Hasil untuk "Dancing"

M. Thelen

Nader Maher Sobhy, Walid Refaai, Rahul Kumar et al.

Bovine papillomaviruses (BPVs) commonly cause sarcoids in equines worldwide. Equine sarcoids (ESs) reduce the working ability of draft animals and produce untoward cosmetic changes in racing and dancing equine. In this study, nine horses and 16 donkeys with sarcoids were presented to Zagazig University Veterinary Clinic, Zagazig, Egypt. Of these, eight horses and six donkeys were found to be infected with BPV. On sequencing, all 14 viruses were found to be BPV1, which were distributed in two clades without specific differentiation among papillomaviruses (PVs) of donkeys, horses, and cattle. Comparison of 135 aa (319–454) of the sequenced L1 gene with reference strains revealed three conservative mutations (D346N, Q398E, and F441Y) and two nonconservative mutations (T348N and K351T). Illumina sequencing revealed that PVs of donkeys and horses were identical and had 98.5% identity with the closest reference sequence (KX907623) of BPV1. In addition, there was high identity among all genes except E5 and L2. The substitution ranged between 0.5% (nt) and 0.89% (aa) in E4 and 5.18% (nt) and 6.81% (aa) in E5. These results indicate that BPV1 is the main cause of ESs in Egypt without marked phylogenetic variation among PVs of cattle, horses, and donkeys.

Laura Hellsten

This article commences from a transdisciplinary research setting where students, artists, activists, and researchers come together to investigate medieval travelling accounts. The article is structured in two main parts. The first part presents an exploration of the theoretical framework of an hermeneutics of charity and suspicion as well as a development of a methodology that probes at the “cracks” of colonial pedagogical and scholarly structures. In the second part, the article uses critical inquiry and shared learning experiences to examine Marco Polo’s <i>The Travels</i>, focusing on his descriptions of dancing. Specifically, it investigates what Polo’s text conveyed—and omitted—about the relationship between intimacy, eroticism, and dance for a European audience. Combining auto-ethnographic reflections with stories from the communal learning process, the article invites readers to consider how collective inquiry reshapes our understanding of historical texts. In addition to questioning Polo/Rustichello’s portrayal of religious dance through his mercantile and sexualised gaze, the author also challenges some previous scholarly interpretations of Polo as an agent of European colonial endeavours. Finally, the paper offers a method for rethinking how researchers approach dance and university education, as well as practical tools for how historical accounts can be explored in a way that prevents discernment from overshadowing what can be gained from attunement.

Nikola Petrović

In May 2019, Nikola did his fieldwork in the Kozara-mountain and Potkozarje-area (northwestern Republic of Srpska/Bosnia and Herzegovina), researching the traditional folk dances, songs, music and customs from the Serbian population. During his research, he noticed and was told that many dances and songs were influenced by the Serbian and Croatian population from Croatia (Slavonija- and Banija-region). After he tried to conduct a further research on these influences, he was met with nationalistic and chauvinistic remarks against the Croatian and Muslim population in the area and the Republic of Croatia in general, even though the Serbian population was discussed. The research on that day was nearly cancelled from the side of the informants. This audio-exchange (including materials from the field) should give insights on the (political) mentality of the population after the Yugoslav wars and dangers of conducting research in this area, when talking about the three major ethnic groups.

