Hasil untuk "Dancing"

Krista K. Miranda

“Sensing Dance” discusses returning to dance during the onset of COVID-19 to explore how dancing while quarantined can help us imagine practices in line with what Mia Mingus calls “access intimacy” (2017) specifically for people with eating disorders and body dysmorphia. In this essay, I ask: What would it mean for dance pedagogy to undergo a largescale reorientation that dismantles the hierarchical structures of both the teacher/student relationship and the ocularcentrism that tends to dominate our engagement with dance? What would it do to shift agency from instructor to student, and for the tyranny of the visual to be replaced by a more phenomenological felt sense? Beginning with a meditation on my experience taking Alexandra Beller’s Bartenieff Fundamentals™  classes, this essay discusses Jose Miguel Esteban and Devon Healey’s duet “The Breath and Movement of Blindness” (2022), and Heather Shaw and Krishna Washburn’s documentary screendance Telephone (2023). I argue that turning to the works and access practices of Esteban, Healey, Shaw, and Washburn as models can transform the way dance practitioners engage with dance as both an aesthetic and a pedagogical practice, thereby making it more accessible for chronically ill bodyminds that are often neglected when we think of access.

Petri Toiviainen, Petri Toiviainen, Joshua S. Bamford et al.

Understanding collective behavior in both biological and social contexts, such as human interactions on dance floors, is a growing field of interest. Spatiotemporal dynamics of collective behavior have previously been modeled, for instance, with swarmalators, which are dynamical units that exhibit both swarming behavior and synchronization, combining spatial movement and entrainment. In our current study, we have expanded the swarmalator concept to encompass gaze direction as a representation of visual attention. We employ the newly developed directional swarmalator model for simulating the complex spatiotemporal dynamics observed on dance floors. Our model aims to reflect the complex dynamics of collective movement, as well as rhythmic synchronization and gaze alignment. It establishes a quantitative framework to dissect how individuals on dance floors self-organize and generate emergent patterns in response to both musical stimuli and visual perception of other dancers. The inclusion of gaze direction allows for the simulation of realistic scenarios on dance floors, mirroring the dynamic interplay of human movement in rhythm-driven environments. The model is initially tested against motion capture recordings of two groups dancing in a silent disco, however, it is theoretically adaptable to a variety of scenarios, including varying group sizes, adjustable degrees of auditory and visual coupling, as well as modifiable interaction ranges, making it a generic tool for exploring collective behavior in musical settings. The development of the directional swarmalator model contributes to understanding social dynamics in shared music and dance experiences.

Sam Wentz

This video essay weaves together live performance and rehearsal footage of a new work in progress entitled A Society to Me: On Conflict and Intimacy Training, a moderated discussion by Dr. Arushi Singh, and verbal quotes from established artists in the field of dance and performance. This work centers on a dialogue with the performers about the process and experience of building and performing the work. This piece was created through a rapid, minimally verbal process that emphasizes risk, failure, and play, advocating for physical experience over linguistic mediation. The conversation examines the efficacy of social justice practices like safe spaces and boundary setting, questioning their transformative potential when institutionalized.

Valentina Voronova, Oksana Shynkaruk, Viktoriya Kovalchuk et al.

