To upgrade the curriculum in theatre and creative arts to accommodate more dance courses, this paper advocates the inclusion of Dance Theatre or Drama to pave the way for lucid dance studies in theory and practice. This stems from the fact that, it has been observed that, the teaching and learning of dance in the Nigerian educational system has not been given the desired attention at all levels. The problem is compounded with the idea of subsuming dance studies under theatre and creative arts in the curriculum of tertiary, secondary and primary education. The implication of this marginalisation of dance in the curriculum is inadequacy of courses and time to hone talents and dance scholarship. In line with these findings, it is recommended that the pedagogical potential of dance theatre should be explored with more topics and courses in dance studies to give upcoming talents a rich background in theory and practice.
Objective: Network analysis was used to explore the complex inter-relationships between social participation activities and depressive symptoms among the Chinese older population, and the differences in network structures among different genders, age groups, and urban-rural residency would be compared. Methods: Based on the 2018 wave of the Chinese Longitudinal Healthy Longevity Survey (CLHLS), 12,043 people aged 65 to 105 were included. The 10-item Center for Epidemiologic Studies Depression (CES-D) Scale was used to assess depressive symptoms and 10 types of social participation activities were collected, including housework, tai-chi, square dancing, visiting and interacting with friends, garden work, reading newspapers or books, raising domestic animals, playing cards or mahjong, watching TV or listening to radio, and organized social activities. R 4.2.1 software was used to estimate the network model and calculate strength and bridge strength. Results: 21.60% (2,601/12,043) of the participants had depressive symptoms. The total social participation score was negatively associated with depressive symptoms after adjusting for sociodemographic factors. The network of social participation and depressive symptoms showed that “D9 (Inability to get going)” and “S9 (Watching TV and/or listening to the radio)” had the highest strength within depressive symptoms and social participation communities, respectively, and “S1 (Housework)”, “S9 (Watching TV and/or listening to the radio)”, and “D5 (Hopelessness)” were the most prominent bridging nodes between the two communities. Most edges linking the two communities were negative. “S5 (Graden work) - D5 (Hopelessness)” and “S6 (Reading newspapers/books) - D4 (Everything was an effort)” were the top 2 strongest negative edges. Older females had significantly denser network structures than older males. Compared to older people aged 65–80, the age group 81–105 showed higher network global strength. Conclusions: This study provides novel insights into the complex relationships between social participation and depressive symptoms. Except for doing housework, other social participation activities were found to be protective for depression levels. Different nursing strategies should be taken to prevent and alleviate depressive symptoms for different genders and older people of different ages.
Jelen elméleti-történeti kutatás célja, hogy áttekintse Dienes Valéria mozgáspedagógiáját, más néven orkesztikáját, az általános pedagógiája alapjainak tükrében. A tanulmány rávilágít Dienes mozgáspedagógiájának, a testmozgást és a pedagógiát integráló innovatív megközelítésének előnyeire. Az orkesztika alapelvei szerint a mozgásra alapozott tevékenységek fontos szerepet játszanak az önkifejezésben, a tanulásban, az értelmi és érzelmi fejlődésben egyaránt. Ez a módszer a mozgás és a gyakorlatok különböző formáit foglalja magában, beleértve a táncot, a ritmusjátékokat, a szimbolikus mozgásokat és más mozgásalapú tevékenységeket. Ebben az elméleti-történeti kutatásban azt vizsgálom, hogy Dienes Valéria különböző írásaiban részletezett módszere és megközelítése szolgálhat-e alapul általános pedagógiájához.
