Hasil untuk "Dancing"

S. Frith

W. Dittrich, T. Troscianko, S. Lea et al.

N. Keyfitz, W. Mcneill

Tomoyuki Nakamura, Pilar Ruiz Lozano, Y. Ikeda et al.

Nick Ceramella

In this article, I will discuss Lawrence’s passion for music and dance, which led him to combine sound, rhythm and movement as a new form of communication and which he shared also with the Futurists and avant-garde painters like Picasso and Matisse. Music and dance represent a leitmotiv throughout his lifelong career. His interest was rooted in his childhood when his mother played the piano in the long, cold winter evenings (cf. the poem “Piano”). While his father, as described by John Worthen in his biography, was a “graceful dancer” and used to sing cheerfully even following the rhythm of the hammer as he mended his boots (cf. Sons and Lovers and his sister’s memoirs, Ada Lawrence 23). Indeed, Ada reports that he seduced his wife by his graceful dancing. In Italy, Lawrence had many opportunities to see people dancing and singing, such as is the case in Sea and Sardinia where he is attracted by the rhythmic dances of the Mamuthones, scary carnival masques. I will focus on the essay “The Dance” in Twilight in Italy where we can admire two amazing local dancers, “Il Duro” and a wooden-legged man, who virtually hypnotise Frieda and another English lady “by the transport of repeated ecstasy.” (TI 169) The two men are seen as god-like figures who seem to have a strong Dyonisiac power which affects the two English women and brings them almost to a loss of control through the power of a polka played on a mandolin and a guitar.

Vipavinee Artpradid

This paper discusses selected findings from Moving Online: Ontology and Ownership of Internet Dance (funded by AHRC AH/W01002X/1). Dances are frequently copied, reperformed, and adapted with or without permission, raising important questions about ownership, appropriation, and acknowledgment. Through interviews with three Hip-Hop artists who share their work online, this study examines the ontological foundations of dance created for online consumption. In addition, the creative, socio-cultural, financial, and legal implications of online sharing on artists’ ownership are also discussed. Initial findings show that while understanding ownership and the nature of the ‘thing’ (creative output) that is created varies from artist to artist, there are genre-specific determinants, such as the Hip-Hop ‘sampling’ culture and the generation-based etiquette around ‘biting’ that has developed. This variation, specificity, combined with the complexities of online sharing, can lead to ownership disputes, particularly when financial stakes are involved. 

Zhawure Asilehan, Wentao Tang, Jing Zhang et al.

Abstract Materials with full and fractional skyrmions are important for fundamental studies and can be applied as information carriers for applications in spintronics or skyrmionics. However, creation, direct optical observation and manipulation of different skyrmion textures remain challenging. Besides, how the transformation of skyrmion textures directs the dynamics of colloids is not well understood. Here, we use experiments, simulations and theory to demonstrate that fractional skyrmion and bimeron strings can be created in a nematic liquid crystal (LC) through incompatible interfaced topological patterns. Moreover, distinct topological profiles are realized in the same skyrmion string loop. The light-actuated transformations of fractional skyrmion textures in both straight and loop geometry drive colloidal assemblies to exhibit exotic dynamic behaviors. Finally, fractional skyrmions with arbitrary shapes can be used as templates for a variety of exquisite colloidal assemblies. This work provides opportunities for designing new smart material to control self-assembly and transport of colloids.

Steve Dixon

J. Urry

Charlotte Taylor

In this paper, I interrogate how contemporary YA writers use ghosts in their novels to explore ideas about adolescence and grief. Ghost stories are a well-known genre that thrill and entertain and in turn, the key purpose of YA Fiction is to provide teenage readers with books that help them make sense of the world. I explore why teenagers might enjoy ghost narratives, to look at the juxtaposition between the youthful reader, full of vitality enjoying stories that deal with death and the afterlife. I look at three contemporary titles that explore ideas about what it means to haunt and be haunted: _The Astonishing Colour of After_ by Emily X R Pan (2018) in which a grieving teen is haunted by the spirit of her mother, who manifests as a red bird; _A Skinful of Shadows_ by Frances Hardinge (2017), in which the central protagonist Makepeace is haunted by several spirits including a desolate dancing bear, and _AfterLove_ by Tanya Byrne (2021) where Ash dies suddenly and learns what it is to be the ghost. I look at how these writers craft the ghosts in these stories, explore ideas about grief, and create spectral landscapes.

