Aesthetics Of Dance Research Articles

Exploring Dance Theory: Philosophical Foundations, Aesthetic Principles, and Critical Perspectives

This paper explores the complex realm of dance theory and explores its philosophical, aesthetic, and critical viewpoints. First, we consider the philosophical foundation of dance ontologically and strive for an ontological problem of action, expression and avatar. Dance semiotics and symbols are studied as basic tools for deciphering the meaning and understanding complex language of movement. Furthermore, the theory of body cognition reveals a complex relationship between mind, body and environment in the background of dance. Then we deeply study the principles of Dance Aesthetics, and emphasize the importance of the work of form and composition, labor force and choreography of expression. We also study the criticism and criticism of dance works using analytical techniques, interpretations, and comparative analysis, and provide a knowledge of the complex discourse of dance as an art form.

Analyzing Reasons for the Aesthetic Transformation of Dance Culture in Chinese Generation Z--Taking Otaku Dance as an Example

With the growth of China’s Internet, Generation Z has gradually become a group that couldn’t be ignored. Their preference and transformation of cultural aesthetics are closely related to the future direction of the consumer market. Meanwhile, the reasons for transforming and developing the Chinese Z generation’s aesthetic appreciation of Otaku Dance culture become a worthy topic. This article analyzes three reasons that affect the aesthetic transformation by exploring Otaku dance’s style transformation and localization development. Firstly, reshaping cultural memory brings cultural confidence, which made Generation Z more inclined to spread traditional Chinese culture and dance aesthetics. Secondly, the recognition of Chinese traditional culture by Generation Z has made Chinese style aesthetic evident in Otaku dance creation, which especially shows in transforming Japanese ACG costume into a symbolic representation of wearing Han Chinese Clothing. In addition, the development of China’s original ACG industry is mutually influenced by the aesthetic preferences of Generation Z. It enables Generation Z in China to develop an aesthetic preference towards traditional Chinese culture.

Reform and Innovation of Dance Teaching and Aesthetic Education in Colleges and Universities in the Digital Media Era

Abstract Today, when quality education is increasingly emphasized, it is necessary to strengthen the strength of dance aesthetics education for students in colleges and universities. This paper establishes a PBL teaching mode for dance aesthetic education based on the PBL teaching method and designs a teaching experiment for this teaching mode. In the PBL teaching process, the optical motion capture system is used to obtain the three-dimensional data of dance movements. After processing the three-dimensional data through data conversion and normalization, the time and channel refinement fusion hypergraph convolutional network is introduced to identify the dance movements, which helps teachers to carry out the teaching of dance movements. The data were quantitatively analyzed for the effects of dance movement recognition, students’ dance skill level, state of mind, and aesthetic awareness on the effectiveness of dance movement recognition and dance aesthetic PBL teaching model. The results showed that the accuracy of the dance movement recognition model in ballet movement recognition reached 89.63%, the dance skill level of students in the experimental class increased by 7.51±0.05 points compared with that of the control class, and their aesthetic sense, aesthetic appreciation, and aesthetic creativity all showed very significant differences at the 1% level. Applying the PBL teaching method to dance teaching and aesthetic education can fully cultivate students’ aesthetic sense and promote the innovative integration of dance aesthetic education in colleges and universities.

Book-album “Choreography” by Vladimir Stepanov in the Formation of Classical Dance Method in Russia

The article focuses on the unveiling of Vladimir Stepanov’s “Choreography”, which is preserved in the Cabinet of History of Russian Ballet, named after M. Frangopulo at the Vaganova Ballet Academy. However, this book has not been previously discussed in scholarly literature and memoiristics. It serves as a manual and photographic guide to Stepanov’s dance notation. The research revealed that at the age of 15, while he was still a student at the St. Petersburg Imperial Ballet School, he began assisting in the rehearsal process, which was the starting point in developing his dance notation. It hypothesizes that Jean-Martin Charcot and his photographic method of recording movements influenced Stepanov’s “Choreography”. Through biographical and historical analysis, the article attempts to establish the date of its creation. During the research, the biography of E. A. Kuzmina, a graduate of the St. Petersburg Imperial Ballet School, posing in the photographs of the book-album, was reconstructed. The illustrations in “Choreography” also provide valuable supplementary material for interpreting V. Stepanov’s 1895 classical dance curriculum, as demonstrated through a stylistic analysis of the seven arm positions and arabesques that reveal the distinct characteristics of the late 19th-century classical dance aesthetics. The pictures presented in “Choreography” are of particular value, forming a unique systematized illustrated classical dance manual.

