Entertainment robotics has garnered significant attention in recent years, with researchers focusing on developing robots capable of performing a variety of tasks, including magic, drawing, dancing, and music. This article presents our research on forming a musical band that includes both humanoid robots and human musicians, with the goal of achieving natural synchronization and collaboration during musical performances. We utilized two of our humanoid robots for this project: Polaris, a mid-sized humanoid robot, as the drummer, and Oscar, a Robotis-OP3 humanoid robot, as the keyboardist. The technical implementation incorporated essential components such as visual servoing, human-robot interaction, and Robot Operating System (ROS), enabling seamless communication and coordination between the humanoid robots and the human musicians. The success of this collaborative effort can be both seen and heard through the following YouTube link: https://youtu.be/pFOyt1KKCfY?feature=shared.
Epigraphic poem CLE 1166 is dedicated to Flavia Dionisiade, who passed away at the age of just seven. The aim of the epitaph was to commemorate the child and, with her, a particular talent of hers. For years, following Bücheler’s interpretation, this talent has been understood as skill in dancing. However, the poem’s wording tells a different story: an analysis, supported by the Thesaurus linguae Latinae, demonstrates that Flavia Dionisiade was a young poet, particularly devoted to elegiac poetry.
Greek language and literature. Latin language and literature, History of the Greco-Roman World
Even though Parkinson’s disease may rarely
present with tremors of the mandible, the chin
and the head, hardly does it present with disabling
tongue tremors. We have only come across two
cases in published literature. This is a case of a
63-year-old lady who presented with disabling
tongue tremors and other unnoticed PD features
who responded spectacularly to levodopa/
carbidopa. Clinicians should be aware that PD
may present with disabling tongue tremors.
However, other PD features must be assessed for
as PD remains a clinical diagnosis especially in
rural third world. A history of neuroleptic use has
to be elicited.
Objective: Dance involves physical activity, creativity, aesthetics and fun. It is believed that including dance in the programs of school-age children will contribute to their physical, emotional and cognitive development. In this study, it is aimed to evaluate the outcomes of a brief school dance program that was designed to improve school attachment, school satisfaction, and attention levels among primary school students.Method: The research was a single group pre-test-post-test design. The sample of the study consisted of 304 primary school students from two schools (n=304). The data were collected using the Personal Information Form, the Children’s Overall Satisfaction with Schooling Scale, the School Attachment Scale for Children and Adolescents, and Barkley’s Child SCT Ratings Scale. The brief group school dance program applied twice a week for a total of seven weeks.Results: Following the brief school dance program, a significant increase was observed in students' school satisfaction and attachment levels (p <.05); however, there was no significant change in their attention levels (p >.05). This study highlights the potential of short-term dance activities accompanied by music to enhance primary school students' levels of school attachment and satisfaction. Conclusion: These findings suggest that dance activities could be an effective tool for enhancing students' school attachment and satisfaction in educational settings. Future studies should explore the scope of this effect in different age groups and through longer-term implementations.
Popular music in Nigeria has risen and gained more attention among the people because of its potency to accentuate the culture and tradition of the people, and still be relevant to trend and current musical development across the nation. Enough scholars have studied popular music in Nigeria, but not much scholarly work has been done to investigate ethnic-based popular music among the Ekiti, southwestern Nigeria. Using the ethnic identity theory, this paper engages the oral interview, observation, and discography method. To this effect, the paper set out to bring to limelight the impact of traditional music in the development of an ethnic-based popular music among the Ekiti. It is hoped that this work, being the first extensive study on ethnic-based popular music in Ekiti, will serve as a reference point for further studies on Elemure Ogunremi’s music, and ethnic-based popular music in Ekiti, in terms of what influences it, its socio-cultural effects, and its characteristics.
