Hasil untuk "Dancing"

D. Stern

Qiuhong Li

Not enough attention has been paid to the artistic approach of depicting human figures at the center of double-scroll patterns in Chinese Buddhist art. Originating from Greco-Roman culture, this motif entered China from the overland Silk Road around the late 5th century, evolving into two systems. The Hexi Corridor system, centered on Dunhuang, predominantly features lotus-born beings holding vines. The figural types evolved from lotus-born beings to celestial beings, bodhisattvas, and buddhas, with postures ranging from vine-holding to mudra-forming, lotus-tray-lifting, music-playing, and dancing, demonstrating a clear trajectory of development. The Northern Central Plains system, successively centered in Pingcheng, Qingzhou, and Yecheng, developed a relatively complete sequence only in buddha figures. The motif first spread through the Hexi Corridor before influencing the Northern Central Plains. It was adapted from its original Mediterranean context of mythological themes and funerary or temple use to illustrate Buddhist doctrines in China, absorbing elements of Han, Western Regions, and Central Asian cultures. By clarifying the motif’s origin, spread, evolution, and adaptation through systematic analysis of material evidence, this article reveals an intrinsic connection between Greco-Roman culture and Chinese Buddhist art, enriches the history of Sino-foreign cultural exchange, and reflects how Buddhism absorbed diverse cultural elements to achieve Sinicization.

Jenni Sahramaa, Riitta Rainio

Prehistoric rock art in Northern Europe repeatedly shows people standing, jumping, and dancing in a boat. Especially in Finland, rock paintings and the related offerings were made specifically from a boat. In 2023, dancer Arttu Peltoniemi conducted an artistic-scientific experiment called Dug Boat Dance to explore whether it is possible to dance in a boat, and what kind of movements and bodily sensations this might generate. The three-month-long experiment was carried out in a Stone Age-style dugout canoe, using the dancer's body and somaesthetic experiences as research tools. According to our interviews with Peltoniemi, the dugout boat affected dancing in many ways. As a moving and rocking platform, it kept the dancer's ankles, knees, and spine in constant motion, provoking undulating snake-like movements throughout the body. It responded to jumps, steps, and falls by springing down and up again, which created a sense of flying. The multi-sensory experience, which also included rhythmic body sounds, the rattling of bone pendants in the reconstructed Stone Age outfit, as well as echoes bouncing off the painted rock, brought Peltoniemi into a state of trance during the public performances. Altogether, this reimagination of prehistoric dance provides insight into the sensory world of the past, especially its little-explored bodily sensations. The unique project proves that dancing in a dugout boat is not only possible but also an impressive experience for both the dancer and the audience.

Chenthil Balaji, Srinivasan Parthasarathy

This case report outlines the presentation, diagnosis, and treatment of belly dancer dyskinesia (BDD) in a 65-year-old male patient initially misdiagnosed with gastroesophageal reflux disease. The patient complained of regurgitation and hiccups for the past 3 months with no improvement of symptoms after proton-pump inhibitors. Despite adding baclofen, the patient’s symptoms persisted, prompting further clinical evaluation revealing dystonic abdominal movements characteristic of BDD. Routine neuroimaging and abdominal imaging were normal. The liver and renal function tests were normal treatment with clonazepam and promethazine resulting in rapid symptom improvement, with sustained relief even after tapering promethazine. Notably, BDD lacks the sudden, jerky movements of myoclonus and the stereotyped nature of tics, aiding in its differentiation. Diagnostic tests including electrophysiological studies were crucial for confirmation, but they were not done as the patient did not incline after good symptomatic improvement. Early recognition and tailored treatment of rare conditions, yet presenting with common symptoms like BDD, need clinical vigilance.

Yicheng Xu, Lin Yuan, Jia Xu et al.

