Aesthetics Of Dance Research Articles

Effects of Regional Cultural Differences on the Aesthetic Orientation of Square Dance Style

As a unique regional culture, it is closely related to the formation of dance aesthetic style. It is mainly manifested in that regional cultural differences affect the formation of square dance style. Square dance style reflects the essence of different regional cultures and systematically shows the relative dialectical relationship of art. Studying and exploring the relationship between regional culture and square dance style has very important theoretical research value, whether it is to promote the development of different regional cultures or to promote the progress of square dance style. Dance Aesthetics starts from perceiving and creating artistic value, creates different artistic images through body dynamic language, and expresses the aesthetic feelings and different understandings of the creative subject. It takes the influencing factors of regional culture, the formation of dance aesthetic style and the influence of regional culture on the aesthetics of square dance style as the main framework, A comprehensive and in-depth study and elaboration on the relationship between regional culture and the aesthetic orientation of square dance style is of great significance to the improvement of aesthetics and the development of design, and provides a feasible theoretical reference for the innovative development of dance.

Simulation and analysis of dance teaching action based on multimedia technology

Motion simulation is an intelligent technology with strong vitality and application advantages. If it is applied in dance teaching, it will realize the simulation of dance teaching environment and teaching difficulties, help the learners to better understand the main points of dance movements, feel the deep aesthetics of dance, promote the psychological adaptation of students, and contribute to the development of new dance movements. Therefore, in the current innovative dance teaching process, we should pay attention to the use of motion capture technology, virtual simulation technology and multimedia technology to drive the development of dance teaching wisdom.

IPA 기법을 활용한 대학 무용학과 교육과정의 구성 교과목 중요도 만족도에 관한 연구

The objective of this study is to understand the importance of each subject operating in dance department of university by utilizing the IPA technique, and also to comparatively analyze the satisfaction on the basis of importance. For this, targeting the students majoring in dance of 4-year-course university in the capital area, total 278 questionnaires were used for the final analysis. The results of the study are as follows.<BR> first, while the rest subjects except for percussion practice showed the lower satisfaction than importance. Second, all the direct theory subjects of dance department showed the higher importance than satisfaction. Third, of the direct practical subjects of dance department, the major practice, basic practice, work repertoire, and performance & field practice need to be continuously maintained and strengthened in the future. However, the subjects like minor, percussion practice, and choreography & improvisation showed the low priority, so it would be necessary to consider their continuation/maintenance afterwards. Fourth, of the direct theory subjects of dance department, the history of dance, dance music, and dance education & teaching method need to be continuously maintained and strengthened in the future while the satisfaction of movement analysis subject needs to be intensively improved. Also, the subjects like dance aesthetics, art criticism & dance criticism, and dance therapy & psychology showed the low priority, so it would be necessary to consider their continuation/maintenance afterwards. The introduction to dance could be usefully used in the strategic perspective even though the excessive effort is avoided.

Fitness technologies implementation in the individual work of choreographic departments students of higher educational institutions

The aim of this article is to highlight the problems of professional competencies formation by implementation of fitness technologies into students-choreographers’ individual work in higher educational institutions, namely: formation of practical skills to compile a set of exercises using methods of pilates and myofascial release in independent work; use of pilates and myofascial relaxation in everyday life as technologies that help maintain health; use of applied knowledge and skills in future working career. &#x0D; The methodology. To achieve and implement the goal, a set of approaches has been applied, namely, general scientific (analysis, synthesis, generalization, systematization), which were used to clarify the state of the problem; historical-genetic and retrospective, which allowed to determine the origins and genesis of fitness technologies and pedagogical observations method, which made it possible to analyze the possibilities of their usage in the students-choreographers’ independent work. &#x0D; The results. The process of fitness technologies implementation, in particular pilates and myofascial release into the students-choreographers’ individual work, has health-preserving value. Systematic classes with the help of these methods help to accelerate the recovery processes in the body and improve the psycho-emotional background of students, which is positively reflected in educational and creative activities. The applied role of these fitness technologies implementation in students-choreographers’ individual educational process is not only in self-development, but also promotes increase of professional performance level, deepens knowledge in the field of aesthetic dance and functional movement.&#x0D; The scientific topicality of the study lies in the implementation and usage of fitness technologies, the pilates and myofascial release system in particular, in the independent educational process for students of choreographic faculties of higher educational institutions, which plays an important compensatory role in their physical condition. The list of exercises and methodological recommendations for compiling independent classes on myofascial release and pilates is suggested.&#x0D; The practical significance is difficult to overestimate. The benefits of fitness technologies implementation in the students-choreographers’ individual work as a part of the educational process may not only have the preventive value of occupational diseases, but also expands the range of applied knowledge and skills in the field of occupational hygiene in the future career.

