I Wayan Sutirtha, Hendra Santosa, Tudhy Putri Apyutea Kandiraras
This paper aims to reveal a creative process of the Mahardika dance creation conducted in 2006. This disclosure is important to see how the concept of traditional dance development still maintains the Balinese identity. The Mahardika dance, a new creation form of Balinese dance, comes from the creative process between I Wayan Sutirtha as the dance choreographer and I Nyoman Windha as the musical composer of the dance accompaniment. Mahardika means freedom or release from worldly ties, which refers to the Sutasoma figure as the central character in the Mahardika dance. It is adapted from the main theme of the Bali Arts Festival, namely Swabawaning Idep, meaning the radiance of nobility. The process of creating dance refers to the theory of Alma M. Hawkins in the book Creating Through Dance, including exploration, improvisation, and formation. The Mahardika dance consists of four parts. The first part describes the atmosphere of meditation with a silent atmosphere, the second part depicts the meeting of the Sutasoma and Dewi Candrawati with a happy and romantic atmosphere, the third part portrays the war of the Sutasoma and Prabu Purusadha with a tense atmosphere, and the fourth part represents the consciousness of Prabu Purusada and Sutasoma sitting on a lotus flower with a serene atmosphere. In addition, the costumes are adjusted to the characters. Certainly, it does not interfere with the dancer's movements but helps and opens aesthetic spaces in the choreography of the Mahardika dance creation.
The lengger Banyumasan performance at the sea alms ceremony in the village of Sidanegara is a folk art that is presented in a ritual culture of the community. These rituals affect textual and contextual values in the lengger dance performance. The purpose of this study was to determine the textual and contextual values in the lengger Banyumasan performance at the sea alms ceremony in the village of Sidanegara. Field data was processed using qualitative research methods and a phenomenological approach. Data collection techniques used are observation, interviews, and documentation. The data validity technique used is the triangulation technique. Data were analyzed using data reduction, presentation, and conclusion stages. The results show that the performance of the lengger Banyumasan dance at the sea alms ceremony has a performance pattern consisting of the lenggeran round which is included in the procession and tasyakuran evening and has a performance function consisting of individual functions that have spiritual values such as supplication, worship, and expression of gratitude to God Almighty, social functions consisting of entertainment and economic functions, as well as association or brotherhood functions. Suggestions from the researchers for artists to maintain cohesiveness to continue to develop and preserve the lengger Banyumasan art form.
FROM A JAPANESE PERSPECTIVE: THE WESTERN INFLUENCES IN THE WORKS OF ŌGAI
The article focuses on how Mori Ōgai (1862-1922), a Japanese writer, translator and literary critic, incorporated references to European literature and culture in his novellas: Maihime (The Dancing Girl, 1890), Mōsō (Delusion, 1911) and Hanako (1910). The hermeneutic approach sheds light on the Japanese author’s vivid interest in foreign languages, cultural symbols, philosophy and arts which contributes to the intricate image of foreign influences in his oeuvre and invite his readers and translators in Europe to revisit their own cultural tradition.
Lynette Bonin, Sydney Levasseur-Puhach, Michelle Guimond
et al.
Type 2 diabetes is a complex chronic disease rapidly increasing among young people and disproportionately impacting Indigenous youth. Treatment programs are often inadequate for this population as they lack cultural relevance. A scoping review was conducted to explore traditional Indigenous approaches for diabetes prevention and management, to inform a program aimed at supporting Indigenous youth and families with type 2 diabetes. We seek to answer the following question: “Which traditional medicines and practices have been incorporated into intervention or prevention strategies for Indigenous people living with diabetes?” Search was done June 2021 using Ovid Medline, ESBCO and ProQuest databases. Terms included wellbeing, intervention, diabetes, and traditional approaches. Of the 2138 titles screened, 34 met inclusion criteria. Three studies integrated traditional Indigenous approaches into Western-based intervention programming. Content included traditional food and nutrition programs, gardening programs, Elder knowledge sharing, story telling, talking circles, feasting, prayer, traditional dancing, hunting, and school-based wellness curricula. Many were wholistic, co-created with community, Indigenous-led and held in accessible community spaces. The heterogeneity in approaches reflects the diversity of Indigenous nations and communities. This review identifies important elements to include in culturally relevant programs to address diabetes-related wellness.
Gabriela Cristina dos Santos, Jéssica do Nascimento Queiroz, Álvaro Reischak-Oliveira
et al.