Larisa Nikiforova, Anastasiia Vasileva, Mayumi Sakamoto de Miasnikov
Throughout the XX century, the hard-fought battle of blacks and dark-skinned dancers to perform the classical repertoire on professional stages (including “white ballets”) was a part of the struggle for citizens’ equality. Cuba is a clear example of creating a national ballet school in a country where the fight for social equality was closely connected with overcoming racial segregation. But some researchers have noted that the majority of dancers in the Ballet Nacional de Cuba belong to the Caucasoid phenotype, which means they do not represent the Cuban nation which includes a large variety of phenotypes. We pose the question in what way is the history of Cuban ballet and the artistic experience of its founders connected with the struggle of blacks to have professional dancing careers, and is there actually racial discrimination in Cuban ballet? We demonstrate that the Alonso triumvirate was a good indicator of the problem: Alicia and Fernando as performers, and Alberto Alonso as a choreographer, participated in a cultural movement directed at the rebirth of Cuban identity, they performed African American dances, and they worked together with George Balanchine, who adapted black dance and invited black dancers into his company. However, due to various reasons and circumstances, Alicia Alonso, first for herself and then for the Nacional ballet school and theatre, took a different path, that of entering, on equal footing, the domain of classical ballet, of European art in its essence, in which the white aesthetic is inherent. We would like to demonstrate that the main explanation of the paradox of Cuban ballet became the aesthetic dictatorship of the classics, the dictatorship within “white ballet” which is accepted voluntarily. Classical ballet is an art of subordination to rules and images that are thought of as absolute pinnacles.
Khasanov Mansur, Kamel Salah, Jurado Francisco
et al.
Nowadays, there is a global consensus that integrating renewable energy sources (RESs) is highly needed to meet the increasing electricity demand and reduce the overall carbon footprint of energy production. However, large-scale integration of RES-based distributed generation (DG) units often poses several technical challenges in the system from stability, reliability, and power quality perspectives. However, these problems are usually mitigated by the optimal integration of DG units in the distribution networks (DNs). In this regard, the optimal sizing and placement of the DGs are crucial. Otherwise, network performance will deteriorate. This paper proposes to apply a novel population-based technique called the dung beetle optimization (DBO) algorithm for the optimal allocation of Photovoltaic (PV) based DG units to minimize total active energy loss subject to equality and inequality constraints in the DN. A DBO is inspired by the behaviours of dung beetles, including ball-rolling, dancing, foraging, stealing, and reproducing. A standard 33-bus system has been used to demonstrate the proposed method's effectiveness. The simulation results and comparison with other techniques demonstrate our proposed approach's significant energy loss reduction and a suitable voltage profile.
Hiroshi Shinohara, Yukio Mikami, Rumi Kuroda
et al.
Abstract Purpose Since the enactment of the long-term care insurance (LTCI) act in 2000, the number of LTCI users has increased annually. However, evidence regarding what is being carried out as rehabilitation treatment under LTCI is lacking. In this study, a scoping review was performed to bridge this knowledge gap. Methods Articles related to rehabilitation in connection with LTCI published between April 2000 and November 2020 were searched for in PubMed, CINAHL, CENTRAL (Cochrane Central Register of Controlled Trials), Ichushi Web Ver.5, and CiNii and randomized controlled trials (RCTs) of rehabilitation provided under LTCI were examined. Results Of the 15,572 publications identified, 15 RCTs, including rehabilitation treatment by physiatrists and therapists, met the eligibility criteria of our review and were included. The rehabilitation trials in the 15 RCTs varied and included balance training, exercise therapy, cognitive tasks, and activities such as singing and dancing. The results allowed us to focus on three categories: fall prevention, dementia, and theory and tools interventions related to occupational therapy practice. Conclusion The focal points of attention in the rehabilitation treatment of LTCI were identified. However, the physical function, quality of life, and activities of daily living (ADL) of those who “need support” vary from person to person. Therefore, the consolidation of evidence on rehabilitation treatment of LTCI must be continued.