14. The Violin in L’histoire Du Soldat – A Metaphor of the Soul

Abstract From 1909, Stravinsky manifested a keen interest in composing theatre music, as proves the many and various dedicated scores. Almost all of his large works, from the ballet The Firebird (1909-10) to the one-act opera buffa Mavra (1921-22), are written for the stage. Stravinsky thus worked most of the time with scenic presentations, with questions on movement, dance, gestures or scenic tableaus. He develops a particular theatrical instinct: his works have a good scenic orientation, and the correlation with modernism and the new currents in theatre aesthetics is more than obvious. Critics have already analysed and discussed the parallels with such contemporary theatrical concepts as by Bertold Brecht (1898-1956) or Vsevolod Meyerhold (1874-1940). After three great ballets, whose new conception by Stravinsky and Sergei Diaghilev (1872-1929) brought about a fundamental revolution in dance aesthetics, the composer crystallises his notion of incidental music. The aesthetics of L’Histoire du soldat, a work “to be read, played and danced”, is opposed to that of Richard Wagner (1813-83) and his Gesamtkunstwerk (a work blending various arts, a total work of art): a new artistic idea, frozen in gesture and movement, compressed, finding its concentrated expression. Stravinsky establishes a brilliant draft of the issues of Opera, to which he would from now on dedicate himself. Stravinsky’s theatre music reveals a tendency to introduce new concepts in the works written between Sacre du printemps and Pulcinella. A quick look at his stage works before and after L’histoire is necessary in order to fit it in his artistic view.

Dance Across Cultures: Joint Action Aesthetics in Japan and the UK

Western European and East Asian cultures show marked differences in aesthetic appreciation of the visual arts. East Asian aesthetics are often associated with a holistic focus on balance and harmony, in contrast to Western aesthetics, which often focus on the expression of the individual. In this study, we examined whether cultural differences also exist in relation to the aesthetics of dance. Japanese and British participants completed an online survey in which they evaluated synchronous and asynchronous dance video clips on eight semantic differential scales. We observed that the aesthetics of group dance depend on cultural background. Specifically, British participants preferred asynchronous over synchronous dance whereas Japanese participants equally liked synchronous and asynchronous dance movement. For both cultures, preferences were based on distinct semantic associations with movement synchrony. We argue that cultural differences in aesthetic perception of group dance relate to the culturally specific social signals conveyed by unison movement.

Priority motivations of women of the first period of mature age in the process of engaging in health-improving motor activity (on the example of bellydance-fitness)

The issue of the necessity of accounting for the motivational priorities of the women aged 21-35 years in the process of the physical culture and health activities and their significance for the design of the physical culture and health relatedsessions has been addressed in the article. The first period of mature age (21-35 years) of the women is characterized by the beginning of the involutionary processes in the body and a decrease in the motor abilities of the women, and the solution to this problem is possible by optimizing their motor activity. Bellydance-fitness classes today are one of the most important types of the physical activity for the women. They have a positive effect on the psycho-emotional state of women and their physical preparedness. We conducted a survey of women aged 21-35 who are engaged in bellydance-fitness in clubs and studios in Lviv and Ivano-Frankivsk. We compared the training motives of the women of different age groups (21-25 years old, 26-30 years old, 31-35 years old) and found out how the motivation of the women changes during the first period of adulthood. We found that the priority motives of their classes are mastering of the aesthetic dance movements, improving of the figure parameters and improving of the improving well-being and health.