Background: Dancing has been suggested to increase the levels of physical activity of the youth. However, it is not clear what are the physiological characteristics of the dance classes for young people, mainly regarding the levels of moderate to vigorous physical activity (MVPA) during classes. It is also unclear if regular engagement in dance practices can contribute with increases in the amounts of daily/weekly MVPA, recommended by health organizations. Objectives: To conduct a systematic review verifying the amount of time spent at MVPA (primary outcome), by children and adolescents in the following situations: i) During dance classes, and ii) Before and after dance interventions. Secondary outcomes included: markers of exercise intensity during class, such as oxygen consumption (VO2) and heart rate (HR); VO2peak and lipid profile before and after dance interventions. Methods: Six data sources were accessed (MEDLINE, EMBASE, Cochrane Wiley, PEDRO and SCOPUS). Study selection included different designs (acute, cohort, randomized controlled trials and others). Participants were from 6 to 19 years old, regularly engaged in dance practices. Methodological quality was assessed using the Downs and Black checklist. Two independent reviewers extracted characteristics and results of each study. Results: 3216 articles were retrieved, and 37 included. Studies indicated that dance classes do not achieve 50% of total class time at MVPA. However, there are peaks of HR and VO2 during dance classes, which reach moderate and vigorous intensities. MVPA/daily/weekly did not improve before and after dance interventions for most of the studies, also VO2peak did not. The few results on lipid profile showed improvements only in overweight and obese participants. Limitations: Lack of meta-analysis, because there were not enough articles to be analyzed on any given outcome of interest, neither under the same study design. Conclusions: Results of individual studies indicated that dance classes did not active 50% of the total time at MVPA levels. This may be related to the absence of improvements in daily/weekly MVPA before and after dance interventions. VO2 and HR attained peaks of moderateto vigorous intensity during dance classes, suggesting that the structure of the classes may be manipulated to maintain longer periods at MVPA levels. Lack of data on cardiorespiratory fitness and metabolic outcomes limit conclusions on these parameters. Implications of Keys Finds: Considering there are peaks of HR and VO2 during dance classes, we suggest that the structure of a dance class can be manipulate in order to induce cardiorespiratory and metabolic adaptations. Thus, dancing is a potential strategy to contribute with a healthy life style since the earliest ages. Prospero registration: CRD42020144609
This study aims to explain the history and process of inheriting mask puppet art in two representative hermitages (padepokan) (in Malang, namely Padepokan Asmoro Bangun in Pakisaji sub-district and Mangun Dharma in Tumpang sub-district). This research uses a qualitative approach. Data collection techniques are done through interviews, observation, and study documents. The process of inheritance includes art practices such as dancing, puppeteering, playing musical instruments, and making masks and transferring knowledge about Wayang Topeng Malangan. Inheritance is generally done since offsprings (children/grandchildren) are still at an early age. The history of the inheritance of the traditional mask puppet art in Padepokan Asmoro Bangun has occurred for six generations of this family since before 1930 starting from the Serun period. The sixth Padepokan Asmoro Bangun Heirs are two daughters named Winnie Padnecwara (15 years old) and Dita Andhika Raja Padmi (12 years old) who learned this art since the age of four. Padepokan Mangun Dharma is the home of mask puppet art, as well as music, traditional dance, and theatre, macapat, puppetry, and shadow puppets. The history of the inheritance of this hermitage began with the great-grandfather of the puppeteer Soleh namely Kek Sainten (Grandpa Sainten). The current heir of Padepokan Mangun Dharma is the son of the puppeteer Soleh, Supriyono Hadi Prasetyo, who also learned puppetry both autodidact and formally through college. Although inheritance occurs vertically, which is hereditary in each hermitage, horizontal inheritance also occurs between the two. This indicates that the inheritance process of Padepokan Asmoro Bangun and Mangun Dharma are related to each other.
Objective: The objective of the study reported here was to evaluate the muscle activity patterns of the vastus lateralis (VL), biceps femoris (BF), and gluteus medius (GM) during stance, walking, trotting, and selected therapeutic exercises in clinically sound, healthy dogs. Our hypothesis was that the muscle activity during all exercises would differ from muscle activity at the stance.Methods: Surface electromyography of the selected muscles was performed during stance, walking, trotting, elevation of forelimbs on a platform, elevation of forelimbs on a platform with hindlimbs on an inflatable balance device, stepping up onto and over an obstacle, standing on a wobble board, dancing backwards, and wearing a leg weight at the walk and the trot. The maximal and mean muscle amplitude (μV) reflecting activity during several motion cycles were compared among the exercises.Results: Mean EMG amplitude of the BF was significantly higher in all exercises (p < 0.05) in comparison to stance. Mean EMG amplitude of the VL was significantly higher (p < 0.05) during walking, trotting, dancing backwards, stepping up and over an obstacle, and at a trot with a leg weight as compared to stance. Mean EMG amplitude of the GM was significantly higher (p < 0.05) during trotting, at a walk and a trot with a leg weight, standing on a wobble board, stepping up and over an obstacle, and dancing backwards when compared to stance. Of the studied exercises, dancing backwards increased the mean EMG amplitude of the BF and GM to the largest degree. Stepping up and over an obstacle increased the mean EMG amplitude of the VL to the largest degree.Conclusion: Compared to stance, the majority of therapeutic exercises examined increased muscle activity to varying degrees in the BF, VL, and GM. Our results may help clinicians to choose specific exercises to target specific muscles during conditioning, strengthening and rehabilitation.
