social dance), and (b) the effects on the individual within these different domains, as a dancer of the different dance styles (solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body.
This paper examines the effects of drama games on successful competency development in teaching and education, specifically within folk dance education. We also present the results of data drawn from two non-representative pieces of research done among educators (n=30) and students (depending on game n=19–39) regarding the effective use of structured drama activities in the folk dance classroom to strengthen group cohesion or trust between students. Finally, as a methodological recommendation, we introduce a collection of drama games and possibilities for their integration into folk dance education, with suggested variations presented according to the six age groups defined for the 12 grades of public education in Hungary. This paper aims to raise awareness of the possibilities and usefulness of integrating drama activities into folk dance education.
Humans naturally perceive and move to a musical beat, entraining body movements to auditory rhythms through clapping, tapping, and dancing. Yet the accuracy of this seemingly effortless behavior varies widely across individuals. Beat perception and production abilities can be improved by experience, such as music and dance training, and impaired by progressive neurological changes, such as in Parkinson’s disease. In this study, we assessed the effects of music and dance experience on beat processing in young and older adults, as well as individuals with early-stage Parkinson’s disease. We used the Beat Alignment Test (BAT) to assess beat perception and production in a convenience sample of 458 participants (278 healthy young adults, 139 healthy older adults, and 41 people with early-stage Parkinson’s disease), with varying levels of music and dance training. In general, we found that participants with over three years of music training had more accurate beat perception than those with less training (p < .001). Interestingly, Parkinson’s disease patients with music training had beat production abilities comparable to healthy adults while Parkinson’s disease patients with minimal to no music training performed significantly worse. No effects were found in healthy adults for dance training, and too few Parkinson’s disease patients had dance training to reliably assess its effects. The finding that musically trained Parkinson’s disease patients performed similarly to healthy adults during a beat production task, while untrained patients did not, suggests music training may preserve certain rhythmic motor timing abilities in early-stage Parkinson’s disease.