Abstract Background The global rise of problematic smartphone use has resulted in economic, health, and cognitive losses among middle-aged and older adults. Studies on the influencing factors of problematic smartphone use in this population have been conducted from an individual perspective; few have explored the role of social interaction activities. We investigated the association of Dancing with Care (DWC) with problematic smartphone use among middle-aged and older adults in China. DWC is promoted as a group-based social interaction activity to enhance social integration in communities. It is famous for its flexible participation formation as a dancing activity based on people’s interests and emotions. Specifically, we analyzed whether it may contribute to low problematic smartphone use in this population. Methods We surveyed 998 residents aged 45–89 years from 10 urban and rural communities each in two cities in China from April to May 2024. DWC team attachment, problematic smartphone use, loneliness, socioeconomic status, and other variables were assessed. A moderated mediation model was used to analyze whether DWC team attachment lessened participants’ problematic smartphone use and whether an urban–rural difference existed. We also examined whether loneliness mediated the effect of DWC team attachment on problematic smartphone use. Results DWC team attachment was negatively associated with participants’ problematic smartphone use. Loneliness mediates the association between DWC team attachment and older participants’ problematic smartphone use. Moreover, urban and rural residence moderated the association between DWC team attachment and problematic smartphone use. Conclusion Dancing with Care team attachment partially corresponded to lower problematic smartphone use and less loneliness. This effect varied between rural and urban areas, as urban participants had weaker social networks, higher information literacy, and stronger smartphone use habits compared with rural participants. This study highlights the association between a social interaction activity and problematic smartphone use among middle-aged and older adults.

Роман Ярославович Берест, Олександр Анатолійович Плахотнюк

Мета статті – виявити основні чинники впливу на формування творчої особистості Роми Прийми та висвітлити найважливіші етапи її мистецької та просвітницької діяльності. Методологія дослідження базується на застосуванні комплексного підходу, що поєднує культурно-типологічний, історико-порівняльний, описовий методи та елементи культурно-освітньої, суспільно-політичної ретроспективної реконструкції. Наукова новизна полягає в висвітленні маловідомих сторінок життя й творчості Роми Прийми, її ролі в популяризації української національної культурної спадщини засобами хореографічного мистецтва. Висновки. Талановита галичанка Рома Остапівна Прийма-Богачевська, народжена в Перемишлі, в сім’ї інтелігенції, з п’яти років навчалася за системою Е. Жака-Далькроза; згодом – у хореографічній школі ритміки та модерного танцю М. Бронєвської за системою М. Вігман; надалі – в балетній школі при Великому театрі Львова. У грудні 1939-го у віці 13 років стала солісткою львівського Великого театру. Через складні обставини радянської окупації заходу України у вересні 1939 р. опинилася за межами України. Серед основних віх творчого життя, що істотно вплинули на формування особистості Роми Прийми – вступ до Віденської Академії музики і драматичного мистецтва на курс відомої балерини Грети Візенталь; надалі була солісткою балетної трупи національного театру в Інсбруку та Зальцбурзі, працювала в трупі М. Грем у Нью-Йорку. 1960 р. створила авторську програму, де переважали українські танці; 1962 р. здійснила турне з програмою «Танці й характери України». У власних постановках Р. Прийма поєднувала хореографічну експресію, пластику, глибокий зміст та українські фольклорні мотиви. Заснувала приватну школу балету та українських народних танців у Нью-Йорку. Відкрила школи в інших містах США, що мали популярність у середовищі української діаспори. 1978 р. заснувала молодіжний ансамбль народного танцю «Сизокрилі». Довготривалою й багатогранною творчою діяльністю Р. Прийма-Богачевська зробила неабиякий внесок у розвиток українського та світового хореографічного мистецтва як артистка, вчителька, хореографиня, керівниця молодіжного танцювального ансамблю, патріотка національного духу. Пам’ятаючи про своє походження, завжди прославляла Україну, популяризуючи українську національну культуру.