Objectives. The purpose of the study was to identify the peculiarities of athletes’ adaptation to post-sport life under modern conditions of reality. Materials and methods. The study involved 36 athletes, Masters of Sports, aged 25 to 40 years, who had finished their professional sports careers in disciplines such as ballroom dancing, artistic gymnastics, football, swimming, and judo. The study used methods of analysis and generalization obtained from scientific-methodical literature and internet data, surveys, and psychodiagnostics: the “Differential Emotions Scale” by C. Izard, adapted by A. Leonova, the “Meaningful Life Orientations” method by D. A. Leontiev, an adapted version of the “Purpose-in-Life Test” (PIL) by James Crumbaugh and Leonard Maholick, as well as the “Zimbardo Time Perspective Inventory” (ZTPI) by Zimbardo, P. G., & Boyd, J. N. During the study results’ analysis, the following methods were used: frequency analysis — identification of the frequency of each emotion category (absolute frequencies), and a calculation of percentage values (relative frequencies) for each category relative to the total number of participants. This was also applied to determine the number of athletes belonging to each category of future plans and to define the components of the time perspective; descriptive statistics — calculation of the mean value for each survey scale; these values were used to compare mean values between different scales and to analyze the variability of responses by calculating the standard deviation; percentage calculation. Results. This study examined the post-sport adaptation of 36 athletes using psychodiagnostic methods, thereby uncovering a complex emotional landscape and a variety of future perspectives. The survey results showed that 43% of the respondents had not yet decided what they wanted to become in their post-sports life, indicating significant stress, negative emotions, and physical and psychological problems that require attention and support. A significant portion (40%) of respondents affirmed that they could envisage their future without sports, with 25% choosing to become coaches and 15% interested in sports-related professions. Only 17% of respondents considered their future in other fields. The study also found that 42% of athletes reported having a strongly negative attitude towards leaving professional sports, experiencing feelings such as despair, grief, anger, disgust, and confusion. Another 36% of athletes characterized their emotional state as anxious-depressive, which also requires attention. Meanwhile, 22% of respondents stated a positive emotional attitude towards ending their careers, demonstrating interest in new circumstances and their future, which helps them to transition effectively into new lives. The study results on life orientations revealed that athletes tended to be more focused on past achievements and current goals than on the future, which may complicate their adaptation to post-sports life. Nevertheless, 37% of athletes are oriented towards a positive future and are willing to make efforts to achieve the necessary goals. Therefore, the findings clearly indicate the need for post-sports support and increased attention to the large proportion of former athletes (79%), whose mental health depends on the timeliness and speed of measures taken by specialists. Conclusions. The transition process for athletes after ending their professional careers to a life without sports is defined as individually nuanced, complex, and prolonged; it depends on past career success, is accompanied by stressful situations and negative emotions, and often requires a sudden conclusion to preserve the sense of being a champion.

Лілія Леонідівна Козинко

Мета статті – проаналізувати особливості втілення архетипів української культури в балетмейстерській спадщині Павла Вірського. Методологія. У дослідженні застосовано історико-хронологічний підхід, методи історичний, теоретичний, системний, аналітичний, дедуктивний, індуктивний та узагальнення. Наукова новизна. У статті вперше проаналізовано особливості балетмейстерського методу та балетмейстерської спадщини Павла Вірського крізь призму архетипів української культури. Висновки. Архетип являє собою певні символічні схеми «колективного підсвідомого», які виступають глибинно-сутнісними основами нації та проявляються в різних сферах людського існування, трансформуючись із часом у нові форми. Кожна нація має національні культурні архетипи, які зберігаються в пам’яті етносу та спричиняють його прогрес, базуючись на глибинній основі. Зважаючи на дослідження фрагментів біографії П. Вірського та його інтерв’ю, вважаємо, що архетипи української культури присутні не лише у творчості, а й притаманні особистості балетмейстера. По-перше, без наявності означених архетипів у автора втілити їх на сцені було б неможливо. По-друге, в особистості балетмейстера можна виявити такі архетипи, як едукативність, глибинний оптимізм, цінність особи, особиста свобода, кордоцентризм та ін. Попри те, що особистість П. Вірського до сьогодні залишається недостатньо вивченою, можна припустити наявність у ній ряду архетипів. Сьогодні балетмейстерська спадщина П. Вірського вражає всіх злободенністю, глибиною та сучасністю ідей, що свідчить про наявність у постановках всеосяжних архетипів української культури. У результаті аналізу постановок балетмейстера було встановлено розкриття у них таких архетипів української культури: архетип глибинного оптимізму, архетип обрядовості, архетип особистої свободи, архетип природи, архетип гри з долею, архетип Матері тощо. Водночас слід наголосити на необхідності продовження розвідок з означеної проблематики.

Wen-Ting Fang, Jian-Hua Sun, Pei-Hao Tong et al.

In essence, cultural and creative design features humanity and culture. The process of how to transform culture into creativity is an essential subject of design education, which, in turn, calls for a new design teaching system. In regard to combining traditional Chinese thinking with modern design experience, the question of how to apply traditional Chinese thinking to design concepts, methods, and education is systematically explored in this research. Firstly, the question of how to transform the philosophy of “Tao, Vessel, Change and Comprehensiveness” in the <i>Book of Changes</i> into “design thinking” in order to establish the learning process of creative design with added value—as well as to set up the teaching model of cultural and creative design under “Tao, Vessel, Change and Comprehensiveness”—is discussed. After this, two cases of the Aboriginal Harvest Festival’s cultural creativity “Dancing Together” candlestick and the animation, cultural, and creative design of the “Wind Lion God” are used in order to examine the effectiveness of the specific design and to verify the feasibility of this teaching model in the development and application of cultural and creative products. The results demonstrate the feasibility of this teaching model, which provides a new systematic approach for the purposes of teaching and practice in the field of cultural and creative design.

