Hasil untuk "Dancing"

Lian Siyao, Weijiang Yu, Tianpei Gu et al.

Driving 3D characters to dance following a piece of music is highly challenging due to the spatial constraints applied to poses by choreography norms. In addition, the generated dance sequence also needs to maintain temporal coherency with different music genres. To tackle these challenges, we propose a novel music-to-dance framework, Bailando, with two powerful components: 1) a choreographic memory that learns to summarize meaningful dancing units from 3D pose sequence to a quantized codebook, 2) an actor-critic Generative Pre-trained Transformer (GPT) that composes these units to a fluent dance coherent to the music. With the learned choreographic memory, dance generation is realized on the quantized units that meet high choreography standards, such that the generated dancing sequences are confined within the spatial constraints. To achieve synchronized alignment between diverse motion tempos and music beats, we introduce an actor-critic-based reinforcement learning scheme to the GPT with a newly-designed beat-align reward function. Extensive experiments on the standard benchmark demonstrate that our proposed framework achieves state-of-the-art performance both qualitatively and quantitatively. Notably, the learned choreographic memory is shown to discover human-interpretable dancing-style poses in an unsupervised manner. Code and video demo are available at https://github.com/lisiyao21/Bailando/

In NoCap – Dancing with Data we question how motion capture technologies shape and constrain the ways in which bodies are represented on stage. The performance begins with a simple yet disruptive gesture: removing the Rokoko Smartsuit from the dancer and making it the central performer. This shift opened up an unexpected space of inquiry. Detached from the body, the suit’s sensors still produced data streams that could be redirected into generative visual environments. Through this process, the performance evolved into a ‘dance with data’: a choreography where absence becomes presence, and the body is evoked through technological residue rather than physical appearance. The dramaturgical act of removal recalls Jérôme Bel’s Shirtology (1997), where the seemingly simple act of undressing destabilises conventions of dance and representation. Similarly, NoCap undermines the expectation that motion capture must serve representation, instead foregrounding interaction, contingency, and the materiality of data itself. This exploration engages posthumanist and new materialist frameworks, particularly Karen Barad’s ‘agential realism’, Jane Bennett’s ‘vibrant matter’, Rosi Braidotti’s ‘assemblages’, and Timothy Morton’s ‘ecological thought’, which decentre the human subject and acknowledge the entanglement of body, machine, and code. Within the wider ecology of a performative installation project, including artworks made of soil, sound, biosensing, fungi, and reflective structures, NoCap highlights how digital technologies can be reimagined when artistic practice resists normative uses. Drawing on Lisa Woynarski’s bioperformativity, we propose that such experiments invite alternative dialogues between body, space, and technology where more-than-human agencies co-constitute performance.  

Hans C. Hasselbalch

Not available.

Chloé Galibert-Laîné

SanSan Kwan, Yutian Wong

Fanni Bogáti, Judit Benedek, Melinda Szitt

At the beginning of the academic year, all students newly admitted to the classical ballet dancer training course at The Hungarian Dance University are assessed at the child development and therapy center called Bárányfelhő. After the assessment of their motor and neurodevelopment, children can have special skills development training integrated into their curriculum. Among the 33 children assessed in September 2020, significant differences were found in regard to cross-body movements as well as the independent use and coordination of the upper and lower extremities. In the seventh month following the evaluation, the ballet masters of these classes reported development in the children’s concentration, coordination, balance, and attention, as well as the independent use of the limbs and proprioception. The skills development training has a compound effect: as students` coordination skills improve, they experience more success and, as a result, become more self-confident. This kind of specific skills development at the Hungarian Dance Academy not only addresses a gap in professional dancer training but is also unique among professional dancer courses.

Mohinder Singh

Talent is the world’s most valuable resource. It is ability or skills that someone is born with. Talent is somewhat strange status in our society. The main objective of this paper was to explore talent among the adolescents of Jassipauwali village of Punjab. The data were taken from 80 adolescents. Among the 80 adolescents 48 male and 32 females were taken on random basis. Self-made questionnaire was used by the investigator for the purpose of collecting data from the adolescents. Item wise analysis was used to explore talent among the Adolescents. The result reveled that the he majority of the adolescents (81.25%) were singer, (72.5%) have dancing talent, 73.75% adolescents were Punjabi dancer, 67.5% adolescents perform dancing as a supporting role and 3.75% adolescents perform dancing at the international level. 65% adolescents win the trophy in the dancing competition at the village level and 1.25% at international level. (32.5%) read books during their leisure time and 28.75% watch T. V. Most of the adolescents reads religious and short stories books in their spare time.

