Hasil untuk "Dancing"

Shibowen Zhang, Jiayang Wu, Guannan Liu et al.

This paper presents an integrated model-based framework for generating and executing dynamic whole-body dance motions on humanoid robots. The framework operates in two stages: offline motion generation and online motion execution, both leveraging future state prediction to enable robust and dynamic dance motions in real-world environments. In the offline motion generation stage, human dance demonstrations are captured via a motion capture (MoCap) system, retargeted to the robot by solving a Quadratic Programming (QP) problem, and further refined using Trajectory Optimization (TO) to ensure dynamic feasibility. In the online motion execution stage, a centroidal dynamics-based Model Predictive Control (MPC) framework tracks the planned motions in real time and proactively adjusts swing foot placement to adapt to real world disturbances. We validate our framework on the full-size humanoid robot Kuavo 4Pro, demonstrating the dynamic dance motions both in simulation and in a four-minute live public performance with a team of four robots. Experimental results show that longer prediction horizons improve both motion expressiveness in planning and stability in execution.

Olufemi Akanji Olaleye, Olusegun Stephen Titus

The agonizing afterlives of the traditional religion conquest and the cultural oath system alterations by the adherents of imported foreign religions to Nigeria brought spiritual favoritism to the Bible and the Quran as an object of oath. Consequently, the traditional religion suppressions emboldened Nigerian leaders and politicians to do away with the fears of the traditional gods, which they had earlier feared and venerated. Therefore, this study explores the afterlives of traditional religious slavery and the foreign politics of modern oath systems and their consequences on the socio-political lives of Nigerians. The study adopted an ethnographic method that included participant observation, interviews, and textual analysis. Secondary data were sourced from books and the internet. More so, the song of Fela Anikulapo was analysed, which exposes and itemizes the negative effects of traditional religious slavery in Nigeria. Based on the religious diversity theory, the study argues that Nigerian religious tradition differs from the foreign religious philosophies and doctrines; however, the skewedness of the two unequal religions has negative consequences on the socio-political lives of the people. Finding reveals that the exterminations of the cultural oath systems contributed to Nigeria's downfall with in-depth corruption, abject poverty, suffering, lack of social amenities, hopelessness, and sickness, ‘JAPA’, and early deaths in Nigeria. Findings also reveal that music is a useful weapon of historicity and excellent cultural ideological reawakening, and that music is significantly valuable to sustainable development. The study concludes that the antidote to cure Nigeria of endemic political imbroglio and economic challenges permanently is the resuscitation of the fearful cultural oath systems.

Xiaojuan Wang, Aleksander Holynski, Brian Curless et al.

We present a framework for generating music-synchronized, choreography aware animal dance videos. Our framework introduces choreography patterns -- structured sequences of motion beats that define the long-range structure of a dance -- as a novel high-level control signal for dance video generation. These patterns can be automatically estimated from human dance videos. Starting from a few keyframes representing distinct animal poses, generated via text-to-image prompting or GPT-4o, we formulate dance synthesis as a graph optimization problem that seeks the optimal keyframe structure to satisfy a specified choreography pattern of beats. We also introduce an approach for mirrored pose image generation, essential for capturing symmetry in dance. In-between frames are synthesized using an video diffusion model. With as few as six input keyframes, our method can produce up to 30 seconds dance videos across a wide range of animals and music tracks.

Kaixing Yang, Jiashu Zhu, Xulong Tang et al.