At the entrance to City Park in New Orleans, Louisiana, a monument to Confederate general P.G.T. Beauregard rose twenty-seven feet over the citizens of New Orleans until 2017, when the sculpture was removed from its pedestal. Following the removal, Mayor Mitch Landrieu asked: “why there are no slave ship monuments, no prominent markers on public land to remember the lynchings or the slave blocks; nothing to remember this long chapter of our lives; the pain, the sacrifice, the shame… all of it happening on the soil of New Orleans.” This landscape of empty pedestals was confronted by Paula Wilson that fall. Rather than erect a material monument that would directly replace the fallen General Beauregard, Wilson turned to her own body. Before the sun rose early one morning, she climbed atop the empty pedestal and began dancing in a performance titled “Living Monument.” This paper analyzes Wilson’s performance and its documentation as radical acts of refusing the logics of monumentality. In examining this work, I consider how performance as a mode of memorialization completely destabilizes the monumental presentation of a static history, thus offering a new grammar by which to think through modes of revolution and redress in the symbolic landscape.
Abstract The honey bee dance communication system is one of the most intriguing animal communication signals. It allows foragers to share information related to food sources with nestmates using the waggle dance, which involves the transmission of location information through orientation and duration. Honey bee transcriptomes are dynamic with different stages, expressing an ensemble of differential genes that give rise to substantial behavior diversity. Here, we have provided a global view of mRNA expression profiles in three different stages of waggle dancers including dancing start (DS), dancing end (DE), and dancing cessation (DC). This study yielded 212 differentially expressed genes (DEGs). Among them, we identified 92 DEGs between DS and DC, 118 DEGs between DE and DC, and 2 DEGs between DS and DE. Further, gene ontology (GO) and KEGG analysis suggested that hormone‐mediated signaling pathways and participation in pathways controlling the circadian rhythm, nicotinate, and nicotinamide metabolism were attributed to upregulated genes in DS. In addition, the D1 dopamine receptor in dopaminergic pathways, the peptide signaling involving apidaecin, and neprilysin‐2 may play important roles in intricate behavioral processes.
Book Review: PEREIRA, Leonardo Affonso de Miranda. A cidade que dança: clubes e bailes negros no Rio de Janeiro (1881-1933). Campinas, SP: Editora da Unicamp; Rio de Janeiro: EdUERJ, 2020. 359p.
For well over a century, the human and more-than-human of Central Appalachia have endured oppression and exploitation, primarily due to natural resource extraction. In spring 2008, the author led a dark touri to a mountaintop removal coalmining site in Southern West Virginia for colleagues, which included Dance Professor Deborah McLaughlin. As a result, the two collaborated on three evening-length dance/theater works highlighting social and environmental crises and injustices in the region. The performances incorporated contemporary dance, poetry, the spoken word, and the visual arts, as well as contemporary and traditional music. The first, Eating Appalachia: Selling Out to the Hungry Ghost, focused on mountaintop removal coalmining and its environmental and cultural destruction. With Sounds of Stories Dancing, the duo paid homage to millions of mountain residents forced to leave the region to find stable employment, despite longing to remain. In the final piece, The Shadow Waltz, they honored the lives of coalminers with black lung disease, as well as their families. This essay discusses the challenges of creating art that critiques socially constructed messages portrayed as given truths, as well as the educational and social successes of daring to dance truth to power.
History (General) and history of Europe, English literature
Tari Ngeruai Kenemiak merupakan hasil proses kreatif seniman setempat yang menginginkan sebuah ritual upacara kelahiran Bayi suku Dayak Kantu’ dikemas menjadi tari tradisi. Tari ini ditarikan secara berkelompok dengan beberapa peran yaitu sebagai bapak, ibu, dan dayang-dayang. Sajiannya menggunakan properti gong dan boneka. Penelitian ini mendeskripsikan hasil analisis menggunakan teori “Estetika Paradoks” oleh Jacob Sumardjo. Metode penelitiannya dengan deskripsi analisis dengan menggunakan pendekatan etnokoreologi dan semiotik. Makna simbol pada properti gong berdasarkan bentuk yaitu organologinya teridiri atas bagian atas dan bawah, berkaitan dengan teori dualistik antagonistik bermakna bertentangan namun saling melengkapi. Berdasarkan cara penggunaan gong saat dipanggul di punggung bermakna bapak sebagai pemimpin akan menanggung segala beban di keluarga, gong saat dinaiki penari bermakna sebagai tumpuan hidup, gong dipukul dengan tangan kosong sebanyak 3x bermakna untuk mengumpulkan keluarga dan tetangga. Properti boneka hanya menyimbolkan bayi yang baru lahir digendong dan diayun-ayun oleh ibunya dengan penuh kasih sayang
Just as the clean canvas might seem intimidating to the artist, so a new piece of music might seem to a student. But with a few guidelines and some dissecting, they will soon discover its joys. Depending on the level of the student and the piece, each presentation will be different. In this essay the focus will be on the intermediate to early advanced student. Three main points will be discussed: presenting the piece, learning the piece and memorizing the piece. These three points can’t be separated completely because the learning process is part of the practice process which in turn is part of the memorizing process.