María Fernanda Hincapié-Sánchez, Edward David Buriticá-Marín, Leidy Tatiana Ordoñez-Mora

Objective: To describe the use of dance-based intervention protocols as a rehabilitation proposal. Method: Papers containing protocols used in adult patients and written in Spanish, English, and Portuguese were collected using the following keywords: Physical Therapy; Dance Therapy; Rehabilitation; and Clinical Trial Protocol. The PUBMED, MEDLINE, LILACS, BVS ScienceDirect, PEDro, OTseeker, The Cochrane Library (Cochrane Central Register of Controlled Trials), and Scopus databases were used for the collection of information to define the type of dance, the established protocol, pathologies, and the population involved. Results: 70 studies met the eligibility criteria, all of which presented a dance protocol. This was used in the rehabilitation of pathologies covering the neuromuscular, musculoskeletal, and cardiovascular systems, as well as in a healthy population. Positive results were the main outcome measure. Discussion: Dance is an innovative intervention strategy for patients with comorbidities or underlying pathologies as well as for those in good health. It offers, without limitations, a field of applicability through the use of a dancing style as a rehabilitation process, generating significant changes in the physical, mental, and social skills of the individual.

Julie Feltz

This article seeks to explore the singularity of contemporary dance creation for young audiences, postulating that this address transforms choreographic approaches, increasing attention to the accessibility of works without compromising on artistic quality demands. To discuss these questions, we will look at the principles of reception of contemporary dance and its relationship to its audiences, and then make the link with the specificities of the young audience, based on literature on theatre for youth. We will then study the nature of the address for young audiences in contemporary dance through an interview with the choreographer Caroline Cornélis (compagnie Nyash, Belgium) and an analysis of three contemporary pieces from French-speaking Belgium.

Filipe Pereira

The cult of the Theyyams is exclusive to the north of Kerala, southwest India, and consists of a deity assuming a living form through a ritual performance. The main characteristic of this cult is that the performer is supposed to be transformed into the divinity, it is not merely a representation but a living god or goddess that is present to the believers, and everybody behaves according to that assumption. The main type of ceremony with the participation of Theyyams is the kaliyattam, a “danced story”, which happens during a festival organized annually in a village or family temple. The performers belong to the lower castes or tribes of the traditional social stratification system. The documentary follows Rajesh Peruvannan, a Theyyam performer, in the process of transformation into the condition of a living god.

Fitria Nur Fiyany

Abstrak: Tujuan penelitian ini untuk mengetahui perbedaan yang signifikan antara model pembelajaran Bamboo Dancing dan Jigsaw ditinjau dari hasil belajar Matematika siswa kelas 4 SD Gugus Diponegoro Kota Salatiga. Jenis penelitian yang dilakukan adalah jenis penelitian kuasi eksperimen (quasi research).. Hasil penelitian menggunakan Uij T pada varian model pembelajaran, diperoleh T hitung sebesar 2,187 dan T tabel yaitu 1,664 dan taraf signifikansi sebesar 0,0155. Oleh karena nilai probabilitas 0,0155 lebih kecil dari 0,05 maka H0 ditolak dan diterima Ha, artinya hasil belajar Matematika dalam penerapan model pembelajaran Jigsaw lebih unggul daripada model pembelajaran Bamboo Dancing di SD Gugus Diponegoro Salatiga. Abstract:  The purpose of this study was to investigate any significant differences between Bamboo Dancing and Jigsaw learning method types reviewed from the fourth graders of SD Gugus Diponegoro Salatiga City’s learning outcomes in mathematic. The technique used in the study was quasi research. The findings of the study through applying T-Test toward the learning method types being investigated resulted in Tcountis 2,187 and Ttabel is 1,664 and 0.0155 or <0.05 significant rate. It indicated that the result of the Mathematic that use of Jigsaw learning type was more eminent than the Bamboo Dancing.