Madeleine Eve Hackney, Agnieszka Zofia Burzynska, Lena H. Ting

Abstract Creative movement, in the form of music- and dance-based exercise and rehabilitation, can serve as a model for learning and memory, visuospatial orientation, mental imagery, and multimodal sensory-motor integration. This review summarizes the advancement in cognitive neuroscience aimed at determining cognitive processes and brain structural and functional correlates involved in dance or creative movement, as well as the cognitive processes which accompany such activities. We synthesize the evidence for the use of cognitive, motor, and cognitive-motor function in dance as well as dance’s potential application in neurological therapy and neurorehabilitation. Finally, we discuss how partnered interaction and sensorimotor integration in dance, and “dancing robots” could shed light on future application of dance as rehabilitation, of dance used in technology and potential mechanisms of benefit from dance-based activities.

J. Lorenzo Perillo, Kellee E. Warren

Angela Mcrobbie

Elena Randi

The article aims at describing how a dance critical edition can be produced and how that of Marius Petipa-Riccardo Drigo’s Harlequinade (St. Petersburg, Mariinskij, 1900) is concretely being devised. The work is mainly based on apographical manuscript sources. The edition model, which is multi-textual, will be critical-genetic. The choreographic and musical versions we aim at transcribing as the basic text are the oldest possible versions of those actually staged in St. Petersburg. The article deals with a number of theoretical and applicative problems that may be useful for the elaboration of future dance critical editions.

Tuomeiciren Heyang, Rosemary Martin

ABSTRACT Coronavirus disease (COVID-19) is currently sweeping the globe. With this pandemic impacting social, political and economic spheres, this article unpacks COVID-19 in relation to international tertiary dance education, asking: How are we sustaining international relationships and global dialogues within dance education in light of COVID-19? What might be new ways of engaging internationally if we are not physically able to travel in the ways we did before COVID-19? And how are we becoming creative with our dance education within this time of online learning, teaching and researching, and what might this offer international tertiary dance education? Through an auto-narrative approach we share three experiences from these early days within a changing wold, where we reflect on our role and practices as dance educators and researchers navigating these times. Themes of innovation, motivation, cultural agendas, slow scholarship, online pedagogy, and virtual and corporeal mobility are identified and discussed in relation to the potential future(s) for international tertiary dance education in a COVID-19 world.

H. Payne, Barry Costas

Background: In the United Kingdom, creative dance is classified as part of physical education rather than an important core subject. Purpose: Taking the U.K. National Curriculum as an example, the article’s primary aim is to examine literature exploring the benefits of creative dance, for children aged 3 to 11 years in mainstream state education, to evaluate whether creative dance can be categorized as experiential learning. Methodology/Approach: The literature review included key words in several databases and arrived at potential benefits which can be framed within experiential learning. Findings/Conclusions: The findings identify benefits of creative dance in socioemotional, arts-based, transferable, embodied, physical, and cognitive learning. Conceptualizing creative dance as experiential learning could support it filling a more central role in the curriculum. Implications: This article recontextualizes the role of creative dance in children’s learning through reviewing related literature. Creative dance might play a more central role in the curriculum when the benefits and its process are framed as experiential learning.

Ying-ping Wang, Guang Zheng

Artificial intelligence (AI) has not been widely and deeply implemented in dance teaching of colleges. To solve the problem, this paper identifies the problems with the AI in college education and dance teaching, theoretically discusses the application strategies of the AI in dance teaching of colleges, and demonstrates the promotive effect of AI in college dance teaching. Next, a performance analysis model was established based on fuzzy interval num-ber, grey system theory, and analytic hierarchy process (AHP), and adopted to evaluate the performance of the AI application in college dance teaching. The research results shed a new light on the application of cutting-edge tech-niques in college education.