With the rise of online dance-video platforms and rapid advances in AI-generated content (AIGC), music-driven dance generation has emerged as a compelling research direction. Despite substantial progress in related domains such as music-driven 3D dance generation, pose-driven image animation, and audio-driven talking-head synthesis, existing methods cannot be directly adapted to this task. Moreover, the limited studies in this area still struggle to jointly achieve high-quality visual appearance and realistic human motion. Accordingly, we present MACE-Dance, a music-driven dance video generation framework with cascaded Mixture-of-Experts (MoE). The Motion Expert performs music-to-3D motion generation while enforcing kinematic plausibility and artistic expressiveness, whereas the Appearance Expert carries out motion- and reference-conditioned video synthesis, preserving visual identity with spatiotemporal coherence. Specifically, the Motion Expert adopts a diffusion model with a BiMamba-Transformer hybrid architecture and a Guidance-Free Training (GFT) strategy, achieving state-of-the-art (SOTA) performance in 3D dance generation. The Appearance Expert employs a decoupled kinematic-aesthetic fine-tuning strategy, achieving state-of-the-art (SOTA) performance in pose-driven image animation. To better benchmark this task, we curate a large-scale and diverse dataset and design a motion-appearance evaluation protocol. Based on this protocol, MACE-Dance also achieves state-of-the-art performance. Project page: https://macedance.github.io/

Ian Patterson, Adela Balderas-Cejudo

Purpose – This paper sets out to answer the following research question: Is nostalgia an important travel motive that helps to explain why older tourists choose a specific sustainable destination? Design/methodology/approach – This paper is a conceptual paper and uses a systematic literature review as the main method of secondary data analysis. Findings – The findings suggest that nostalgia significantly contributes to the overall tourism experience, because older travelers often have a strong sense of nostalgia that dominates their memories and provides a positive view of the past that contributes to a greater sense of continuity and meaning in their lives. Research limitations – Being a conceptual paper is its limitation in itself. For DMOs and marketers, it is important to understand what are the specific characteristics of a sustainable destination that are likely to serve as a cue for developing nostalgic emotions to help promote it. This can be achieved by designing nostalgic advertisements that are based on the history and cultural uniqueness of tourist attractions that stimulates the older tourists' love of history and culture, to motivate them to visit these sustainable destinations. DMOs need to capitalize on the nostalgic sentiments that are expressed by older tourists themselves that should also be used to promote nostalgia as a marketing strategy to attract potential consumers. To achieve this, potential tourists need to be shown imagery of older adults living their lives to the fullest. These include sharing photos of seniors doing “soft adventure” activities such as kayaking, hiking, and camping as well as other social activities such as dancing, socializing, learning, and cooking as examples of all the activities that older adults used to do when they were younger. Another strategy is for DMOs to use virtual reality trips to demonstrate that nostalgia contributes to sustainable tourism as it can accurately portray a destination’s atmosphere and to include its rich sensorial appeal. Nostalgia that is evoked by virtual reality has also been found to facilitate the marketing of “slow travel”, which encourages experiences of deep cultural exploration which entails choosing slower transportation, thus highlighting environmental consciousness (Juhl and Biskas, 2023). Future studies are needed to investigate how the beneficial effects of nostalgia can be employed to improve the quality of people’s social lives through sustainable tourist experiences. Practical implications – For DMOs and marketers, it is important to understand what are the specific characteristics of a sustainable destination that are likely to serve as a cue for developing nostalgic emotions to help promote it. This can be achieved by designing nostalgic advertisements that are based on the history and cultural uniqueness of tourist attractions that stimulates the older tourists' love of history and culture, to motivate them to visit these sustainable destinations. DMOs need to capitalize on the nostalgic sentiments that are expressed by older tourists themselves that should also be used to promote nostalgia as a marketing strategy to attract potential consumers. To achieve this, potential tourists need to be shown imagery of older adults living their lives to the fullest. Another strategy is for DMOs to use virtual reality trips to demonstrate that nostalgia contributes to sustainable tourism as it can accurately portray a destination’s atmosphere and to include its rich sensorial appeal. Social implications – Raising awareness of ageism and the need to market older individuals in a different way is key. Originality/value – Nostalgia is related to sustainable tourism, especially to the pillar of social sustainability that helps to bring people together. It is also regarded as one of the main contributing motives behind an older traveler’s choice of a sustainable destination. However, very few studies have acknowledged the importance of nostalgia as a motivation for travel, especially for repeat visitations.

Canyu Zhang, Youbao Tang, Ning Zhang et al.