PENSARFAZER DANÇA DESDE UMA PERSPECTIVA CONTEMPORÂNEA E DECOLONIAL

Este artigo tem como objetivo propor pensarfazer processos de ensinoaprendizagem em dança desde uma perspectiva contemporânea decolonial. Foi possível identificar pontos de convergência entre estas perspectivas, já que ambas as correntes de pensamento compartilham pressupostos da concepção libertadora de educação, tais como dialogicidade, defesa da democracia, indissociabilidade entre teoria e prática; corpo mente; razão emoção; incentivo à autonomia dos educandos no seu processo de ensinoaprendizagem e respeito a pluralidade de ideias. A perspectiva decolonial de educação complementa a perspectiva contemporânea de ensino da dança ao fazer refletir sobre o eurocentrismo presente nos currículos dos cursos de dança, sobre a distribuição desigual de valor dada às produções de dança oriundas da Europa e EUA e às produções latino-americanas, especialmente as danças de matrizes afro-brasileiras e indígenas e ao defender uma educação intercultural. Nesse sentido, o pensarfazer processos de ensinoaprendizagem em dança desde uma perspectiva contemporânea e decolonial perpassa pela criação de um currículo de dança intercultural nos espaços formais de ensino, pelo incentivo à pesquisa de pedagogias decoloniais de dança e ao intercâmbio cultural entre as redes de dança latino-americanas.&#x0D; Palavras-chave: dança; decolonial; ensinoaprendizagem; interculturalidade; pensarfazer&#x0D;

Proses Kreativitas dan Apresiasi Seni Dalam Pembelajaran Seni Tari Bagi Mahasiswa PIAUD UIN Sunan Ampel Surabaya

This study aims to develop creativity and appreciation of art in learning dance for students of UIN Sunan Ampel Surabaya PIAUD. Learning dance is very useful for PIAUD students because it can improve the ability to learn dance in art appreciation activities. Creativity in this research is to create a new thing in individual learning. In general, creativity and appreciation lead to the process of moving that drives someone in an action. Desires that must continue to be fostered for the process of learning dance one of them with a form of appreciation, because in the form of appreciation of art contains a beauty or aesthetic dance moves, as well as expression in learning dance know that dance creation also contains a beauty. The process of dance work will be an aesthetic experience for students who are in line with their educational interests through learning dance. This process is carried out continuously so that the appreciation of PIAUD students towards dance as expected and will increase and have creativity towards learning dance when they become kindergarten teachers.

Timing is everything: Dance aesthetics depend on the complexity of movement kinematics

What constitutes a beautiful action? Research into dance aesthetics has largely focussed on subjective features like familiarity with the observed movement, but has rarely studied objective features like speed or acceleration. We manipulated the kinematic complexity of observed actions by creating dance sequences that varied in movement timing, but not in movement trajectory. Dance-naïve participants rated the dance videos on speed, effort, reproducibility, and enjoyment. Using linear mixed-effects modeling, we show that faster, more predictable movement sequences with varied velocity profiles are judged to be more effortful, less reproducible, and more aesthetically pleasing than slower sequences with more uniform velocity profiles. Accordingly, dance aesthetics depend not only on which movements are being performed but on how movements are executed and linked into sequences. The aesthetics of movement timing may apply across culturally-specific dance styles and predict both preference for and perceived difficulty of dance, consistent with information theory and effort heuristic accounts of aesthetic appreciation.

Indian aesthetic dance and yoga improves mental health among caregivers of children with neurodevelopmental disorders: a randomized trial

Background: This study aimed to assess the effects of Indian aesthetic dance (IAD) and yoga on psychological behavioral and mental health-related problems among the caregivers of children with neurodevelopmental disorders (NDDs).Methods: One hundred one caregiver participants were randomly allocated to either intervention of IAD or a structured yoga program or in a control group. The invention groups received supervised eight-weeks IAD or yoga training for 3 alternative days, 75 min each day. In total, 96 subjects completed the study with after high adherence of 95% to intervention sessions. Caregivers were assessed with self-rated primary measures including the Zarit burden scale (ZBS), depression, anxiety, and stress (DASS-21) scale; and secondary measures were revised caregiver’s appraisal scale (RCAS) and WHO Quality of Life WHOQOL (BREF) scale. The assessments were done at pre (1st day), mid (ENT of 4th week), and post (end of 8th week) of interventions.Results: Statistical analysis showed there was a significant reduction in scores of ZBS (p&lt;0.001), DASS-21 (p&lt;0.001), and significant improvement was found in the subscales of RCAS and WHOQOL (BREF) (p&lt;0.001). Conclusions: The outcome of the study suggests that IAD and Yoga can be feasible interventions for alleviating symptoms of mental health-related issues among caregivers.