Andrea Orlandia, Emily S. Crossc, Guido Orgse

Kamila Baraniecka-Olszewska

This is the first review of the preprinted article "Dancing for the Saints in the Time of COVID-19: Responses to the Lockdown in the Texcoco and Teotihuacan Regions in Central Mexico." The review will be taken offline once the final article has appeared. The reviewed article can be found under the following link: (PREPRINT) Dancing for the Saints in the Time of COVID-19: Responses to the Lockdown in the Texcoco and Teotihuacan Regions in Central Mexico | Entangled Religions (rub.de)

Назенік Гагіківна Саргсян

Цель статьи – обосновать правомерность введения в область дансологии понятия «жанр портрета» на примере постановок балетмейстера Рудольфа Харатяна. Методология. Путем искусствоведческого анализа балетов хореографа Рудольфа Харатяна «Ипостаси», «Bachpassion» (Страсти Баха) и «La Boheme», сравнения хореографических решений жанра портрета в названных балетах выявлено специфику интерпретации образов композиторов Моцарта и Баха, а также шансонье Шарля Азнавура. Научная новизна. Впервые на основе анализа трех балетов Рудольфа Харатяна в дансологию введено понятие «жанр портрета», под которым подразумеваем хореографический спектакль или отдельный номер, героем которого является историческая личность (а не вымышленный персонаж), представитель искусства. Выводы. Жанр портрета не идентичен таковому в живописи или скульптуре, но ближе к произведениям литературы или кинематографа. В них, как и в хореографическом спектакле, на первый план выходит не только тот, о ком они повествуют, а главное – как. В балете «Ипостаси» передан многообразный духовный мир Моцарта – его ипостаси, как образы действующих лиц, созданных им опер. Они то находятся с ним в полной гармонии, то сопереживают ему, то отторгаются от своего создателя. В «Bachpassion», кроме самого Баха, принимают участие еще 13 балерин и танцовщиков, но нет конкретных персонажей – такое образное решение музыкального мира Баха. В «La Boheme» действие конкретизировано – это путь Шарля Азнавура к признанию, однако назвать балет сюжетным нельзя. Это скорее портрет шансонье в интерьере Монмартра. В перспективе жанр портрета может быть рассмотрен более широко, как хореографический спектакль или отдельный номер, героем которого является историческая личность (а не вымышленный персонаж), безотносительно к тому, представитель ли он искусства, политики, науки, духовенства и др.

Stacy Hsueh, S. Alaoui, W. Mackay

Kinaesthetic creativity refers to the body's ability to generate alternate futures in activities such as role-playing in participatory design workshops. This has relevance not only to the design of methods for inspiring creativity but also to the design of systems that promote engaging experiences via bodily interaction. This paper probes this creative process by studying how dancers interact with technology to generate ideas. We developed a series of parameterized interactive visuals and asked dance practitioners to use them in generating movement materials. From our study, we define a taxonomy that comprises different relationships and movement responses dancers form with the visuals. Against this taxonomy, we describe six types of interaction patterns and demonstrate how dance creativity is driven by the ability to shift between these patterns. We then propose a set of interaction design qualities to support kinaesthetic creativity.

D. V. van Winden, R. V. van Rijn, A. Richardson et al.

Aim We investigated the extent and characteristics of injuries in contemporary dance students. Methods During one academic year, 134 students of Bachelor dance and Bachelor dance teacher from Codarts University of the Arts (Rotterdam, the Netherlands) were prospectively monitored monthly, using the Performing Artist and Athlete Health Monitor which includes the Oslo Sports Trauma Research Centre Questionnaire on Health Problems. Results 130 students were included in the analyses. The response rate of monthly completed questionnaires was 80%. During the academic year, 97% of students reported at least one injury, mental complaint or other health problem. The 1-year injury incidence proportion was 81%. Of these injured students, 58% were substantially injured (ie, problems leading to moderate or severe reductions in training volume or performance or complete inability to participate in activities). The monthly injury proportion (all injuries) ranged from 23% to 43% and for substantial injuries from 6% to 17%. The injury incidence rate per 1000 hours dance exposure was 1.9 (95% CI 1.7 to 2.2). Ankle/foot (30%), lower back (17%) and knee (15%) were the most common sites of injury. Conclusion Contemporary dance students are at high risk for injuries. Injury prevention programmes among contemporary dance students should focus on the ankle/foot, lower back and knee.

C. McRae, D. Leventhal, Olie Westheimer et al.

J. Christensen, S. Gaigg, B. Calvo-Merino