Xin Shao

The purpose of this article is to help singer to get more ideas for interpreting Robert Schumann’s work Dichterliebe (1840) through analyzing its relationship between words and music. The article also simply stating Schumman’s love story and his setting music of Heinrich Heine since this piece could be seen as a music resume of Schumann’s life. Otherwise, Word painting is a common composition tool for his work. Accordingly, the article analysis and shows the corresponding between the word meaning and piano part in this song cycle.

Paige E. Rice, Paige E. Rice, Paige E. Rice et al.

The purpose of this study was to investigate the effect of a 12-week ankle-specific block progression training program on saut de chat leaping performance [leap height, peak power (PP), joint kinetics and kinematics], maximal voluntary isometric plantar flexion (MVIP) strength, and Achilles tendon (AT) stiffness. Dancers (training group n = 7, control group n = 7) performed MVIP at plantarflexed (10◦) and neutral ankle positions (0◦) followed by ramping isometric contractions equipped with ultrasound to assess strength and AT stiffness, respectively. Dancers also performed saut de chat leaps surrounded by 3-D motion capture atop force platforms to determine center of mass and joint kinematics and kinetics. The training group then followed a 12-week ankle-focused program including isometric, dynamic constant external resistance, accentuated eccentric loading, and plyometric training modalities, while the control group continued dancing normally. We found that the training group's saut de chat ankle PP (59.8%), braking ankle stiffness (69.6%), center of mass PP (11.4%), and leap height (12.1%) significantly increased following training. We further found that the training group's MVIP significantly increased at 10◦ (17.0%) and 0◦ (12.2%) along with AT stiffness (29.6%), while aesthetic leaping measures were unchanged (peak split angle, mean trunk angle, trunk angle range). Ankle-specific block progression training appears to benefit saut de chat leaping performance, PP output, ankle-joint kinetics, maximal strength, and AT stiffness, while not affecting kinematic aesthetic measures. We speculate that the combined training blocks elicited physiological changes and enhanced neuromuscular synchronization for increased saut de chat leaping performance in this cohort of dancers.

Flora L. Brandl

This paper investigates a case of historical co-emergence between a modern system of dance notation and the rise of geometric abstraction in the applied arts during the first decades of the 20th century. It does so by bringing together the artistic careers of the choreographer Rudolf von Laban and the visual artist Sophie Taeuber-Arp. Comparing their pedagogical agendas and visual aesthetics, this paper argues that the resemblances between Laban&#8217;s Kinetography and Taeuber-Arp&#8217;s early geometric compositions cannot be a matter of pure coincidence. The paper therefore presents and supports the hypothesis of a co-constitutive relationship between visual abstraction and the dancing body in the European avant-garde.

Licia Buttà, Adrien Belgrano

In the rapidly evolving field of dance history and its iconography, the medieval period still remains in the wings. However, reinvigorated studies of images, highlighting their integration into places and practices, have made possible the escape from the constrained context of moral and liturgical debates on which dance is often still focused. The most recent works, therefore, tend to demonstrate how the representation of the dancing body in the Middle Ages, was in support of a vast and contrasting social imaginary, with moral implications, in addition to those related to entertainment and identity. In fact, it is permeated by various paradigms, such as the question of choros, metaphor of the Christian community, or that of Dionysian zeal, between divine ecstasy and demonic possession – or reprehensible gesticulation. The history of these iconographic patterns, issuing from antiquity, is marked as much by continuity as by innovation; they fuel the imagination of the body throughout the medieval period, and, without doubt, far beyond.

Marco Catalão

Desde Kant, a crítica de arte se fundamenta no apagamento do sujeito singular, encarnado e desejante (Jones, 2005, p. 20) em nome de um distanciamento que privilegia uma linguagem supostamente neutra e transparente. Apresentado como um roteiro para uma palestra-performance, este artigo contrapõe à prática tradicional da crítica kantiana uma outra possibilidade de abordagem crítica (denominada “crítica rapsódica”), exemplificada na própria estrutura do texto.