Dance serves as a powerful medium for expressing human emotions, but the lifelike generation of dance is still a considerable challenge. Recently, diffusion models have showcased remarkable generative abilities across various domains. They hold promise for human motion generation due to their adaptable many-to-many nature. Nonetheless, current diffusion-based motion generation models often create entire motion sequences directly and unidirectionally, lacking focus on the motion with local and bidirectional enhancement. When choreographing high-quality dance movements, people need to take into account not only the musical context but also the nearby music-aligned dance motions. To authentically capture human behavior, we propose a Bidirectional Autoregressive Diffusion Model (BADM) for music-to-dance generation, where a bidirectional encoder is built to enforce that the generated dance is harmonious in both the forward and backward directions. To make the generated dance motion smoother, a local information decoder is built for local motion enhancement. The proposed framework is able to generate new motions based on the input conditions and nearby motions, which foresees individual motion slices iteratively and consolidates all predictions. To further refine the synchronicity between the generated dance and the beat, the beat information is incorporated as an input to generate better music-aligned dance movements. Experimental results demonstrate that the proposed model achieves state-of-the-art performance compared to existing unidirectional approaches on the prominent benchmark for music-to-dance generation.

Ronghui Li, YuXiang Zhang, Yachao Zhang et al.

We propose Lodge, a network capable of generating extremely long dance sequences conditioned on given music. We design Lodge as a two-stage coarse to fine diffusion architecture, and propose the characteristic dance primitives that possess significant expressiveness as intermediate representations between two diffusion models. The first stage is global diffusion, which focuses on comprehending the coarse-level music-dance correlation and production characteristic dance primitives. In contrast, the second-stage is the local diffusion, which parallelly generates detailed motion sequences under the guidance of the dance primitives and choreographic rules. In addition, we propose a Foot Refine Block to optimize the contact between the feet and the ground, enhancing the physical realism of the motion. Our approach can parallelly generate dance sequences of extremely long length, striking a balance between global choreographic patterns and local motion quality and expressiveness. Extensive experiments validate the efficacy of our method.

Koki Endo, Shuhei Tsuchida, Tsukasa Fukusato et al.

Segmenting dance video into short movements is a popular way to easily understand dance choreography. However, it is currently done manually and requires a significant amount of effort by experts. That is, even if many dance videos are available on social media (e.g., TikTok and YouTube), it remains difficult for people, especially novices, to casually watch short video segments to practice dance choreography. In this paper, we propose a method to automatically segment a dance video into each movement. Given a dance video as input, we first extract visual and audio features: the former is computed from the keypoints of the dancer in the video, and the latter is computed from the Mel spectrogram of the music in the video. Next, these features are passed to a Temporal Convolutional Network (TCN), and segmentation points are estimated by picking peaks of the network output. To build our training dataset, we annotate segmentation points to dance videos in the AIST Dance Video Database, which is a shared database containing original street dance videos with copyright-cleared dance music. The evaluation study shows that the proposed method (i.e., combining the visual and audio features) can estimate segmentation points with high accuracy. In addition, we developed an application to help dancers practice choreography using the proposed method.

Hongsong Wang, Ying Zhu, Xin Geng et al.

Dance plays an important role as an artistic form and expression in human culture, yet automatically generating dance sequences is a significant yet challenging endeavor. Existing approaches often neglect the critical aspect of controllability in dance generation. Additionally, they inadequately model the nuanced impact of music styles, resulting in dances that lack alignment with the expressive characteristics inherent in the conditioned music. To address this gap, we propose Style-Guided Motion Diffusion (SGMD), which integrates the Transformer-based architecture with a Style Modulation module. By incorporating music features with user-provided style prompts, the SGMD ensures that the generated dances not only match the musical content but also reflect the desired stylistic characteristics. To enable flexible control over the generated dances, we introduce a spatial-temporal masking mechanism. As controllable dance generation has not been fully studied, we construct corresponding experimental setups and benchmarks for tasks such as trajectory-based dance generation, dance in-betweening, and dance inpainting. Extensive experiments demonstrate that our approach can generate realistic and stylistically consistent dances, while also empowering users to create dances tailored to diverse artistic and practical needs. Code is available on Github: https://github.com/mucunzhuzhu/DGSDP