This article deepens our understanding of agency in the context of (in)securitized migration by engaging with the experiences of ‘undocumented’ women domestic workers in Switzerland. By linking the securitization framework with gaze theories and ontologies of the body, the following article accounts for migrants’ embodied and gendered experiences of (in)security and agency. In this perspective, the same bodies which are subjected to domination become tools of resistance enacted through a politics of in_visibilities. While these women mobilize strategies of invisibilization (camouflage, spatial practices of avoidance) to resist deportation, they simultaneously reappropriate self-representation by visibilizing their embodied presence within Switzerland’s visual field, creating a counter-gaze to their (in)securitization. This is manifest in the three cases of embodied plural performances studied through a methodology that combines interviews and filmmaking. While protesting, dancing and testifying illustrate how practices of bodily display can be used as collective rehumanizing tools, they also show how this mobilized visibility remains constrained by women’s (in)securitized conditions. Their agency becomes apparent in their ability to navigate this fine line, that is, the ways in which they creatively engage with the liminal spaces between the visible and the invisible to visually and politically inscribe their incarnated existence, overall destabilizing the securitized gaze.
Language and Literature, Social sciences (General)
D. O. A. Ogunrinade, B. J Babarinde, I. O. Owolabi
Most students in tertiary institutions nowadays have remarkable admittance to contemporary music and use them in both expected and unexpected ways. They spend hours daily listening, singing and dancing to various genre of contemporary music. This paper set out to examine the effects of contemporary music on the academic achievement of the tertiary institution students with focus on Adeyemi College of Education in Ondo State, Nigeria. A descriptive survey design was employed and the targeted populations for the study comprised both students and lecturers in the institution. The instrument for data collection was a structured and well-designed questionnaire guide. Five hundred and forty (540) students were randomly selected from various departments as well as One hundred (100) lecturers, making a total number of six hundred and forty (640) respondents. Data collected were analyzed using descriptive statistics in form of frequencies and simple percentage. The findings divulge that contemporary music is causing students to lose focus on their academic tasks, promotes a high sense of immorality through use of highly offensive language (lyrics) and dance patterns. This has resulted in penetrability of moral impiety, licentious dressing and sexual perversion among students. This study recommends that students should be encouraged to be listening to music that will convey positive character-building messages for edification and desist from music that egg on and motivate unethical acts.
Мета статті – виявити сучасні тенденції хореографічної освіти в Україні та перспективні підходи підготовки хореографів в умовах вищої мистецької освіти третього десятиліття ХХІ ст. Методологія. Застосовано типологічний метод, що посприяв виявленню особливостей сучасної хореографічної освіти в Україні; метод системного аналізу, завдяки якому розглянуто типові тенденції та підходи професійної підготовки хореографів; метод теоретичного узагальнення та ін. Наукова новизна. Досліджено сучасний стан, виявлено тенденції та окреслено перспективи розвитку вищої хореографічної освіти в Україні; проаналізовано єдину систему формування та розвитку основ професійної мобільності майбутніх фахівців як одну з найбільш перспективних систем; виявлено, що забезпечення міжнародного стандарту освіти вимагає розширення в освітніх програмах «Народна хореографія», «Бальна хореографія» та «Сучасна хореографія» історичних, культурологічних, філософських, психолого-педагогічних та мистецтвознавчих аспектів. Висновки. Сучасна хореографічна освіта в Україні спрямована на розвиток творчих здібностей людини та створення багаторівневої системи мистецької освіти. Проблема розширення культурно-освітнього простору вирішується завдяки використанню різноманітних джерел культури та знань. Парадигма вищої хореографічної освіти в Україні початку третього десятиліття ХХІ ст. орієнтована на підготовку нового типу фахівців – професійно мобільних, які здатні легко пристосовуватися до мінливих умов соціуму, ринку праці, дозвіллєвих умов та ефективно працювати в інноваційному режимі. Розглядаючи професійну мобільність як одну з найважливіших характеристик сучасного фахівця, позиціонуємо єдину систему формування та розвитку її основ як найбільш перспективну систему в хореографічній освіті України. Теоретико-практичний дискурс вищої професійної хореографічної освіти в Україні спрямований на внесення коректив у процес оптимізації підготовки фахівців з метою розширення спектра кваліфікацій за умови збереження алгоритму спадковості кращих педагогічних розробок, що існують на сучасному етапі в мистецьких закладах вищої освіти України.