T. G. Rabenko, Ts. S.-B. Nurzet

The results of a comparative analysis of the everyday semantics of the bionym Orel and Ezir [Eagle] in the Russian and Tuvan languages are presented. The relevance of the study is determined by its incorporation into the problems of modern ethnoconceptology in that part of it that is associated with the description of everyday semantics in the languages of different ethnic groups. The scientific novelty of the study is due to the use of methodological techniques that allow us to trace the participation of different layers of semantics in the conceptualization of a word and to reveal the significance of various factors in this process (the objective properties of the referent and the national and cultural characteristics of the informants). The ambivalent perception of the eagle in Russian and Tuvan linguistic cultures has been established. On the one hand, it is a strong, majestic bird, symbolically embodying all male virtues (strength, becoming, pride), enjoying special reverence and elected as a state symbol. On the other hand, the eagle is associated with a bird of prey and danger. The mythological perception of the eagle as a royal bird, acting as an intermediary between Heaven and Earth, is more clearly seen in the Tuvan linguistic culture. In the ordinary view of a Tuvan native speaker, the eagle is embodied as a “dancing” bird, the imitation of the flight of which is filled with ethnocultural meaning and is associated with ethnocultural identification.

Nóra Kovács

Jelen tanulmány a nemzetközi szakirodalom segítségével – és a teljességre törekvés igénye nélkül – azt kísérli meg áttekinteni, hogy a zenével kísért mozgás társadalmi gyakorlataira irányuló kutatások hogyan kapcsolódnak a nemzetközi mobilitás és migráns népességek életének különféle kontextusaihoz. Az írás azzal a problémakörrel foglalkozik, hogy milyen hozzájárulásai láthatók a táncra irányuló vizsgálódásoknak a nemzetközi migráció különféle formáinak, egyéni és közösségi vetületeinek feltárásában, megismerésében és megértésében.

Oghenemudiakevwe Igbi, Dafe Bruno Ekewenu, Charles Onomudo Aluede

An upsurge in enrollment into postgraduate music courses in Nigeria in recent times, has resulted in an increasing number of research in different areas of music studies at the doctoral level. This trend has enhanced manpower development in Nigerian tertiary institutions. It is in this connection that the paper seeks to provide current data on titles of research conducted at the doctoral level in the field of Music in Nigeria in the last decade, (2011- 2021). This effort will help curtail the menace of recycling knowledge among scholars, which has become a cause for concern in recent years. Data were obtained through interviews, field investigation, the internet, and telephone contacts. The paper highlights some of the challenges plaguing the study of music in Nigeria at the postgraduate level, and thus provides relevant recommendations.

Bamidele Omolaye

Folktales constitute one of the oldest traditional forms of education based on the method of delivery through oral tradition. Among the Yorùbá, folktale is a viable medium for transmission of cultural values, belief, history and philosophy of the community to the younger generation. The fact that African societies’ customs, morals and way of life are ingrained and codified in folktales shows the veracity of the indigenous knowledge system (IKS) embedded therein. This has contributed immensely to appreciating the culture, as well as the African people’s social norms. This study examines the aesthetics and utilitarian essence of African folktales, using four purposively selected Yorùbá folktales as case study. The goal of the paper is to bring the aesthetics and usefulness of African folktales, thus the songs are documented in a staff notation for musical analysis. Data for the study were collected through oral interviews and review of related literature. The selected Yorùbá folktales were examined through a descriptive method. Findings show that the essence of African folktales, as noticed in this present day, is being jettisoned and will soon become extinct by the current realities brought about by globalisation. This has greatly affected the cultural values which African folktales retain, maintain and disseminate. Hence, the need for the revitalization and digitization of African folktales to preserve the indigenous knowledge system deep-rooted in the narratives for future generations. This study concludes that the importance of African folktales would be better understood if properly harnessed, translated and notated from the musicological viewpoint, as it will further popularise the old tradition of storytelling in this modern age.

Anne Boissière

At the turn of the nineteenth and twentieth centuries, through the eurhythmics of Émile Jaques-Dalcroze, a new relationship between music and movement was established, which closely involved dance and architecture. Our emphasis, here, will be put on the transformations related to space, with regard to the stage reform by Adolphe Appia, Dalcroze’s friend and collaborator. It is through Appia’s drawings, the Rhythmic Spaces, made between 1909 and 1911, that the connection between living movement and architecture will be approached. In particular, one calls in question the status of straight lines, horizontal and vertical, of which the staircases, on the drawings, are emblematic. These lines, contrasting with the curving and serpentines lines that mark the influence of the dancing movement in the paintings from that period, must be understood with respect to the Dalcrozian conception of rhythmic feeling. Aliveness, for him, which is not to be separated from the relationship to measure - itself alive -, can be acquired by varied and complex exercises of marching within the framework of rhythmic education. Through architecture arises a musical conception of space in rupture with the perspectival conception of pictural space, as the former doesn’t dissociate any more mobility and immobility, aliveness and inertia, grace and gravity.