Marta Mele

When a philological reconstruction of the ballet The Sleeping Beauty was staged in St. Petersburg in 1999, there were numerous criticisms against the production. According to the scholar Tim Scholl, this version had revealed the limits of Soviet dance and in particular «the failure of its central dogma, symphonism». After having retraced the history of this ballet and after having reread the studies on Pyotr Tchaikovsky's musical symphonism, the author of the essay aims to delve deeper into the substance of the purely choreographic symphonism created by Marius Petipa. The writings of the Soviet choreographer and theorist Fyodor Lopuchov prove fundamental in this regard. The questions he raises open the way to new research.

Ivanova, Maria A., Dudieva, Zoya V., Dubatovkin, Vladislav I.

Sports ballroom dancing is a group of paired dances that are divided into two directions, “Latin” and standard, and, as a rule, were performed at balls held in large rooms covered with parquet. Dances are divided into elite (historikohousehold) and folk, characterized by several differences. Ballroom dances are paired, a man and a woman form a couple, as well as two women (“lady and lady”) and two men (“man and man”). In addition to doubles, there are single competitions “Solo Ladies”, where ladies perform dances without a partner. Ballroom dancing or dance sports has become very popular among young people in recent decades. Ballroom dancing has noticeably rejuvenated, attracting children, juniors and students to its ranks. Practicing sports and ballroom dancing requires development of all the muscles of the human body, the respiratory system, trains coordination and a sense of rhythm. Athletes, in addition to dancing, are actively engaged in special physical training, without which they will not be able to achieve high results.

Bo Han, Teng Zhang, Zeyu Ling et al.

The task of music-driven dance generation involves creating coherent dance movements that correspond to the given music. While existing methods can produce physically plausible dances, they often struggle to generalize to out-of-set data. The challenge arises from three aspects: 1) the high diversity of dance movements and significant differences in the distribution of music modalities, which make it difficult to generate music-aligned dance movements. 2) the lack of a large-scale music-dance dataset, which hinders the generation of generalized dance movements from music. 3) The protracted nature of dance movements poses a challenge to the maintenance of a consistent dance style. In this work, we introduce the EnchantDance framework, a state-of-the-art method for dance generation. Due to the redundancy of the original dance sequence along the time axis, EnchantDance first constructs a strong dance latent space and then trains a dance diffusion model on the dance latent space. To address the data gap, we construct a large-scale music-dance dataset, ChoreoSpectrum3D Dataset, which includes four dance genres and has a total duration of 70.32 hours, making it the largest reported music-dance dataset to date. To enhance consistency between music genre and dance style, we pre-train a music genre prediction network using transfer learning and incorporate music genre as extra conditional information in the training of the dance diffusion model. Extensive experiments demonstrate that our proposed framework achieves state-of-the-art performance on dance quality, diversity, and consistency.

Miki Okamura, Naruya Kondo, Tatsuki Fushimi et al.

This study introduces a novel approach to generate dance motions using onomatopoeia as input, with the aim of enhancing creativity and diversity in dance generation. Unlike text and music, onomatopoeia conveys rhythm and meaning through abstract word expressions without constraints on expression and without need for specialized knowledge. We adapt the AI Choreographer framework and employ the Sakamoto system, a feature extraction method for onomatopoeia focusing on phonemes and syllables. Additionally, we present a new dataset of 40 onomatopoeia-dance motion pairs collected through a user survey. Our results demonstrate that the proposed method enables more intuitive dance generation and can create dance motions using sound-symbolic words from a variety of languages, including those without onomatopoeia. This highlights the potential for diverse dance creation across different languages and cultures, accessible to a wider audience. Qualitative samples from our model can be found at: https://sites.google.com/view/onomatopoeia-dance/home/.