A randomized study on the energy difference measured by electro photonic image on caregivers practiced Indian aesthetic dance and yoga

Background: Electro photonic image (EPI) technique based on the bio-energy field, is growing as a novel technique in the fields of alternative medicine, conventional practices, psycho-physiology, psychology, and consciousness. In this study, the EPI instrument is used to assess emotional pressure which is termed as activation coefficient (AC), communication energy (C) level of various organ systems, and entropy (E) in the human energy field is assessed in the caregivers (CGs) of children with neurodevelopmental disorders (NDDs).Methods: Immediate effect of Indian aesthetic dance (n=31) and yoga (n=30) practices for 75 minutes were assessed in two randomized experimental groups that are later compared with the control group (n=30). The statistical analysis was done using IBM SPSS Version 21.0.Results: The activation coefficient of intervention groups showed a significant reduction in stress levels (p&lt;0.001). Indian aesthetic dance intervention group showed significant improvement in the energy level of the organ systems namely respiratory, endocrine, musculoskeletal and digestive system (p&lt;0.001); cardiovascular, nervous and immune systems (p&lt;0.01) and yoga group in respiratory, musculoskeletal, nervous system (p&lt;0.001); and cardiovascular, endocrine, and immune system (p&lt;0.01). Both the intervention groups showed a significant reduction in entropy (p&lt;0.001) post-intervention compared to the control group.Conclusions: The EPI parameters used for CGs of children with NDDs explore the possibility of using this instrument for measuring the bioenergy field that infers the health status of CGs before and after dance and yoga interventions.

Artistic Aesthetics and Cultural Inheritance of Gannan Tea-picking Dance

Artistic Aesthetics and Cultural Inheritance of Gannan Tea-picking Dance

Dance That “Suggested Nothing but Itself”: Josephine Baker and Abstraction

This article reconsiders Josephine Baker’s legacy for the field of dance by emphasizing the principles of abstraction that she developed through performance. Although she is considered to be a modernist, Baker is rarely discussed as an abstractionist. Doing so requires a rethinking of the relationship between race and abstraction, a conversation revived by choreographer Miguel Gutierrez in 2018. Audiences in 1920s Paris described how Baker confounded identity categories to produce something new for the stage, but critics and scholars since have continued to define her by those very categories. Baker’s dancing prioritized the expression of kinesthetic energy over representation or narrative, clearly fitting within the purview of abstract dance. In building upon the work of Brenda Dixon Gottschild, I argue that Baker demonstrates how abstraction is not in opposition to Africanist dance aesthetics, but rather is a constitutive part of it.

The Construction of Authenticity in the Creative Process: Lessons from Choreographers of Contemporary Dance

The literature on authenticity of cultural production has systematically examined the perceived authenticity of both the producer and the cultural product but not of the creative process. This study aims to address this lacuna, adopting Carroll and Wheaton’s typology of type and moral authenticity to examine how contemporary dance choreographers construct authenticity during the creation of a new choreography. Our analysis of data from 23 contemporary dance companies reveals that the two meanings of authenticity dynamically reconstitute one another in the creative process. First, choreographers construct moral authenticity through transformation of form, deconstructing established artistic dance forms and introducing new movements from a bricolage of techniques. Second, they construct type authenticity through wrapping expression, facilitating the deconstruction of the values attached to the bricolage of techniques into artistic dance aesthetics. Finally, choreographers evoke both moral and type authenticity through a creative process of reconstruction. Our noteworthy finding reveals how the construction of authenticity in the process of creating a new choreography, and the dynamics between the two meanings of authenticity, serve significantly as a means of communication among the involved actors, thereby enabling the creative process.