Itsuki Doi, Weibing Deng, Takashi Ikegami

Abstract Social entrainment is important for functioning of beehive organization. By analyzing a dataset of approximately 1000 honeybees (Apis mellifera) tracked in 5 trials, we discovered that honeybees exhibit synchronized activity (bursting behavior) in their locomotion. These bursts occurred spontaneously, potentially as a result of intrinsic bee interactions. The empirical data and simulations demonstrate that physical contact is one of the mechanisms for these bursts. We found that a subset of honeybees within a hive which become active before the peak of each burst, and we refer to these bees as "pioneer bees." Pioneer bees are not selected randomly, but rather, are linked to foraging behavior and waggle dancing, which may help spread external information in the hive. By using transfer entropy, we found that information flows from pioneer bees to non-pioneer bees, which suggest that the bursting behavior is caused by foraging behavior and spreading the information through the hive and promoting integrated group behavior among individuals.

Ying Wang, Chen Zhang, Yunxian Zhou

Abstract Background Some patients with Crohn’s disease report posttraumatic growth, which can promote reductions in anxiety and depression, and improve the patient’s quality of life. However, the process of posttraumatic growth remains unclear. The objectives of this study were to explore the social-psychological process of posttraumatic growth in patients with Crohn’s disease in the context of Chinese culture and construct an interpretive understanding based on the perspectives of patients. Methods This research adopted Charmaz’s constructivist grounded theory. Nineteen participants with Crohn’s disease were selected by purposive and theoretical sampling from three hospitals in Hangzhou, Zhejiang Province, as well as from the China Crohn’s & Colitis Foundation. In-depth interviews were conducted. Data analysis was based on initial, focused and theoretical coding strategies, and methods such as constant comparison and memo writing were adopted. The Consolidated Criteria for Reporting Qualitative Research, a 32-item checklist for interviews and focus groups, was utilised. Results An interpretive understanding of posttraumatic growth in patients with Crohn’s disease was constructed. The core category was “reconstructing self from the illness”, which included the following four categories: “suffering from the illness”, “accepting the illness”, “dancing with the illness” and “enriching life beyond the illness”. However, not every patient reached the last phase. Before patients enter the next stage, they might begin a new cycle by experiencing new suffering or discovering new unacceptable facts about the illness. Conclusions This interpretive understanding reveals a growth process centred on “reconstructing self from the illness”. These findings provide knowledge on the process of posttraumatic growth in patients with Crohn’s disease within the wider sociocultural context.

Liang Luo

Ryan P. Duncan, G. Earhart

Veronica Cavedagna, Alice Giarolo

Starting from the analysis of Accumulation (1971) and Set and Reset, the article intends to analyze the relationship between chance and artistic creation in Trisha Brown. The notion of “dancing machine”, used by Trisha Brown herself to refer to the dancer, will be the occasion to attempt the juxtaposition between dancing body, animal and cybernetic machine. As we will see, the case is an element of creation proper to the living and, in general, to every self-poietic system.