The article analyses the status of dance in the Pāli Canon. At a first sight, it seems that dancing, watching dancers’ performances and their organization were not approved by the Buddha; but the comparison between some canonical Pāli passages shows that this apparently negative evaluation was motivated by the expectations of the Indian people towards ascetics, rather than an absolute refusal of this art on its own.
Smiljana Mandukić (1908-1992) a dancer, choreographer, and teacher, was among those dancers who pioneering the modern dance in Serbia. The beginning of the 20th century brought new forms of art as the old ones were not sufficient to express new feelings and experiences, in that era of rapid technological progress. Mandukic was educated as a dancer in interwar Vienna, so she happened to be at the centre of Central European expressionist dance, free dance, at the time of her formation as a dancer. Smiljana acquired dance knowledge from her teachers, famous dancers and choreographers, Gertrud Bodenwieser, who developed her own style of modern expressionist dance, known as “Bodenwieser Viennise Style”, and Grete Wiesenthal, who was a member of the corps de ballet of the Hofoper in Vienna (Vienna Court Opera Ballet). Both her teachers were the representatives of “Ausdrukstanz” or “Neur Tanz”, and were rejected formalism and virtuosity of classical dance in favour of more natural movements. Like her pair, Maga Magazinovic (1882-1968), who introduced expressionist dance in Serbia, established the first school of modern dance in 1910, and founded the first modern dance group consisted of female dancers, Mandukic advocated for the importance of dance in education of female population. In the traditional, patriarchal Serbian society, she opened the second school of modern dance in 1931, and was the first artist who established a professional group of modern dance. Her greatest achievement was the creation of “epic-patriotic choreodrama”. The main goal of this article is to confirm that Smiljana Mandukic’s pioneer work in establishing modern dance in Serbia was the part of the European expressionist modern dance movement of the equal importance and significance not only when considering the Western Balkans but the broader European context.
The article traces the intertextual relations of not widely studied novel by the writer-emigrant Friedrich Naumovich Gorenstein «The fly at the drop of tea» (1982) – folklore, mythological, biblical. It has been analyzed the episodes, which are endowed with characters of mystical meaning. Leading motives are revealed. The protagonist of the work has neither a name nor a surname, he is just a Man. Often found in the writer and in many ways similar to the author’s character is an intellectual, a Muscovite born somewhere in the south-west, apparently in a Ukrainian village. It is proved that the world, seen through the eyes of the protagonist, shows signs from past times and prohibitive space. Besides a healing remedy, warts, couples, dancing nymphs are mentioned twice. Reasoning about the eternal exhausting war between a man and a woman illustrates the picture seen later, depicting the deadly battle of a man in antique clothes with an Amazonian eagle. It is argued that the most important function of introducing rhyming images and events is to achieve the effect of the mutual permeability of past and present, dream and reality, fantasy and reality. The legend, placed in the center of the work, contains two dilemmas that are important to F.N. Gorenstein. The first is which religiosity to recognize as genuine: the frenzied rigorism of an ascetic, in his righteousness gone on about the demon, or the naive rapture of a sinner who sincerely extolled the beauty of the spirit? The second is what kind of love is true: based on volitional activity, personal activity – or on complete dissolution in the object of worship (love addiction)? It has been determined the main idea of this work that is the timeless essence of human existence, based on sacred love experience.