Aquellas representaciones antiguas, y no tanto, de los estilos del flamenco, palos si se prefiere, como árbol genealógico de muchas ramas se siguen encontrando en peñas, tablaos, domicilios particulares y tabernas. Incluso en ocasiones comparecen en las aulas universitarias y de conservatorios, donde por fin el flamenco ha penetrado como componente de la docencia. De la misma manera bien podría poblar los despachos de los investigadores, pues al igual que el propio flamenco, la investigación en torno a este arte es un árbol de muchas, muchísimas, ramas unidas por el tronco común de la metodología científica.
En consonancia con lo dicho, aunque suponga redundar en lo elemental, si los territorios fronterizos al norte de Andalucía tienen sus propios estilos, si la trashumancia llevó el flamenco por toda la meseta, si Madrid es la ciudad flamenca más al norte, si la migración llevó e hizo evolucionar el flamenco en Cataluña y si personalidades como Vicente Escudero, Sabicas o Carmen Amaya nacieron en Valladolid, Pamplona y Barcelona respectivamente, y si el flamenco es una de nuestras mayores señas identitarias en el exterior, entonces la financiación y la promoción investigadora corresponden a varias autonomías y, por supuesto, a la administración central. La declaración del flamenco como área de conocimiento, reconociendo su cariz interdisciplinar, a nivel investigador, docente y de acreditación será el paso definitivo, que se antoja cada vez más necesario y apremiante, para dignificar, invertir y reposicionar los estudios sobre el flamenco.
The method of learning and experiencing music through movement is proposed by Emil Jaques-Dalcroze at the beginning of the 20th century as a very complex, holistic method of artistic education, that leads to harmonious development of man through the movement. Connected with it integrally interpretation of movement/rhythm and music determines the legible and interesting proposal of the cognition of music. The essence of "motorial music" interpretation - the synthesis of music and of planned movement in space - appeals to contemporary determinants of the contemplation of art. The perception of music in general is often associated with activity in the supplementary motor cortex, as is shown in the D. S. Levitin research (This is your brain in music" (quoted in Bader 2013, 398), published by Dulton, NY in 2006.), pointing to a strong influence of movement and perception in music. Moreover, an author desires to emphasize these words with large determination: Let us not be afraid of to be created artistic visions of music in the movement and space, marked by the features of individuals, because, exactly motorial music is the perfect manner of the perception of a musical work, which makes both performers and receivers part of the whole, involving them in the world of music.
Is there a proximity between the theory of gesture, as originally conceived in the early cinema era, and the cinematic representations of travel? What kind of bond connects the idea of moving images as a universal language and the globalisation processes which increasingly unfold throughout the twentieth century? How does a body that dances before the eyes of a ‘foreigner’ establish hierarchies of the gaze and simultaneously exceed them? This essay seeks to answer these questions through the analysis of three different films: Jean Renoir’s THE RIVER, Fritz Lang’s THE TIGER OF ESCHNAPUR, and Louis Malle’s PHANTOM INDIA, in which these European filmmakers represent exotic ‘Indian’ dances. In particular, this essay dwells on the multiple and ambiguous entailments that the dancing body establishes through its gesture within the relationship between the camera, characters, and audiences, in a context where the encounter of cultures speaking different languages occurs. Finally, through the theoretical arguments of Simmel, Focillon, and Lyotard, this preverbal relationship is defined as ‘pure gesturality’ and as a – yet unexpressed and maybe even inexpressible – promise of meaning.
