Classical Dance Research Articles

Exploring the Content and Methods of Classical Dance Teaching in the Context of Multicultural Integration

Abstract This paper addresses the teaching development of classical dance and proposes the use of modern teaching technology to assist the teaching of classical dance. It integrates the creative stimulation of classical dance teaching with the concept of multi-cloud culture and proposes the hypothesis of optimizing the teaching effect of classical dance with the concept of multi-culture. Utilizing the online teaching platform for retrieval of multiple dance resources, the RANKBOOST algorithm is applied to accelerate the retrieval time of dance resources. The dance resources are pre-processed with dance posture data converted into BVH file form, human posture features are calculated, 3D-SIFT technology is applied to extract the human posture features of dance movements, and similarity calculation is performed to obtain dance movement recognition and dance posture analysis. Test the performance of an online teaching platform and analyze the parameter values of the RANKBOOST algorithm. Design the overall framework of the classical dance teaching experiment, subdividing the teaching purpose, teaching content, teaching time, etc., and statistically compare the results of the teaching experiment. The classical dance online teaching platform is able to load students’ learning tasks when the concurrency reaches the maximum value. Through comparative analysis, it can be seen that the classical dance teaching (online dance analysis) method proposed in this paper based on the concept of multiculturalism can significantly improve students’ classical dance assessment results and effectively achieve the teaching objectives.

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.

Evolution of the forms of sources on classical dance technique in the methodological literature of the second half of the 15th – first half of the 20th centuries

The article is devoted to the study of the evolution of the forms of literary works on classical dance technique of the second half of the 15th – first half of the 20th century, among which are educational and methodological manuals, dance notations, theoretical, historical and critical works, and classical dance curriculums. The creation of the first theoretical works on the art of choreography determines the upper temporal boundary of the chronological framework of the research. The development of the first classical dance curriculums determines the lower chronological limit. Until now, curriculums have not been regarded as an autonomous source, allowing to objectively assess the level of performing skills in their historical development. The research is aimed to identify the prerequisites for the emergence of this form of explanation and description of classical dance technique. It is hypothesized that already in the earliest theoretical works, the programmatic approach of the choreographic mindset can be traced. Using the historical method, the article makes a retrospective analysis of literary sources to reveal this pattern. The novelty of the research shows the importance of the classical dance curriculum not only in the evolution of professional ballet education but also in the development of the theory of choreographic art. It is concluded that there is a conventional form of classical dance curriculum in the content of the analyzed works. It was found that the methods of many outstanding teachers (P. Beauchamp, F. Taglioni, O. Vestris, E. Cecchetti) were described by their students, as they did not leave behind any published theoretical works. Other specialists in the field of choreographic art (R. Feuillet, A. Bournonville, E. Theleur, A. J. Zorn, V. I. Stepanov), on the contrary, combined several competences at once in writing methodology, theory, curriculums, and notations.

Design of innovative teaching methods for classical dance based on group intelligence

Abstract Compared with image records, 3D dance scores can realize the demonstration and practice of classical dance teaching more accurately and efficiently. In this paper, the Li group skeletal representation model is used for Li algebra space mapping processing to learn action feature data, classify them, and complete classical dance action feature extraction. Then, the residual network model is used as the backbone network to construct a two-stream spatiotemporal residual network for action recognition by using two different temporal spans and fusing the results of the two-channel networks through side connections. Finally, the group intelligence algorithm group intelligence algorithm ACOR-SGD is designed to optimize the parameters of the convolutional neural network, and then the dance score generation model is integrated into the design of the innovative teaching method of classical dance for the application of the professional teaching of classical dance in colleges and universities. There is basically no significant difference between the pre-test scores of the experimental and control classes. After one semester of applying the innovative teaching method based on the generation of dance scores, the scores of the experimental class in the five items of basic pace mastery, movement fluency, stage presence, technical quality, and coordination of the music rhythm were improved by 4.6, 4, 4.28, 3.63, and 4.72 respectively, and the total score of 81.54 was much higher than that of the control class of 60.57 points posttest scores, and all were significant at the 0.01 level. This study explores innovatively and provides an effective path for integrating dance teaching with cutting-edge information technology, thus improving the quality and efficiency of dance teaching.