Paul Scully,1 Orlaith Reid,1 Alan P Macken,1–3 Mark Healy,4 Jean Saunders,4 Des Leddin,3,5 Walter Cullen,3 Colum P Dunne,3 Clodagh S O’Gorman1–3,5 1The Children’s Ark, University Hospital Limerick, Limerick, 2National Children’s Research Centre, Dublin, 3Centre for Interventions in Infection, Inflammation & Immunity (4i), Graduate Entry Medical School, 4C-Star, University of Limerick, Limerick, Ireland; 5Department of Medicine, Dalhousie University, Halifax, Canada Background: Television watching is obesogenic due to its sedentary nature and programming content, which influences children. Few studies have examined exercise placement within children-specific programming. This study aimed to investigate the frequency and type of exercise placement in children-specific television broadcasts and to compare placements on the UK and Irish television channels.Methods: Content analysis for five weekdays’ worth of children-specific television broadcasting totaling 82.5 hours on both the UK (British Broadcasting Corporation) and Irish (Radió Teilifís Éireann) television channels was performed. For the purposes of comparing the UK and Irish placements, analysis was restricted to programming broadcast between 6 am and 11.30 am. Exercise placements were coded based on type of activity, activity context, activity motivating factors and outcome, and characters involved.Results: A total of 780 cues were recorded during the total recording period. A wide variety of sports were depicted, but dancing-related cues were most commonly seen (n=163, 23.3%), with the majority of cues being of mild (n=365, 65.9%) or moderate (n=172, 31.0%) intensity. The majority of cues were associated with a positive outcome (n=404, 61.4%), and social motivations were most commonly seen (n=289, 30.3%). The Irish and the UK portrayals were broadly similar.Conclusion: This study highlights the wide variety of sports portrayed and the active effort undertaken by television stations to depict physical exercise and recreation in a positive light. Keywords: television, exercise, children, obesity
Critics have considered Filippo Tommaso Marinetti’s only point of contact with dance to be the manifesto La danza futurista (1917). However, I will show how his particularly acute physical sensibility laid the foundations for the creation of futuristic dance. In a reinterpretation of his manifestos, I wish to highlight his perception of the body and invention of a new dance art. As a result, it becomes clear that, for Marinetti, dance was an expression of hope, joy, desire to break with the past and a longing to leap: dance as a prelude to flight.
Daniela Bastos Silveira, Maria Delma Freitas das Chagas, Thaisa Santos da Hora
et al.
O objeto deste estudo é a cultura e suas implicações no cuidado da equipe de saúde da família em uma comunidade Quilombola. Objetivou-se analisar aspectos da cultura afrodescendente intervenientes no cuidado à saúde da comunidade Quilombola, na visão da equipe de saúde da família. Estudo descritivo-exploratório com abordagem qualitativa. Teve como cenário a comunidade Quilombola de Machadinha, em Quissamã – RJ, e como sujeitos, sete profissionais. A coleta de dados foi realizada mediante grupo focal e observação não participante. Os dados foram submetidos à análise temática de Bardin, em julho de 2014. Como resultado, identificou-se que os hábitos culturais dessa população estão, ainda, fortemente presentes, sobretudo na culinária, na dança e no uso de ervas medicinais. Tais hábitos exigem dos profissionais um diálogo entre saber técnico e saber popular. Concluiu-se que a equipe de saúde da família precisa considerar sua prática observando a cultura local como norteadora no processo de cuidar.
ABSTRACT
The object of study was culture and its implications for the family health care team in a quilombola community. This exploratory, qualitative, descriptive study examined aspects of Afro-descendant culture that influence quilombola community care from the family health care team’s viewpoint. The scenario was the Machadinha quilombola community at Quissamã, Rio de Janeiro State, and seven health personnel were the subjects. Data were collected through focus group and non-participant observation in July 2014, and analyzed using Bardin thematic analysis. The population’s cultural habits were found still to be strongly present, especially in cooking, dancing, and use of medicinal herbs. Those habits require that health personnel dialogue between technical and traditional knowledge. It was concluded that the family health team needs to consider its practice in view of local culture as a guide for the care process.
RESUMEN
El objeto de este estudio es la cultura y sus implicaciones en el cuidado del equipo de salud de la familia en una comunidad Quilombola. Se buscó analizar aspectos de la cultura afrodescendiente que intervienen en el cuidado a la salud de la comunidad Quilombola, desde la visión del equipo de la salud de la familia. Es un estudio descriptivo-exploratorio de abordaje cualitativo. El escenario se constituyó de una comunidad Quilombola de Machadinha ubicada en Quissamã, Estado de Rio de Janeiro. Los individuos analizados fueron siete profesionales. La recolección de datos fue realizada mediante grupo focal y observación no participante. Los datos fueron sometidos al análisis temático de Bardín, en julio de 2014. Como resultado, se ha verificado que los hábitos culturales de esa población siguen, todavía, fuertemente presentes, sobre todo en la culinaria, en la danza y en el uso de hierbas medicinales. Dichos hábitos exigen de los profesionales un diálogo entre saber técnico y saber popular. Se concluye que el equipo de salud de la familia necesita considerar su práctica observando la cultura local como norte en el proceso de atención.