Andrea Daru

The emergence of sound recording devices in the 20th century marked a breakthrough in technological advances but also radically transformed the deeper layers of our lives. An earlier study by Daru (2022) explored the differences between written and recorded music and the anthropological impact of sound recording. The present paper aims to provide a philosophical-anthropological analysis of the educational process, following Kron (2003), within the frameworks of enculturation and socialization. The first part of the paper examines the cultural, social, and artistic effects of sound recording, while the second part analyses of music and dance-related pedagogical processes from a comparative perspective. In the final sections, following Bartók’s work, I discuss the connections between folk music, dance culture, and pedagogy in the 20th century. The study aims to formulate theoretical foundations for further research. 

Anna M. Carapellotti, R. Stevenson, M. Doumas

Dance may help individuals living with Parkinson’s disease (PD) improve motor and non-motor symptoms that impact quality of life (QOL). The primary aim of this systematic review of randomized controlled trials (RCTs) was to evaluate the efficacy of dance in improving motor and non-motor symptoms of PD and QOL. The secondary aims of this review were to evaluate the methodological quality of included studies by assessing risk of bias across nine categories and to inform the direction of future research. Peer-reviewed RCTs that included people living with PD at all disease stages and ages and measured the effects of a dance intervention longer than one day were included. Sixteen RCTs involving 636 participants with mild to moderate PD were eligible for inclusion in the qualitative synthesis and nine in the meta-analysis. Overall, the reviewed evidence demonstrated that dance can improve motor impairments, specifically balance and motor symptom severity in individuals with mild to moderate PD, and that more research is needed to determine its effects on non-motor symptoms and QOL. RCTs that use a mixed-methods approach and include larger sample sizes will be beneficial in fully characterizing effects and in determining which program elements are most important in bringing about positive, clinically meaningful changes in people with PD.

V. Wu, Yuchen Chi, Jeong Kyu Lee et al.

Qiushi Zhou, C. Chua, Jarrod Knibbe et al.

Designing computational support for dance is an emerging area of HCI research, incorporating the cultural, experiential, and embodied characteristics of the third-wave shift. The challenges of recognising the abstract qualities of body movement, and of mediating between the diverse parties involved in the idiosyncratic creative process, present important questions to HCI researchers: how can we effectively integrate computing with dance, to understand and cultivate the felt dimension of creativity, and to aid the dance-making process? In this work, we systematically review the past twenty years of dance literature in HCI. We discuss our findings, propose directions for future HCI works in dance, and distil lessons for related disciplines.

Ivan Platovnjak, Vinko Zovko

Movement is a reality that is linked to all dimensions of human life and action. People move in different ways and for different purposes. Various studies confirm that regular physical activity has a positive effect on a person’s overall health. In this article, the authors examine the connection between a person’s bodily movement and his or her spirituality. In four chapters, they reinforce the thesis that human beings move not only physically but also spiritually, and that their bodily movement enables them to live a more integrated spiritual life. In the first chapter, they briefly introduce movement as a fundamental reality of human life. In the second chapter they define spirituality, which should always be alive and also embodied in movement. In the third chapter, they describe Christian spirituality lived out in various forms of human bodily movement, limiting themselves to three basic ones: Walking, running, and dancing. As there is often a lack of connection between theory and practise, the last chapter briefly shows how to draw attention to bodily movement such that it has a greater influence on spiritual life.