The Aesthetics and Mechanics of African Dance, Costumes and Rattles in Yibo Koko’s Seki Dance Drama

With its distinctive form and content, African dance stands apart, carving out a unique identity that sets it apart from other continents. Its inherent rhythm possesses a magnetic quality capable of compelling people to move, transcending language barriers—an attribute that has propelled African musicians, particularly those from Nigeria, to a dominating position on the global music stage. This paper delves into traditional African dance, explicitly focusing on the rhythmic opulence found in the dance of rattles, costumes, and water pots within Seki. This captivating dance drama pays homage to the vibrant culture of the Niger Delta in Nigeria, Africa. Authored by Yibo Koko, the Seki dance drama undergoes a transformative journey, skilfully repackaging the traditional village square theatre into a digitalized theatrical experience accessible both as a live performance and in the dynamic space of new media. The paper employs a robust methodology and theoretical framework, drawing on dance theories, historical surveys, and analytical reviews of Seki performances to unravel the nuanced layers of this artistic expression. In scrutinizing Seki, this paper not only sheds light on the captivating exploration of rhythmic elements, including rattles, costumes, and water pots, but also underscores the broader impact of Seki's performance. The dance drama is a compelling canvas that radiates colours and a flawless rhythm, capturing global attention and playing a pivotal role in restoring the splendour of African ancestry. Through this repackaged theatre experience, Seki becomes a vehicle for exporting African culture, offering a renewed perspective that transcends borders and celebrates the rich heritage embedded in the dance's vibrant tapestry.

Badewo Kayangan in Okura Pekanbaru Community from Treatment Rituals to Aesthetic Dance: Ecotourism

This research aims to explain the form and function of Badewo Kayangan as a healing ritual in the past and present for the people of Tebing Tinggi Okura. This research is qualitative research with a descriptive approach that understands the phenomenon of the research subject. The data in this research is information obtained through various sources, both sources obtained directly through interviews with sources who know about the Badewo Khayangan dance, video recordings, photographs, and data in the form of documentation. Apart from this data, it is also supported by data in the form of notes obtained during observations. The research findings are that Badewo Kayangan was originally a healing ritual used to cure various diseases, including those caused by supernatural forces in the Okura High Cliff area. As time went by, people began to ask Wak Damai to change Badewo Kayangan into the Badewo Kayangan dance. The movements contained in Badewo Kayangan are combined with new elements and realized in the form of a dance performance known as the Badewo Kayangan dance. Badewo Kayangan has two main roles, namely as a traditional healing ritual and as a means of performing arts or entertainment. By considering the potential of the Badewo Kayangan Tebing Tinggi Okura dance as a local cultural asset, this dance has the potential to become part of the tourism industry based on culture.

TEPAK CIWARINGINAN PADA SENI PENCAK SILAT DI KOTA BANDUNG

Pencak silat is a martial art of Indonesia's cultural identity that 
 has been designated by UNESCO as an Intangible Cultural 
 Heritage. Pencak silat in West Java is not only categorized as a 
 martial sport, but also as one of the arts. Pencak silat in the context 
 of performing arts is often called Kendang Penca (from the 
 perspective of musical aesthetics) and Ibing Penca (from the 
 perspective of dance aesthetics). The focus of this article is to 
 describe the variety of tepak ciwaringinan patterns in the pencak 
 silat family in Bandung. The consideration is that these songs and 
 tepak no longer appear in every kendang penca performance, it can 
 be said that their existence is starting to become extinct. In this 
 article, the author uses a qualitative approach from Jhon W. 
 Creswell by collecting data through observation, documentation, 
 and interviews. After the data is obtained, the author then analyzes 
 the data to test the truth of the data.
 This article discusses an overview of pencak silat as a performing 
 art, the musical accompaniment of pencak silat in Bandung, and a 
 description of the Ciwaringinan tepak pattern in pencak silat. The 
 article concludes that pencak silat is one of the most important 
 aspects of the performing arts in Indonesia, especially in West Java. 
 Aesthetically, pencak silat generally consists of the aesthetics of the 
 Pencak Silat dance form (ibing penca), music aesthetics 
 (karawitan), and traditional fashion aesthetics. In addition, the 
 findings in this study are that there are a variety of Ciwaringinan 
 tepak patterns that have not been recognized by the public.

Crip Aesthetics and a Choreographic Method of Leakiness

Drawing attention to the affordances and challenges of disability dance and choreography, most notably aesthetic ideals which are antithetical to disability knowing, this research seeks to instigate a discussion on how we might radically envisage disability dance through a crip aesthetics. Theorizing my crip choreographic work Colored Shadow, I offer a method of leakiness as a tool to rupture hegemonic aesthetics of dance, which include compulsory able-bodiedness and able-mindedness, hierarchies of the stage, and inaccessibility. My proposal of a leaky choreographic method offers insight into the significance of crip theory and crip methodology as paths toward reconsidering and redefining aesthetics.