Este texto se propõe a discutir a problemática de gênero dentro das performances tradicionais do sul da Índia, partindo do culto das Ammans e as complexas ações ritualísticas que envolvem “manter sobre controle” as energias eruptivas dessas divindades, o que inclui diversas modalidades de performance dramática. O que se vê é um conjunto ambíguo de sinalizações que oscilam entre a exaltação desse poder feminino mítico e a supressão de sua existência no plano social e político. O ponto de partida para encaminhar essa reflexão é compreender como essa ambiguidade se reflete nas performances tradicionais, partindo da tradição Devadasi, passando pela tradição dos homens que interpretam papéis femininos, a inclusão de mulheres trans nesse contexto e, finalmente, discutindo o papel das mulheres cis nesse teatro e a importância das comunidades teatrais como espaços de resistência.
Purpose: to determine the relationship between the motor qualities of an athlete in accordance with the constitution of his somatotype in order to establish at an early stage of the morphofunctional development of objective, phylogenetically determined signs of motor talent for sports dancing. Material & Methods: the work was carried out on the basis of the "Ideal" sports club. The study involved dancers in the amount of 20 athletes involved in sports dancing at the initial training stage. In solving the tasks, the following methods were used: analysis and synthesis of scientific and methodological literature; generalization of the practical experience of the coaching contingent working with children in sports dance groups. Results: kinematic and dynamic characteristics of dancers in the European and Latin American programs are considered. Corresponding professiograms are compiled taking into account the characteristics of each of the programs. Conclusions: in order to achieve high sports results in sports dances, it is necessary for an athlete to develop not only all well-known physical qualities. The uniqueness of the dynamic-kinematic features of the movement makes specific demands on the athlete. The features listed in the study for each of the programs require their combination and the level of development of physical qualities. Moreover, the direction of development of physical and dynamic qualities for each of the programs has its own direction.
Los primeros flamencólogos, como si de un palo nuevo se tratara, ampliaron la proyección del flamenco hacia una vertiente en las que pocas artes de origen folclórico han podido recalar, la ciencia.
Pero esta proyección del flamenco hacia las ciencias no se quedó ahí. Desde hace unas de décadas, es la ciencia la que ha viajado al flamenco. A manos de Investigadores y con técnicas puramente académicas han desarrollado estudios de carácter estrictamente científicos, empezando por las ciencias sociales hasta las ciencias más experimentales del espectro académico. Se ha realizado el viaje de vuelta como si de una guajira se tratara, se ha conseguido llevar la ciencia al flamenco. Es en este camino donde se surgió la Revista Telethusa.