Abstract Background Rigorous exercise undertaken by young girls, combined with a negative energetic balance, is related to substantial physiological changes in a competitor’s body, often leading to hormonal imbalance manifested by: delayed puberty, delayed menstruation, menstrual disorders, and even long-term secondary amenorrhoea. Very lean competitors, with insufficient body fat content, are not capable of maintaining oestrogen production at an optimal level, which results in hypothalamic-pituitary-gonadal axis abnormalities and menstrual disorders. Studies involving research on menstrual disorders in amateur dancers are scarce. Therefore, the aim of the study was to investigate whether menstrual disorders are present among young amateur dancers. Methods The study involved 233 females of a mean age of 22.1 years (SD ± 4.9), training amateur ballroom dancing. The questionnaire included questions regarding the regularity of the menstrual cycle, including the absence of a menstrual period, causes of menstrual disorders and breakthrough bleeding. Results Menstrual disorders following a period of regular menstruation were reported by 132 (56.7%) of ballroom dancers. In 105 (79.5%), the absence of a menstrual period lasted for less than 3 months, in 18 (13.6%) it persisted for 3 up to 6 months, while in 9 (6.8%) it lasted for over 6 months. Conclusions The research conducted concluded that with an increased number of hours spent in training by amateur dancers, there was a statistically significant increase in the chance for menstrual disorders; the more training sessions per week there were, the longer the breaks in menstruation were noted.
Gynecology and obstetrics, Public aspects of medicine
This paper proposes an investigation into the language of the satiric poem "Atta Troll - ein Sommernachtstraum" (Atta Troll - sonho de uma noite de verão), composed by Heinrich Heine in 1841. Two deeply woven aspects stand out in the poem and motivate this literary research: first the poet’s requirement, which runs throughout the lengthy poem as a Leitmotiv, asking for an art without moral, religious or political influences, based on its own laws, emerging from the notion of beauty, and whose reasons are inherent in themselves. The second perspective that the poem reveals is the metaphoric relationship of poetry and dance, the art form in its various manifestations both formal and informal, which are observed with strict scrutiny throughout the poem. From both aspects, taken from translated parts in Portuguese, the paper indicates important affinities of this literature that lean towards both romanticism and the transition to modernity, and whose transformations it points at, with respect to aesthetics and the role of the poet
Left-handers may have strategic advantages over right-handers in interactive sports and innate superior abilities that are beneficial for sports. Previous studies relied on differing criteria for handedness classification and mostly did not investigate mixed preferences and footedness. Footedness appears to be less influenced by external and societal factors than handedness. Utilizing latent class analysis and structural equation modeling, we investigated in a series of studies (total N > 15300) associations of handedness and footedness with self-reported sporting performance and motor abilities in the general population. Using a discovery and a replication sample (ns = 7658 and 5062), Study 1 revealed replicable beneficial effects of mixed-footedness and left-footedness in team sports, martial arts and fencing, dancing, skiing, and swimming. Study 2 (n = 2592) showed that footedness for unskilled bipedal movement tasks, but not for skilled unipedal tasks, was beneficial for sporting performance. Mixed- and left-footedness had effects on motor abilities that were consistent with published results on better brain interhemispheric communication, but also akin to testosterone-induced effects regarding flexibility, strength, and endurance. Laterality effects were only small. Possible neural and hormonal bases of observed effects need to be examined in future studies.
One of the most ambiguous question in the studying of pantomime ballet is its staging. The combination between dance and pantomime, true novelty of theatrical dance reform, is for us an enigma difficult to solve.The aim of this paper is to outline how dance and pantomime can combine in the eighteenth Century ballet. We will examine, among others, the following sources: the John Weaver’s libretto of The Loves of Mars and Venus (1717), the report of the Mercure de France on the staging of Maria Sallé’s Pygmalion (1734), Gennaro Magri’s Trattato teorico-prattico (1779) and Ferrère manuscript (written in the 1782). These documents are a sort of “interpretative models” and allow to identify an international common stage practice which, most likely, regards also choreographers active in Italy in the second half of Eighteenth Century.