Pia Wittenbrink, Mira Janzen, Antonia Jennert et al.

Precise movement control is of prime importance in almost every kind of sport and greatly influences an athlete's performance. In dancing not only motor but also cognitive skills, e.g. in the form of memorized representational structures, are essential components of the performance. This study investigated different metrics related to the long-term memory of ballet dancers with different skill levels regarding the pas de bourrée using the structural-dimensional analysis of mental representations (SDA-M) method. To this end, the Correct Action Selection Probability Analysis (CASPA) algorithm, a recent SDA-M extension that predicts the individual probabilities of correct action selections within a movement sequence, has been applied in the context of dancing for the first time. Significant positive correlations were found between participants' degree of expertise and the proximity of their mental representation structure to the ideal reference structure, as well as between the degree of expertise and the probability of correct action selection within the movement sequence estimated by CASPA. The results indicate that increased training experience in ballet dancing is not only associated with functionally better structured mental representations of the movement sequence but also with a higher probability of correct action selection. These findings provide further evidence for SDA-M with CASPA as an auspicious tool for individualized task-related memory assessments and diagnostics in different action sequences, e.g. as the basis for mental training.

Nóra Kovács

Drawing on international literature, and without claiming to be exhaustive, this paper aims to review how research on the social practices of movement accompanied by music relates to international mobility and issues faced by migrant populations. The paper addresses the question of how dance studies can contribute to the exploration and understanding of different forms of international migration, both individual and communal.

Jonathan E. Abel

This article begins with the assumption that the specificity of metaphors used to discuss narration and mediation matter for understanding them. For instance, arguing for a paradigm shift in literature concomitant with the visual revolution of Meiji, critic Maeda Ai saw Mori Ōgai’s famed early work of realism “Dancing Girl” (<i>Maihime</i>) as translating the effects of the panorama hall into literature. By the end of his career, Mori Ōgai’s narrator of <i>Wild Geese</i> (<i>Gan</i>) compares his own storytelling to stereoscopy. These two different visual medial affordances suggest two different techniques. However, I argue that it is in a third visual medium (one that draws on the marketing of panorama and the visual techniques of stereography) that we may find a metaphor suggesting a continuity between these two modes of realism, between Ōgai’s early career and his later opus, between Maeda’s medial understanding and Ōgai’s own. This third metaphor for understanding Ōgai’s narration implies his mode of narration is never flat, always polyphonous, and advertising one aesthetic on the surface while providing another within. In the end, this view suggests a modernist realism that understood and expressed its own limitations and was, therefore, all the more realistic.

Parastoo Sanji, Sadeq Askari, Yadollah Shokri

Irony is an eloquent art that is known as a linguistic trick, and it states hidden communication between the creator & its recipient. Therefore, the structures of irony like language puzzles, need resolution and interpretation, and the skilled audience is responsible to cogitate in the meaning and interpretation of the text to obtain inner peace. The women poets in the contemporary period use this art tool as the most usable of the rhetorical techniques, because they suffer psychological and social turbulence. Forough farrokhzad & ghada Al-samman like these poets have allocated a considerable part of their poetry to express Women's problems in the society. Examining the use of irony in the poetry of forough farrokhzad & ghada Al-Samman by using Comparative literature, description and analytical method and receiving theory is the purpose of this research. The obtained findings express the irony role as an ambuscade for expression of the unsaid of two poets like lack of freedom in patriarchal society. The irony using in ghada Al-Samman’s poetry condemns arrogance of men against women and deception of women and their pessimism towards earthly love leading failure, wishing utopia and looking for true love between lover and beloved. The irony using in forough farrokhzad shows her protest towards strict and unchangeable laws, disappointment, death and joining eternal life, Spiritual love, reaching the highest level of humanity and blowing of the divine spirit in her essence.