DOI: http://dx.doi.org/10.12957/reuerj.2015.17734
This paper discusses some findings from practice-as-research into digital dance performance making. In an attempt to re-conceptualize the art of making movement, particularly as new technologies become more and more pervasive in art practice generally, this paper presents a personal perspective of the potential for ‘live’ and ‘digital bodies’ to interact. Key to this interaction has been a philosophical appreciation of Erin Manning’s concepts of a ‘sensing body in movement’ and ‘relation’ (2007, 2011). Using Manning’s ideas as a methodology for rethinking the relationship between live and digital dancing, this paper explores how the integration of digital media into choreographic practices can begin to shift our understanding of how best to compose movement simultaneously in live and digital contexts. Furthermore, this paper aims to explore and further understand what it means to move within media-rich environments, moving towards a situation where the idea of ‘taking care of bodies’ extends to how such performance paradigms can begin to re-engage with performer/audience perception.
M. Elizabeth Pedersen, M. Virginia Wilmerding, Brenna T. Kuhn
et al.
El objetivo de este estudio ha sido examinar la capacidad aeróbica y anaeróbica de bailaores estadounidenses profesionales de flamenco, con el fin de conocer las necesidades energéticas de esta danza. La muestra estudiada estaba formada por 11 bailaores profesionales de flamenco de Albuquerque, Nuevo Méjico (4 hombres y 7 mujeres). Se han registrado 3 variables: la composición corporal, medida con un adipómetro calipers; el consumo máximo de oxígeno (VO2max) estimado mediante el análisis de gases durante un test de esfuerzo progresivo; y la capacidad anaeróbica, calculada a través del test de Wingate. La edad media de los bailaores fue de 28.45 años (22-44 años) y el tiempo medio que llevaban participando en espectáculos flamencos era de 13.5 años (2-40 años). Respecto a la composición corporal, los participantes presentan datos de porcentaje de grasa corporal (GC) inferior a la media, tanto la muestra masculina, 9.96% GC (5,25-13,09% GC), como la femenina, 16.35% GC (12,96-20,17% GC). La media máxima de capacidad aeróbica fue de 51.63 mlO2•kg–1•min–1 para los hombres (40.7-59,5 mlO2•kg–1•min–1) y 38,78 mlO2•kg–1•min–1 para las mujeres (32.9-43,8 mlO2•kg–1•min–1), en ambos casos por encima de la media. La potencia máxima media registrada en el test de Wingate, fue de 16.2 W/kg (13.7-18.3 W/kg) y 11.3 W/kg (8.6 hasta 14.3 W/kg) para hombres y mujeres, respectivamente, con un índice de fatiga del 65.5% (62-74%) para los hombres y 56.1% (35.2-68.1%) para las mujeres. Estos resultados son superiores, casi en un 25 %, a otros datos publicados sobre deportistas que realizan actividades anaeróbicas. Por lo tanto, los bailaores de flamenco tienen una considerable potencia anaeróbica. Atendiendo en los resultados de este estudio, se sugiere que el entrenamiento de bailaores incluya componentes aeróbicos y anaeróbicos.
Vê-se as Universidades, principalmente as Públicas, como o principal espaço de pesquisa em Artes da Cena. Enfocam-se as peculiaridades do método BPI (Bailarino-Pesquisador-Intérprete), apresentado pela sua criadora e autora neste artigo, onde as pesquisas artística e acadêmica se entrelaçam, enfatizando-se aspectos psicológicos, os estudos de imagem corporal, o significado de personagem neste método, onde o ciclo de regeneração se faz vivenciado, e a leitura dos corpos diferentes e estranhos do Brasil, que requerem outro olhar, o de “corpo nu”.
Collective representations of "time" do not passively reflect time, but time and space are mediated by society. By our social practices, such as making music and dancing, we create time. Different cultural groups may experience and perceive time in different ways, and also within one cultural group the quality of time is not always experienced in the same way. Anthropological studies have shown that in each cultural group different perceptions of time co-exist. For instance, time generally tends to be perceived as both a linear flow and as repetitive. We should not confuse metaphysical and sociological arguments about time: time in music and other performing arts operates at the social and not at the metaphysical level. The essay discusses a variety of social qualities of time and space as it becomes manifest in some performing arts of West Java and the implications for their safeguarding.
History of scholarship and learning. The humanities
The notion of dance has been continually neglected and distorted in the Polish language – both in literary discourse and common parlance. Its actual significance can be demonstrated by comparing various types of discourses which include the term dance (or to take a dance, dance something outand many others) and relating them to their contribution to the development of the arts and the home culture. This paper focuses on different kinds of the word’s application and its use in Polish and reflects on thepresent status and relevance of the art of dancing in Poland.