Kristina Dwi Handayani, Sestri Indah Pebrianti

Gambyong Lengger dance is a dance created specifically for the Lengger Graduation Ritual Ceremony. This ceremony must be attended by Lengger Giyanti dancers. The dance has a distinctive form performed through its performance elements. The purpose of this research is to examine the performance form of the Gambyong Lengger dance. This research used a descriptive qualitative method with an Ethnocoreology approach. Data collection techniques are observation, interviews, and documentation. Data validity techniques were tested through triangulation of time, techniques, and sources. Data analysis techniques include data reduction, data presentation, and data verification. The results show that the Gambyong Lengger dance performance form is classified as a traditional folk dance in Giyanti Hamlet. The movements were adopted by the Gambyongan movements. In addition, the accompaniment used Cakepan Ladrang Pangkur Padhang Bulan, the makeup uses is corrective makeup, and the costumes use Lengger Giyanti costumes. The suggestion to Sanggar Rukun Putri Budhoyo is that there is a need for variations and additions to the variety of Gambyong Lengger dance movements. Therefore, after the dancers legally become lengger dancers, they can demonstrate their skills in dancing lengger with a dance duration that is not short.

Ildikó Sándor, Béla Ónodi

In our study, we present a plan for folk dance training and its methodological background within the framework of a larger interdisciplinary research program. Our aim is to provide a brief overview of the táncház-method (also known as the dance house method), discuss its practical pedagogical antecedents and describe the teaching process used in the approach, which consists of 32 sessions. In doing so, we provide guidance for implementing the táncház-method in the folk dance classroom.

P. Hewston, C. Kennedy, Sayem Borhan et al.

BACKGROUND dance is a mind-body activity that stimulates neuroplasticity. We explored the effect of dance on cognitive function in older adults. METHODS we searched MEDLINE, EMBASE, CENTRAL and PsycInfo databases from inception to August 2020 (PROSPERO:CRD42017057138). Inclusion criteria were (i) randomised controlled trials (ii) older adults (aged ≥ 55 years), (iii) intervention-dance and (iv) outcome-cognitive function. Cognitive domains were classified with the Diagnostic and Statistical Manual of Mental Disorders-5 Neurocognitive Framework. Meta-analyses were performed in RevMan5.3 and certainty of evidence with GradePro. RESULTS we reviewed 3,997 records and included 11 studies (N = 1,412 participants). Seven studies included only healthy older adults and four included those with mild cognitive impairment (MCI). Dance interventions varied in frequency (1-3×/week), time (35-60 minutes), duration (3-12 months) and type. We found a mean difference (MD) = 1.58 (95% confidence interval [CI) = 0.21-2.95) on the Mini Mental State Examination for global cognitive function (moderate-certainty evidence), and the Wechsler Memory Test for learning and memory had an MD = 3.02 (95% CI = 1.38-4.65; low-certainty evidence). On the Trail Making Test-A for complex attention, MD = 3.07 (95% CI = -0.81 to 6.95; high-certainty evidence) and on the Trail Making Test-B for executive function, MD = -4.12 (95% CI = -21.28 to 13.03; moderate-certainty evidence). Subgroup analyses did not suggest consistently greater effects in older adults with MCI. Evidence is uncertain for language, and no studies evaluated social cognition or perceptual-motor function. CONCLUSIONS dance probably improves global cognitive function and executive function. However, there is little difference in complex attention, and evidence also suggests little effect on learning and memory. Future research is needed to determine the optimal dose and if dance results in greater cognitive benefits than other types of physical activity and exercise.

Zijie Ye, Haozhe Wu, Jia Jia et al.

Dance and music are two highly correlated artistic forms. Synthesizing dance motions has attracted much attention recently. Most previous works conduct music-to-dance synthesis via directly music to human skeleton keypoints mapping. Meanwhile, human choreographers design dance motions from music in a two-stage manner: they firstly devise multiple choreographic dance units (CAUs), each with a series of dance motions, and then arrange the CAU sequence according to the rhythm, melody and emotion of the music. Inspired by these, we systematically study such two-stage choreography approach and construct a dataset to incorporate such choreography knowledge. Based on the constructed dataset, we design a two-stage music-to-dance synthesis framework ChoreoNet to imitate human choreography procedure. Our framework firstly devises a CAU prediction model to learn the mapping relationship between music and CAU sequences. Afterwards, we devise a spatial-temporal inpainting model to convert the CAU sequence into continuous dance motions. Experimental results demonstrate that the proposed ChoreoNet outperforms baseline methods (0.622 in terms of CAU BLEU score and 1.59 in terms of user study score).

A. Winstock, L. Mitcheson, P. Deluca et al.