Priska Diyan Hapsari, Agus Cahyono, Veronica Eny Iryanti

Tari Topeng Panji merupakan salah satu tari khas Kabupaten Tegal yang sampai saat ini masih eksis dengan proses pewarisan yang baik. Penelitian ini bertujuan untuk mengetahui Proses Pewarisan Tari Topeng Panji Tegal dan Bentuk tari Topeng Panji. Penelitian ini menggunakan pendekatan fenomenologi dengan metode kualitatif. Teknik pengumpulan data menggunakan observasi, wawancara, dan dokumentasi. Teknik keabsahan dan diperiksa dengan metode triangulasi sumber, teknik, dan waktu. Pencipta Tari Topeng Panji Tegal adalah Ibu Darem sebagai generasi pertama, kemudian Ibu Warni adalah generasi kedua, Ibu Sawitri yang namanya sudah banyak dikenal merupakan generasi ketiga Tari Topeng PanjiTegal. Dan generasi keempat saat ini adalah Ibu Purwanti. Walaupun sudah diwariskan keempat generasi, tetapi pelaku pewaris tetap mempertahankan keaslian gerak, iringan, tata rias dan busananya. Hasil penelitian pada proses pewarisan Tari Topeng Panji melalui beberapa tahapan, yakni proses pengenalan, proses melihat, meniru, serta proses pelatihan dan pembinaan.

Marinos G. Sotiropoulos, Maria Anagnostouli

Creativity, art and artistic creation in music, dance and visual arts are brain activities specific to humans. Their genetic background remained unexplored for years, but many recent studies have uncovered significant associations with cognition-related genes and loci. These studies are summarized in the present article. Creativity is a trait with heavy genetic influences, which are also associated with mental disorders and altruism. Associated genes include dopaminergic, serotoninergic and other genes (a1-antitrypsin, neuregulin, Brain-derived neurotrophic factor). Music is another complex phenotype with important genetic background. Studies in musicians and their families have highlighted the contribution of loci (e.g., 4q22) and specific genes (vasopressin receptor 1α and serotonin transporter). The latter two are also associated with dancing. Although few studies have investigated visual arts, they appear to be influenced by genetic differences, which could explain the increased prevalence of synesthesia in artists and individuals with autism. Lastly, although genes play an important role in creativity and art, epigenetics and the environment should not be overlooked. The genetic exploration of artistic creativity may provide useful knowledge on cognition, behavior and brain function. It may also enable targeted and personalized art therapy in health and disease.

Paola Marín, Gastón Alzate

Embora existam inúmeras e valiosas manifestações da relação entre memória, arte e violência na Colômbia hoje, aqui nos concentramos em duas práticas que ganharam notoriedade por sua relação com os Acordos de Paz de 2016. Por um lado, as Cantadoras de Pogue, que modificam um ritual afro-descendente e uma tradição musical de caráter funerário para se opor à necropolítica dominante em seu território, principalmente a partir de 2002, quando em uma cidade próxima - Bellavista, Bojayá - um dos maiores massacres de civis na história recente do País; e, por outro lado, o “contra-monumento” em celebração aos Acordos de Paz da reconhecida artista Doris Salcedo, que convidou mulheres vítimas de violência a moldá-lo. Analisaremos como ambas as práticas incorporam a necessidade de enfrentar tanto a necropolítica dominante na Colômbia quanto suas narrativas hegemônicas na esfera pública.