G. S. Bitkeeva

Euphemisms in the “language of Kalmyk women”, occurring due to taboos on mentioning the names of elder relatives of the husband, are an important aspect of Kalmyk women’s conversational etiquette and have a certain impact on the functions and development of the language. Such euphemisms are part of the whole system of ethical behavioral norms for Kalmyk women. The research results show that they have been created with due regard to the social and cultural conditions characteristic of the Kalmyks’ nomadic mode of life. Euphemisms are, like the system of ethical behavioral norms for women in general, supposed to strengthen the most important part of society - the family with the housewife / wife being its central figure, and tend to serve as means of fostering children, the future generations of the family and society. The paper presents a short critical review of the conducted research that dealt with euphemisms in the “language of Kalmyk women”. The first part of the review presents an analysis of a strictly linguistic aspect of the issue. The examples and their description show that those euphemisms, their structure and the way they form constitute a broad functional sphere in Kalmyk speech. This is the absolute character of the taboos on names that give rise to euphemisms, namely the names of older relatives are subjects to permanent taboos. Firstly, it does not matter whether the person the mention of whose name is tabooed is present or not at the moment of a woman’s speech. According to the second rule, taboos are applied not only to the names of living elder relatives of the husband but also those who had passed away long time ago, down to the tenth generation. Thirdly, the names of complete strangers are tabooed if those are identical to or resemble the names of the husband’s elder relatives. Fourthly, since many Kalmyk names comprise common words denoting household items, plants, minerals, the latter take a wide range of forms. The second part of the paper presents quotations that illustrate different opinions regarding the social and cultural judgments of euphemisms. Some respondents characterize euphemisms as a means to subjugate women designating them as vestiges of the past. The respondents are public persons. There is also a presentation of opinions regarding moral and ethical behavioral norms for women, traditional behavior for men and women in daily life, e.g. during dancing events and outdoor meetings. Those characterize people’s behavior in personal daily and social life that used to (and still do) take forms of high culture. The critical analysis of the existing research studies as well as the independent research of definite materials allow to conclude that euphemisms in the “language of Kalmyk women” are a cultural phenomenon and constitute a part of the system of ethical behavioral norms for Kalmyk women.

Claudia Palazzolo

Cet article est l’étape d’une recherche concernant le traitement théâtral des pratiques sociales de la danse et les effets de ce traitement du point de vue esthétique et dramaturgique. Le cas ici analysé est la pièce Bit(2014) de la chorégraphe Maguy Marin. En s’appuyant sur l’appareil discursif constitué de déclarations publiques de la chorégraphe et de l’ensemble de textes de réception critique, l’article analysera la manière dans laquelle cette allusion à la danse de société et la relation singulière qu’elle établit avec le spectateur, propose une vision complexe de la communauté dans le monde contemporain.

Salup Mărioara, Jacek Sobon

Activity in the lessons of modern dance, using appropriate music and features of age, is a way of activation of children in the educational process. Modern dance teacher’s personality, creativity, willingness to search and to promote the new, blending the work of training everything is good with what is beautiful, our own childhood memories bringing us closer to the age of the children that we educate, to their requirements, through all of this we can increase efficiency of modern dance classes, to ensure harmonious development, the formation of custom and pleasure to practice systematically elements of modern dance. Using music in modern dance classes at primary school will increase efficiency and in particular its density, and the dynamic of the lessons will get a new look that can be considered for enrichment of the methods used in educational process. The purpose of this study is to record the steps of modern dance to children in primary and the efficiency analysis using music lesson in modern dance lessons.

María Jesús Barrios Peralbo, Francisco Javier Ruiz del Olmo

El cine español desde las primeras décadas del s. XX ha dejado constancia de valiosas interpretaciones dancísticas por parte de los bailaores y bailarines más relevantes de aquellos años. A la pantalla cinematográfica se han asomado figuras sobresalientes como Pastora Imperio, Carmen Amaya, Vicente Escudero, Antonio El bailarín, Rafael de Córdova, Güito, Maria Rosa, Antonio Gades; todos ellos han ofrecido interesantes fragmentos coreográficos dejando para la historia de la danza española la impronta de su arte. Fueron los años sesenta uno de los periodos más fructíferos en la representación fílmica del baile español, este hecho logró acercar la danza española a la cultura de masas, dando a conocer al público las propuestas coreográficas de los artistas en auge. El objetivo de este artículo pretende constatar en qué medida los estilos de la danza española se han representado en el cine español. Para ello se ha llevado a cabo el visionado y selección de cuarenta y seis películas con pasajes de danza que fueron filmadas entre los años 1960-1969. Tras la observación y análisis del contenido, y recogida de los datos de la representación visual, obtenemos como resultado que en una gran mayoría de films la danza española se manifiesta en el estilo flamenco puro y en la danza estilizada con un alto registro de las formas del flamenco. Como conclusión, se constata que la revalorización de esta manifestación artística, de forma muy intensa desde los años sesenta, fue un hecho de poderosa influencia posterior tanto en el ámbito dancístico como en el cinematográfico.