THE AESTHETICS OF RENTENG DANCE

Purpose: The Renteng dance in Saren I Hamlet, Nusa Penida, Klungkung, Bali has a very simple form. As a work of art, this dance does not explicitly show beautiful power, but implicitly, it can create beauty based on the qualities it has. This research aims to reveal, describe and understand the aesthetics of the Renteng dance in Saren I Hamlet, Nusa Penida, Klungkung, Bali.
 Research methods: The method used in this research is qualitative utilizing data collection techniques in the form of observation and documentation. The results of this research show that the aesthetics of the Renteng dance in Saren I Hamlet, Nusa Penida, Klungkung, Bali can be seen through unity, diversity, and intensity.
 Findings: The aesthetics contained in the Renteng dance through its three beautiful characteristics illustrate that no matter how simple the dance is, it will still create an aesthetic experience. The aesthetic experience of this dance can be seen through the unity of the elements or forming elements which are intertwined as a whole and single, and have a strong detailed effect that is carried out repetitively to create harmony.
 Implications: The aesthetics contained in the Renteng dance in Saren I Hamlet, Nusa Penida, Klungkung, Bali, through the three characteristics of beauty that have been discussed, illustrate that no matter how simple or simple the dance is, it will still create an aesthetic experience. The aesthetic experience of the Renteng dance in Saren I Hamlet, Nusa Penida, Klungkung, Bali can be seen through the unity of the elements or forming elements which are woven wholly and singly, and have a strong detailed effect which is carried out repetitively, thus creating harmony.

무용의 심미 확장을 위한 이기지묘(理氣之妙) 연구

The aim of this study is to explore the belief that incorporating physical education in a comprehensive manner can offer students a positive socialization experience. It also seeks to analyze dance within the context of Yulgok's Yi-Gi-Ji-Myo (理氣之妙) to demonstrate that dance embodies not only emotional beauty but also the aesthetic of sexual virtue. In this context, drawing inspiration from Yulgok's perspective on learning, this study asserts that an academic discipline that reconciles ideals with reality has the potential to bring about transformative change in the world. It employs the example of integrated sports to illustrate how education can be united with benevolent intentions to create a sense of beauty. This approach aligns with Yulgok's viewpoint. Furthermore, this study delves into the practical application of these concepts. It examines the moral aesthetics of dance, an expressive activity within the realm of physical education, based on the principles of rituals and music. Consequently, it is revealed that the beauty of togetherness can be actualized when human consciousness is grounded in rationality during the process of harnessing energy and gaining popularity.

Estetika Tari Sambut Telu Muli Cindo Dari Ogan Komering Ulu Selatan

The aesthetics of the welcome telu muli cindo dance in south Ogan Komering Ulu district, this study aims to express: 1) The integrity of the sambut telu muli cindo dance in south Ogan Komering ulu district, namely (a) The movements are graceful and the dancers are graceful. (b) The floor pattern used is one line, then a triangle, then an oblique line.(c) Musical accompaniment used is more dominant to a single guitar musical instruments (d) the costumes used by the dancers are woven fabrics typical of the south Ogan Komering Ulu region, namely kawai towels and red velvet clothes typical of palembang (e) The makeup used is tools (Foundation, Eye shadow, lip cream, loose powder, pressed powder, counter, concealer, blush on, mascara, eyebrow pencil, and false eyelashes) (f) accessories used are banyan heads, swings, gandik,cempako flowers, crowns, and buns.
 Keywords: Dance aesthetics welcome telu muli cindi dance

SPORT PERFORMANCE IN DANCE – A SYSTEMATIC REVIEW OF THE METHODS USED IN PHYSICAL CONDITIONING TRAINING

ABSTRACT. To assist academics and coaches to better understand dance and the training methods, a literature review of all pertinent articles was conducted. Although it has been proposed that dancers should add strength training into their regimen, many dance institutions are either hesitant to do so or lack the resources or knowledge necessary to do it. It has been suggested that dancers are hesitant to engage in strength training because they are concerned about muscular hypertrophy and the potential effects it may have on dance aesthetics. However, recent study has indicated that this might no longer be the case and that attitudes toward strength training are changing, especially among dance students and professionals. We conducted a search into multiple database (PubMed, Google Scholar, ScienceDirect) to gather the most important research articles to achieve our purpose. Our key word for this search was: strength training, plyometric training, dancers, ballroom, resistance training. The inclusion criteria were as follows: healthy subjects (male or female) who participated in a type of supplementary training, articles no older than year of 2000. Exclusion criteria: ballet dancers, injury related articles, elderly participants.