D. Volpe, M. Signorini, Anna Marchetto et al.

BackgroundPeople with idiopathic Parkinson’s disease (PD) frequently have low activity levels, poor mobility and reduced quality of life. Although increased physical activity may improve mobility, balance and wellbeing, adherence to exercises and activity programs over the longer term can be challenging, particularly for older people with progressive neurological conditions such as PD. Physical activities that are engaging and enjoyable, such as dancing, might enhance adherence over the long term. The objective of this study was to evaluate the feasibility of a randomized controlled trial of Irish set dancing compared with routine physiotherapy for people with mild to moderately severe PD.MethodsTwenty-four people with idiopathic PD referred for movement rehabilitation were randomized to receive standard physiotherapy exercises or Irish set dancing classes once per week plus a weekly home program for 6 months (12 in each group). The feasibility and safety of the proposed RCT protocol was the main focus of this evaluation. The primary outcome was motor disability measured by the motor component of the UPDRS, which was assessed prior to and after therapy by trained assessors blinded to group assignment. The Timed Up and Go, the Berg Balance Scale and the modified Freezing of Gait Questionnaire were secondary measures. Quality of life of the people with PD was evaluated using the PDQ-39.ResultsBoth the Irish set dancing and physiotherapy exercise program were shown to be feasible and safe. There were no differences between groups in the rate of adverse events such as falls, serious injuries, death or rates of admission to hospital. The physiotherapists who provided usual care remained blind to group allocation, with no change in their standard clinical practice. Compliance and adherence to both the exercise and dance programs were very high and attrition rates were low over the 6 months of therapy. Although improvements were made in both groups, the dance group showed superior results to standard physiotherapy in relation to freezing of gait, balance and motor disability.ConclusionsIrish dancing and physiotherapy were both safe and feasible in this sample from Venice, with good adherence over a comparatively long time period of 6 months. A larger multi-centre trial is now warranted to establish whether Irish set dancing is more effective than routine physiotherapy for enhancing mobility, balance and quality of life in people living with idiopathic PD.Trial registrationEudraCT number 2012-005769-11

​Snežana Cvijanović

Examples of bringing music into vogue through a variety of media can be traced back into the 18th century, although, not before 20th century the first attempts of systematization of various forms of making music fashionable were made. The literature review is mainly represented by the printed media and music promotion through them. However, with the development of the media, which enabled a better insight into the musical creativity, as well as new opportunities for the creation and presentation of music, there has been a growing interest in other forms of popularization, especially through certain "popular" mass media such as television and/or film. The new media, computer software and the Internet, had a major influence on mass media and, consequently, contributed to novelties in the creation, distribution and interpretation thereof. Thus their impact upon the user becomes higher and much more direct. Having in mind that film, as one of the most interesting media of mass communication, enjoys a lot of attention around the world, the author is focusing on it in the paper. Throughout the short history of the media and understanding the characteristics of the documentary, the oldest and still very popular film genre, the author will point out the presence of music as propagated art within it. Therefore, in this paper, the author examines a way of popularizing music throughout a documentary film, and, by using documentary Marley as an example, she is drawing attention to the elements of musicological work present in the actions of the director.

Larysa Tsvietkova

The purpose of the article is to carry out a reflection on the subject of reception of ancient Egyptian ritual dances in the research field of national choreology and to identify the artistic and stylistic peculiarities of their performance. Methodology. Reflexive analysis has been used to determine in certain types of ancient Egyptian ritual dances of some stable attributes of their existence, the hermeneutic method allows an attempt to interpret the latter taking into account the religious and mythological worldview of the ancient Egyptians, historical makes it possible to comprehend the formation and functioning of ritual dances against the background of cultural and historical development of the Ancient Egypt. Scientific novelty. For the first time in the domestic art criticism, an attempt was made to study ancient Egyptian ritual dances and it is based on the analysis of head-sab (Pharaoh’s run), “underfoot”, “Eternity Feast” and dances in honor of the goddess Hathor to reveal their artistic and stylistic features. Conclusions. Ancient Egyptian ritual dances were formed under the influence and in the context of the formation of religious and mythological beliefs, which are based on the requiem cult and deification of the pharaoh’s power throughout the history of ancient Egypt. They begin to take shape even in the pre-dynastic period, acquiring specific features in a particular the cosmogonic concept. The compositional decision and the rational organization of ritual dances corresponded to established canonical principles, meaningful within the limits of the dominant “theological discourse” (J. Assman). Created in time and space with the help of such attributes as posture, jump, movement, gesture, step, rhythm, plasticity, ancient Egyptian ritual dances in their religious form were intense spiritual work and the Egyptians spiritual creativity, and in artistic form they represented an organically-syncretic unity of perfect dance forms, among which are the “dance of the stars” performed by the priests, the “feast of Eternity”, dances head-sab (Pharaoh’s run) and “underfoot”, dances in honor of the goddess Hathor.