Tetiana Churpita

The main objective of the study is to recreate the little-known pages of the creative path of Mykola Trehubov, Honored Artist of the Ukrainian SSR, on the basis of an analysis of the archival sources, periodicals and special literature. Methodology. The author has prepared an article using historical, historiographical and analytical approaches. Scientific novelty. In the article, for the first time, the creative path of Mykola Trehubov as a performer and choreographer has been systematized. Considerable attention has been paid to the peculiarities of awarding honorary titles to the master. Conclusions. Mykola Trehubov is outstanding and extraordinary personality, who contributed many bright pages to the history of the Ukrainian ballet. Despite the thorny life path, behind the master remained a gallery of unique ballets (a list of works by Mykola Trehubov, wich includes more than 52 titles), finely honed images (more than 22 ballet parts). Despite this, the authorities replaced the honorary title of Mykola Trehubov from the proposed “People’s Artist of the Ukrainian SSR” to “Honored Artist of the Ukrainian SSR”. The reason for this can only be the choreographer’s work in the occupied territory during World War II and his subsequent being in the camp of the Gulag system. It is worth recalling that during his long creative life, working in leading positions in the largest opera houses of Ukraine, Mykola Trehubov never belonged to the Communist Party of the Soviet Union. The only force that led the master, was the love to the great art of dance. This heritage should be studied in detail by a young generation of Ukrainian artists and choreographers.

Nana Sutarna, Dian Kusdiana

This research is based on the writer's anxiety about student learning outcomes that are still under KKM. The purpose of this study to determine the effect of learning models bamboo dancing (bamboo dance) on the results of learning IPS class V SDN 1 Cipedes. Learning model of bamboo dancing (bamboo dance) and learning result are the variables studied. This research uses experimental method with quasi experimental design nonequevalent control group design that is two classes of experimental research (treated) and control (without treatment). After doing the calculations, the results of this study indicate an increase in learning outcomes IPS class V students by using learning models of bamboo dancing (bamboo dance), namely; (1) before being treated the average score of students' learning achievement of 53.49; (2) after being treated the mean value of student learning result of IPS is 82,06 and (3) the mean of posttest of experiment class is 82,06 and the mean of posttest of control class is 71,69. From the calculation result, the average value of the experimental class is better than the control class. So it can be concluded that the learning model of bamboo dancing (bamboo dance) improves the learning outcomes of IPS students of SDN 1.Cipedes.

Pedro Eduardo da Silva

As carreiras de dois palhaços circenses: Roger Avanzi e Arlindo Pimenta, servem como guia para observarmos como a teatralidade adquirida no ambiente circense por meio do circo-teatro se transposta para a dramaturgia do palhaço. As pesquisas do dramaturgo e diretor teatral Carlos Alberto Soffredini e de Fernando Bolognese juntamente com minhas experiências, destacam a importância do circo-teatro na estruturação da poética do palhaço.

Oh Y., Johnson L. E., Olson J. R. et al.

The purpose of this study was twofold: 1) to discover the differences in degree of energy expenditure (EE) during Just Dance 2015 using Xbox 360 Kinect, Wii-U, PS3 Move, and Control YouTube video; and 2) to uncover whether or not exergaming could elicit moderate to vigorous levels of intensity (≥ 40% Heart Rate Reserve (HRR)) based on heart rate average (HRavg) measurements. Twenty-five healthy college-aged students participated in this study. Data collection was comprised of baseline testing, a 30 second familiarization period with each gaming console, and a gaming session. Participants danced to the song “Love Me Again” on a Just Dance 2015 program on Xbox 360 Kinect, Wii-U, PS3 Move, and a control YouTube. EE and HRR were calculated using FT4 Polar Heart Rate Monitor. One-way repeated measures ANOVA indicated no significant differences in energy expenditure across the consoles, F(2.74, 65.86)=0.65, p=.570. The paired samples t-test indicated the HRavg for the Xbox 360 Kinect (117±18 bpm) was significantly greater than the HRavg for the Control (112±16 bpm), t(24)=3.03, p=.006. About a third (28%-36%) of participants met moderate levels of intensity while exergaming. Dancing on all three major gaming consoles and YouTube video increase energy expenditures and can be used as an alternative form of exercise with the ability to achieve moderate levels of intensity.