Jonathan Tseng, Rodrigo Castellon, C. Karen Liu

Dance is an important human art form, but creating new dances can be difficult and time-consuming. In this work, we introduce Editable Dance GEneration (EDGE), a state-of-the-art method for editable dance generation that is capable of creating realistic, physically-plausible dances while remaining faithful to the input music. EDGE uses a transformer-based diffusion model paired with Jukebox, a strong music feature extractor, and confers powerful editing capabilities well-suited to dance, including joint-wise conditioning, and in-betweening. We introduce a new metric for physical plausibility, and evaluate dance quality generated by our method extensively through (1) multiple quantitative metrics on physical plausibility, beat alignment, and diversity benchmarks, and more importantly, (2) a large-scale user study, demonstrating a significant improvement over previous state-of-the-art methods. Qualitative samples from our model can be found at our website.

Андрій Ігорович Підлипський, Олександр Борисович Аксьонов

Мета дослідження – проаналізувати сучасні тенденції мистецтвознавчого осмислення народно-хореографічного фестивально-конкурсного руху в Україні. Методологія. Застосовано методи аналізу й синтезу, порівняння, теоретичного узагальнення. Наукова новизна. Виявлено основні аспекти аналізу фестивально-конкурсного руху у сфері народно-сценічної хореографії України в сучасних мистецтвознавчих дослідженнях. Висновки. Серед численних наукових праць вітчизняних теоретиків та практиків щодо проблем розвитку української народно-сценічної хореографії, які порушують питання фестивально-конкурсного руху, вагомий масив становлять мистецтвознавчі праці з регіональних особливостей танцювальної культури. Серед таких досліджень переважають наукові розвідки, що стосуються західного регіону України: О. Бігус, Н. Марусик (Прикарпаття), А. Тимчула (Закарпаття), А. Підлипський, Л. Щур (Поділля), В. Гордєєв (Рівненське Полісся) та ін. Дослідники виокремлюють суто хореографічні (спеціалізовані, присвячені лише народно-сценічній хореографії чи декільком різновидам танцювального мистецтва); універсальні (охоплюють декілька видів мистецтва); монографічні (присвячені певній особистості). Всі сходяться на думці, що сучасні фестивалі та конкурси є не лише суто фаховими регуляторами та специфічними популярними типами культурно-дозвіллєвої діяльності, а й потужними механізмами в процесах культуротворення та націєтворення, формування національної свідомості. Фестивально-конкурсний рух у сфері народної хореографії в Україні в останні роки значно пожвавився, що, зокрема, пов’язано із запровадженням Всеукраїнського фестивалю-конкурсу народної хореографії ім. П. Вірського. Серед перспективних напрямів подальших наукових розробок – виявлення традиційних та інноваційних форм фестивалів та конкурсів у сфері народно-сценічного танцю, порівняння фестивально-конкурсної активності різних регіонів України, з’ясування ролі фестивалів та конкурсів для аматорських та професійних колективів народно-сценічного танцю та ін.

Asep Nugraha

In 1883 the tea plantation in the Parakansalak Sukabumi region brought workers from the local plantation community to Amsterdam, to participate in De Internationale Koloniale en Uitvoerhandel Tentoonstelling. The planter, Mr. Holle, promoted the commodity of tea by including the original culture of the colony's land, precisely the Sundanese ethnicity. Sundanese cultural presentations include gamelan and dance performances and cultural tours of Sundanese society. Europeans directly witnessed people from the colonies playing music and dancing and carrying out daily life activities through village society. This paper describes the existence of the Sundanese society through the Parakansalak plantation group in Amsterdam in 1883, uses a qualitative approach with literature studies, and focuses on situational analysis that examines the activities of the Sundanese people through the Parakansalak tea plantation group at the Exposition Activity in 1883. The purpose of this study was to determine the impact of the existence of the Sundanese people in a new place - in Amsterdam - Europe by introducing Sundanese culture during the Exposition activity. The results obtained were the astonishment of the European community who saw the culture of the colonized nation. The first impression, Europeans see a group of Sundanese people who practice low and primitive culture. Still, it united people of different religions, ethnicities, and skins to fundraising for the Mount Krakatoa disaster in the Dutch East Indies.