Мета дослідження – з’ясувати особливості хореографічної підготовки в спорті та виявити відмінності в роботі тренера-хореографа й педагога хореографічних дисциплін. Методологія дослідження ґрунтується на теоретичному аналізі науково-методичної та спеціальної літератури, систематизації практичного матеріалу та власного досвіду роботи в цій галузі, вивченні широкого кола емпіричних досліджень з теорії, методики й практики хореографії і техніко-естетичних видів спорту. Наукова новизна полягає в тому, що вперше визначено особливості хореографічної підготовки спортсменів, які повинні знайти своє відображення в методиці підготовки тренера-хореографа, обґрунтовано необхідність розроблення навчальної літератури зі спортивної хореографії та запропоновано навчальний посібник для забезпечення навчального процесу у вітчизняній вищій школі, написаний українською мовою. Висновки. Особливості хореографічної підготовки в техніко-естетичних видах спорту, а також відмінності в роботі тренера-хореографа й педагога хореографічних дисциплін свідчать, що процес підготовки спортсменів повинен відповідати вимогам правил змагань, тенденціям розвитку і специфіці спортивної діяльності. Знання особливостей хореографічної підготовки в спорті є необхідною умовою підготовки кваліфікованих тренерів-хореографів, які будуть працювати в спорті. На основі аналізу науково-методичної та спеціальної літератури, власного досвіду багаторічної роботи в цій галузі був написаний навчальний посібник «Хореографія в спорті» (видавництво «Олімпійська література», Київ), призначений для студентів закладів вищої спортивної та хореографічної освіти, тренерів і хореографів з техніко-естетичних видів спорту, педагогів-хореографів.
Word as Medium of Tradition. Essay on Theory of Orality
The goal of the paper is to outline the concept of word as medium of intergenerational transfer of tradition in cultures of primary orality as formulated in the theory of orality since the 1960s. According to the classic anthropological approach, it emphasizes the orientation on tradition and stability of oral cultures. It also focuses on mechanisms of preserving fidelity and persistence of cultural patterns in the utterances/messages despite the lack of the written form. The basic mechanism here is to grasp messages in the form of epic poetry. Information (technical instruction and moral norms) is depicted in the narrative context, that is, descriptions of heroes’ activities as only by that the listeners’ emotions and – consequently – actions were stimulated. Combining poetry with music, singing, gestures and dancing were also used as mnemotechnical tools – messages affected listeners by rhyme, rhythm, and melody. On the verbal level, shaping messages according to mnemotechnical mechanisms have led to the origins of preservative language (elevated speech) that differed from flexible language used for everyday communication. Its main constitutive trait was dominance of formulas (formulative style) aimed at preserving those messages from critical analysis and being reshaped by the recipients. On the structural level of stories, formulas’ equivalent were typescenes and story-patterns. They were used to secure high fidelity of several performances (repetitions) of particular pieces. Other inherent traits of oral messages are: paratactic composition, redundancy, and Homeric epithets for descriptions of heroes.
Dancing is an activity that positively enhances the mood of people that consists of feeling the music and expressing it in rhythmic movements with the body. Learning how to dance can be challenging because it requires proper coordination and understanding of rhythm and beat. In this paper, we present the first implementation of the Dancing Coach (DC), a generic system designed to support the practice of dancing steps, which in its current state supports the practice of basic salsa dancing steps. However, the DC has been designed to allow the addition of more dance styles. We also present the first user evaluation of the DC, which consists of user tests with 25 participants. Results from the user test show that participants stated they had learned the basic salsa dancing steps, to move to the beat and body coordination in a fun way. Results also point out some direction on how to improve the future versions of the DC.
This work was developed in a close link to Topologias da Carne [Topologies of the Meat], a creative process in contemporary dance. From the incorporation of the concepts Body without Organs (BwO), territory, body-meat, as well as in relation to Laban's proposals for movement, the aim is to produce a transduction of the incorporeal from the concepts into micro vibrations of a dancing body. The methodology covers the exhaustive study of the concepts, in an intrinsic relation to practical experiments in dance, which can open the corporeal organizations to the experimentation of an intensive body.
O presente artigo discute o conceito de mimesis performativa, sobretudo a partir de uma leitura critica das reflexões de Michael Fried e de Luiz Fernando Ramos quem cunhou o termo para o contexto brasileiro. Tece considerações sobre a configuração das dimensões semânticas e performativas do fenômeno teatral contemporâneo e refuta concepção de performatividade não-referencial, mas também critica a posição antiteatral de Fried. Por fim, argumenta que a mimesis performativa constitui uma ação de mediação entre singularidade artística e contexto social no interior do fenômeno cênico.