Anne Petiau

<p><strong>Translator’s introduction</strong>: Anne Petiau’s essay provides an analysis of the many dimensions of <em>participation</em> [to participate, but also to contribute materially] in France’s “free parties” and “teknivals”. Working both historically and ethnographically, she develops this analysis using the theoretical framework of reciprocal gift-exchange, first conceptualized in <em>The Gift </em>[Le Don] by Marcel Mauss (1997 [1950]) but also further developed by noted French anthropologists Alain Caillé (2000) and Jacques T. Godbout (2000). Petiau notes that free parties are understood by organizers and attendees to be “free” in both senses of the term—freedom [<em>liberté</em>] as well as “for free” [<em>gratuité</em>]—while nonetheless relying on various forms of financial and in-kind donations from attendees. Notably, the free party itself is characterized by organizers as a gift offered freely to participants. And yet, as studies of gift-exchange suggest, gifts come with “strings attached”, with obligations and expectations of reciprocity. And so, Petiau argues that participants’ donations may not be as optional and freely given as they seem, illustrating how the actors involved in free parties articulate these expectations while reconciling them with the open-access ethos of these events. In addition to this insightful analysis, the essay provides a useful introduction both to the French free party/teknival scene as well as to the anthropology of gift-exchange. Anne Petiau’s article first appeared in French in 2012 as “Free-parties et teknivals. Dans les marges du marché et de l’Etat, système de don et participation”, in <em>Festivals, raves parties, free parties. Histoire des rencontres musicales en France et à l’étranger, </em>N. Bénard (ed.), 587–610. Paris: Camion Blanc.</p><p>Translated by Luis-Manuel Garcia</p><p> </p><p><strong>Abstract</strong></p><p>Through raves and then subsequently through “free parties” and “teknivals”, French fans of electronic music have developed festive practices at the margins of the market and the state. In France, these events—especially so-called free parties—are often associated with free-access events or inversely with settings for parallel economies. And yet, these parties operate under a logic of gift-exchange, playing on its symbolic dimensions. The free party is experienced as a collective production, in the sense that the organizers of these sound systems expect an investment, an active participation from the audience, and also in that the participants, faced with the party-as-gift made by these collectives, are drawn into an obligation to contribute to the event in their own way. This participation can take the financial form of a donation, but can also be made by helping to set up or clean the event location, enlivening the festive space through spectacular street-theater, and also simply by dancing. This organization through gift-exchange is thus directly connected to the kind of participatory experience sought by the audience. The party-as-gift also prompts other collectives to offer their own festive gifts in turn; this entails a degree of emulation between sound systems. They acquire prestige and renown within this social world according to their capacity to provide both music and parties as gifts. A reading in terms of the gift makes it possible to capture how the pleasures of giving and spontaneity can coexist with economic interests and prestige. </p>

Ian Herbert

S. Laroumagne, Xavier Elharrar, B. Coiffard et al.

Among paraneoplastic neurologic disorders (PND), opsoclonus-myoclonus syndrome, so-called “dancing eye syndrome,” is a rare disorder combining multivectorial eye movements, involuntary multifocal myoclonus, and cerebellar ataxia. Although several paraneoplastic antibodies against postsynaptic or cell-surface antigens have been reported, usually most patients are serum antibody negative. We report a 65-year-old patient with opsoclonus-myoclonus syndrome revealing a small-cell lung carcinoma. If serologic antineuronal anti-body screening was negative, autoantibodies against glutamic acid decarboxylase (anti-GAD) were positive. Despite the specific anticancer treatment and high dose corticosteroids, the patient developed a severe and progressive encephalopathy and died 10 days later.

A. Eller, L. Crum

J. L. Gould