Dancing robots: Social interactions are performed, not depicted.

Clark and Fischer's depiction hypothesis is based on examples of western mimetic art. Yet social robots do not depict social interactions, but instead perform them. Similarly, dance and performance art do not rely on depiction. Kinematics and expressivity are better predictors of dance aesthetics and of effective social interactions. In this way, social robots are more like dancers than actors.

A Review of the Research on the Neural Mechanism of Dance Aesthetics

舞蹈审美；神经美学；动作观察网络；功能磁共振成像；事件相关电位；经颅磁刺激

Hijikata Tatsumi and Ohno Kazuo

Hijikata Tatsumi and Ohno Kazuo

Aesthetic dance as woman’s culture in America at the turn of the twentieth century: Genevieve Stebbins and the New York school of expression

ABSTRACT This essay provides a historical overview of “new” aesthetic dance practices in the United States between 1890 and 1920 before the advent of modern dance. At the turn of the twentieth century women were the main practitioners of the developing aesthetic dance genres known alternatively as gymnastic, expressive, natural, interpretive, or classic dancing. Aesthetic dance practices were informed by aesthetic theories of expression. One of the most prominent educational aesthetic methods amongst women was the Delsarte System of Expression. The leading advocate, educator, and innovator contributing to the development of this system was Genevieve Stebbins. This essay concludes with an exploration of her pedagogy as taught at the New York School of Expression and her performances in theaters and women’s clubs.

Ballet in the Cold War: A Soviet-American Exchange

Ballet in the Cold War: A Soviet-American Exchange

Aesthetic Characteristics of Dance Based on Few-Shot Learning and Neural Networks.

Dance is constantly discovering truth, goodness, and beauty in human social life, spreading truth, goodness, and beauty, and fully expressing the artistic pursuit of dance beauty. It shapes different dance images, expresses the aesthetic consciousness and feelings of dance, and resonates with the audience to meet their aesthetic needs through various forms of movement. Because the RBF neural network model is good at approximating functions, many researchers have begun to use the RBNN approximation model for engineering design. Due to the limited dance data available for research, this paper uses radial basis function neural network model to study the aesthetic characteristics of dance in the context of few-shot learning. When the time index reaches 50, the average ratio of the L-MBP algorithm is 33.4 percent, 32.5 percent for the RBNN algorithm, and 46.3 percent for this method. As can be seen, this method has the highest ratio of the three algorithms, giving it a distinct advantage in terms of dance aesthetics. As a result, this paper establishes a neural network model, trains and simulates the network model, studies and analyzes the influence of changes in influencing factors on the aesthetic characteristics of dance, and provides a new idea for the prediction of the aesthetic characteristics of dance and a reference for optimizing the design of the aesthetic system of dance using the prediction ability of radial basis function neural networks.

Queer Orientalism and Modernism in Dance Photographs of Harald Kreutzberg and Yvonne Georgi

This article analyzes the staging, costuming, make‐up, and gestural semiotics of Zeremonienmeister and Persisches Lied, two 1929 photographs of the German Expressionist dancers Harald Kreutzberg and Yvonne Georgi, while reflecting upon the affordances of still photography as a medium for the representation of their movement‐based art form. In these staged photographs, Kreutzberg and Georgi present their distinctive brand of modernist movement aesthetics, which both Orientalized and queered the dancing body. In cultivating a queer indeterminacy, these dancers embraced the emancipatory ethos of Weimar modernism, but by treating the East as an amalgamized, exotic source for civilizational regeneration, they exploited non‐white cultures and became vulnerable to, and later complicit in, the instrumentalization of their dance aesthetics by the Nazi regime.

Aesthetics of Hui Folk Dance as Audience Service to Leverage Audience Satisfaction

Hui folk dance has its unique charm as an indispensable part of Chinese folk dance. It reflects the customs and cultural characteristics of the Hui nationality. This article explores the historical formation of Hui folk dance, analyses its formation process in different periods of history, analyses the culture, the body vocabulary of the folk dance, the music, the rhythm of the dance, the influence on the folk dance, and the expression of aesthetic consciousness. Folk dances of the Hui nationality originate from the folk, and they also show their unique living habits, combining dance with the details of life to outline their unique dance posture. Hui folk dance expresses the value of aesthetic emotions, aesthetic knowledge, and aesthetic ideals of dance through historical portraits, national spirits, and traditional canons. The formation, aesthetic consciousness, and aesthetic characteristics of Hui folk dance were analysed to better understand the history and culture of Hui folk dance, learn it, inherit it, promote it, and enrich it for sustainability. Dance aesthetics as part of audience service. The audience will be aesthetically satisfied and this will affect their behavioural intentions.