Whole-body angular momentum in a complex dance sequence: Differences across skill levels

Due to the redundant degrees of freedom (DOF) and nonlinearity of reactional kinetic elements within the human motor apparatus, controlling the complex dynamics of the human musculoskeletal system presents considerable difficulties. Based on this challenge, Bernstein (1967) viewed skill development as the process whereby the central nervous system (CNS) gains mastery of kinematic DOF and kinetic reactional elements (passive forces, moments etc.), with the highest level of skill characterised by optimal exploitation of reactional elements in the achievement of movement goals. A previous kinematic investigation into coordination differences in a complex multidirectional dance sequence demonstrated that general unfreezing of kinematic DOF occurred as dance skill progressed (Chang et al., submitted for publication). To gain insight into the role of angular reactional elements in skill, the present kinetic study investigated angular momentum and associated variables across three skill levels (beginners, intermediates, experts) within this same complex dance sequence. The results showed that the angular momenta of segments and accompanying angular reactional elements generally increased with skill level. More specifically, the findings suggested that while improvements in movement economy from cancellation of angular momentum between body segments occur early in skill progression, later in skill progression, experts utilise increased whole-body angular momentum. Although this is energetically expensive, it may enhance the aesthetic value of dance movements, and/or have mechanical advantages. Overall, the findings here provide support for Bernstein’s (1967) model of skill development. Future research should quantify the relations between energy expenditure, key biomechanical variables that reflect skill and dance aesthetics as perceived by audiences.

Multimodal Information Fusion for Automatic Aesthetics Evaluation of Robotic Dance Poses

Aesthetic ability is an advanced cognitive function of human beings. Human dancers in front of mirrors estimate the aesthetics of their own dance poses by fusing multimodal information (visual and non-visual) to improve their dancing performances. Similarly, if a robot could perceive the aesthetics of its own dance poses, the robot could demonstrate more autonomous and humanoid behavior during robotic dance creation. Therefore, we propose a novel automatic approach to estimate the aesthetics of robotic dance poses by fusing multimodal information. From the visual channel, the shape features (including eccentricity, density, rectangularity, aspect ratio, Hu-moment Invariants, and complex coordinate based Fourier descriptors) are extracted from an image; from the non-visual channel, joint motion features are obtained from the internal kinestate of a robot. The above two categories of features are fused to portray completely a robotic dance pose. To automatically estimate the aesthetics of robotic dance poses, the following ten machine learning methods are deployed: Naive Bayes, Bayesian logistic regression, SVM, RBF network, ADTree, random forest, voted perceptron, KStar, DTNB, and bagging. Experimental results show the feasibility and good performance of the proposed mechanism, which was implemented in a simulated robot environment. The highest correct ratio of aesthetic evaluation is 81.6%, which comes from the ADTree, based on the above mixed features (joint + shape).

Dance and the Philosophy of Action: A Framework for the Aesthetics of Dance

Dance and the Philosophy of Action: A Framework for the Aesthetics of Dance

MCFEE, GRAHAM. Dance and the Philosophy of Action: A Framework for the Aesthetics of Dance. Binstead, Hampshire, UK: Dance Books Ltd., 2018, 342 pp., £25.00 paper.

MCFEE, GRAHAM. Dance and the Philosophy of Action: A Framework for the Aesthetics of Dance. Binstead, Hampshire, UK: Dance Books Ltd., 2018, 342 pp., £25.00 paper.

Dance, Music Videos and Screens: Intermediality and Videochoreomorphosis in Mali and Benin

Drawing on ethnographic fieldwork in Mali and Benin, the article looks at the economy of music video making and watching and their interaction with social dance practices. On the one hand, the article addresses the creation of new dance aesthetics in Mali through the development of music videos, while interrogating the creation of dance routines and their mediation on TV and via the Internet. On the other hand, it explores issues of remediation and intermediality in dance in light of the use of videos by Beninese salsa dancers. The article thus examines the interactions between dancing bodies and screens in dance venues in Cotonou. The notion of videochoreomorphosis is proposed as an analytical tool to appreciate how dance and dancing bodies are transformed by their interaction with the video format and with audio-visual techniques. This notion encompasses aesthetic and technical transformations as well as changes in the transmission, practice and consumption of dance through its video mediation. It also confronts assumed oppositions such as virtual/incarnate, screen/live, representation/embodiment, global/local. This study aims therefore at a theorization of the role of intermediality and remediation in social dance practices in Africa today.