Nursiwi Nugraheni

This study aims to determine: (1) how to implement comic media of mathematics learning in primary school, (2) whether the comic media can help in improving the quality of mathematics learning in primary schools. This research is a qualitative research. This research contains of three sub researches. The comic media that is implemented is an educational comic media. The comic media is implemented in CTL with talking stick variation, Pjbl model with bamboo dancing variation, and CTL model with snowball throwing variation . Comic media developed adapted to the learning model used. Because the learning model used is different, the mathematics learning syntax of the three sub researches is also different. The three sub researches obtaining the same result. Comic media can help in improving the quality of mathematics learning in elementary school even though implemented with different learning model. The conclusions of this research are (1), Comics are given at the beginning of the lesson and students try to understand the material and construct the concept through comics.,(2) Comic media can assist in improving the quality of mathematics learning.

Miriam Leung Che LAU

As part of a globalized phenomenon, the reproductions of Ibsen’s plays on the Chinese theatrical stage increasingly focus upon the exploration and expansion of new cultural forms, as Patrice Pavis defines interculturalism as “grasping the dialectical of exchanges of civilities between cultures”. However, how do we evaluate the effectiveness of the many “intercultural” productions that surround us today? I attempt to answer this question by comparing two Chinese reproductions of Ibsen’s plays that employ elements of Chinese opera on varying scales. The first one is a total transformation of Hedda Gabler into a Hangzhou yue opera form, Xin Bi Tian Gao (Aspirations Higher than the Sky, 心比天高) in 2006. As part of the yue opera tradition, Hedda Gabler was staged in an all-female cast. The second one is a fragmented insertion of a Peking opera excerpt into the staging of A Doll’s House by the National Experimental Theatre of China in 1998. One of the highlights of the play is a Norwegian actress, who plays Nora, singing and dancing a short Peking opera excerpt, thus replacing the tarantella dance in the original play. Contextualising the multiple perspectives towards interculturalism by Patrice Pavis, Richard Schechner and Rustom Bharucha, I aim to explore how the appropriation of Chinese opera in such performances might strengthen or weaken the reciprocal flows between the source and target cultures in Pavis’s “hourglass model”, and whether the initial attempt of revitalising both Chinese and Western art forms has backfired and misproduced Bertolt Brecht’s alienation effect directed at the contemporary audience.

Concetta Lo Iacono

M. E. K. Lebaka

Indeed, the implicit hypothesis that “there is little possibility, if any, for the Pedi traditional healers to experience the supernatural form of healing without performing music and dancing to it” raises the issue of “What makes the dance potent as a healing therapy?” or ‘What is the role of music in such healing processes?’. This article is a result of a guided investigation carried out in order to answer these questions. The primary sources for data collection were literature reviews, informal interviews, observations and recordings. During the study, informal discussions with traditional healers and their trainees revealed that participation in malopo rituals enables community members to inherit their music tradition. The impression created during interviews and observations was that Pedi traditional healers perform malopo songs to communicate with the ancestors. The results suggest that malopo rituals are aimed at enriching the personal and social life of the Pedi community.

Karadzov-Nikolic Aleksandra, Milicevic Sasa, Gicic-Skenderi Suada

Introduction: Physical activity in postmenopausal women can slow bone loss and reduce the risk of osteoporotic fractures. Purpose: Analysis of the incidence of fractures in postmenopausal women with osteoporosis in relation to physical activity. Methods: This paper represents a retrospective multicenter study of postmenopausal women with newly found osteoporosis from August 2008 until November 2011. All data concerning the patients were taken from the National Register for Osteoporosis. Patients were divided into two groups: in the first group were physically active and in the second, physically inactive patients. Physical activity included dancing, active or recreational sports, fast walking, running, jumping and lifting. Results: The study included 363 respondents, mean age 64.4 ± 8.6 years, of whom 155 (42.7%) were physically active, and 208 (57.3%) physically inactive. 86 (23.7%) patients had spontaneous single fractures, 23 (14.8%) in the physically active group and 63 (30.3%) in the physically inactive group, which was statistically significant difference in frequency (p = 0.001). Respondents with multiple spontaneous fractures were separated in a special group and were not included in the above analysis. 21 patients had spontaneous multiple fractures, of whom 4 (2.5%) physically active and 17 (7.55%) physically inactive, which was statistically significant difference in frequency (p = 0.032). Conclusion: Spontaneous single and multiple fractures are significantly more frequent with physically inactive subjects.