Research on Artificial Intelligence-Assisted Teaching Methods in Chinese Classical Dance Movement Training

Abstract Taking movement training in the teaching of classical Chinese dance as an entry point, combined with the application of digital technology, improves and enriches the existing teaching methods of movement training of classical Chinese dance. Based on the Kinect skeleton data acquisition technology, the study pre-processes the collected data and proposes a dance movement data segmentation method based on movement rhythm to segment dance movement segments. The ST-GCN network structure is improved to recognize Chinese classical dance by AAST-GCN, a spatio-temporal graph convolutional network based on adaptive and attention mechanisms. Finally, the DTW algorithm is used to analyze the degree of similarity between the recognized action sequences and the standard action sequences, so as to provide targeted assisted teaching of classical Chinese dance. The results show that the intersection and concurrency ratio of the human dance posture detection method based on deep convolutional learning is always located in [0.5, 1.0], and the system can give training suggestions according to the comparison results, and the trainer can reasonably adjust the movements according to the software prompts, so as to achieve the purpose of assisted training, and then effectively improve the trainer’s dance level. After 12 weeks of AI-assisted training, the dancers obtained more obvious improvement than the control group in both rotational speed and the number of rotations, and the enhancement of these two abilities is precisely the necessary condition for realizing high-quality classical dance turn-like movements.

An investigation of methods to improve the accuracy of classical dance steps based on machine vision recognition technology

Abstract Methods that use motion capture data to analyze human behavior are highly interpretable and offer significant advantages in vision-based dance step analysis. In this study, we propose a fusion feature extraction method that describes the rotational information embedded in the skeleton and combines the advantages of single-skeleton feature extraction and Li group feature extraction methods for recognition. The feasibility and validity of the proposed model are verified by conducting recognition experiments on BVH data of classical dance steps performed by subjects. In the ablation experiments, the average accuracy of the classical dance step recognition model based on fused features for step movement recognition is improved by 3.01% and 1.86% compared with the neural network model and the Lie group network model, respectively. It has been proven that adding rotation information to skeletal features can effectively differentiate 3D motion trajectories in similar dance steps. Furthermore, the dance movement trajectories derived from this model are very clear and can be utilized to direct the correct joint point positions throughout the movement. The recognition accuracy of the fusion feature extraction-based recognition method for all seven classical dance basic foot positions is greater than 90%, which reflects the accuracy of the proposed machine vision model in recognizing classical dance steps.

Enrichment and Expansion of Classical Dance Teaching Content under the Perspective of Innovative Education

Abstract This paper proposes a collaborative filtering-based learning resource recommendation algorithm to help learners find interesting resources in a huge amount of teaching resources and improve learning efficiency and learning interest so that the classical dance teaching content can be further enriched and expanded. By improving the K-means clustering algorithm, the article realizes the clustering of students’ classical dance teaching content preferences and further proposes a collaborative filtering algorithm based on ratings and attribute preferences of classical dance teaching resources, which takes into account the relationship between users’ needs and the attributes of the resources in order to complete the personalized recommendation of classical dance teaching resources for students. The article finally takes a dance teaching classroom as an example for empirical research. In the two groups of classical dance performance scoring a single total average score, the experimental group’s performance of dance movements is better than that of the control group, the average score of the experimental group’s pre-test is higher than the average score of the control group’s pre-test by 8±1.8 points, and the average score of the experimental group’s post-test is higher than the average score of the control group’s post-test by 9±2 points.

The spirit of classical aesthetics in Chinese classical dance

The spirit of classical aesthetics in Chinese classical dance

The similarities and difference between Chinese classical dance and Western ballet

The similarities and difference between Chinese classical dance and Western ballet

Classical ballet and Winnicottian Theory: learning classical dance and emotional maturation in Winnicott.

Resumo: Objetivou-se criar um diálogo entre a teoria do amadurecimento emocional de Winnicott e a dança clássica (ballet) com o intuito de aproximar os conceitos winnicottianos de integração, personalização e realização aos degraus trilhados na educação artística clássica de bailarinas(os). Partiu-se de um estudo qualitativo, embasado na psicanálise, empreendido por meio de entrevistas com dezesseis professores de ballet clássico com formação mista. Produziu-se uma interseção entre os dois campos de saber, de um lado, o desenvolvimento do self no caminho da dependência à independência e, do outro, a experiência das bailarinas na dinâmica maturacional técnica e artística exigida no ballet.

Research on the Technical Methods and Aesthetic Characteristics of Water Sleeve in Chinese Classical Dance—Taking the dance drama "Qing Yi" as an example

Research on the Technical Methods and Aesthetic Characteristics of Water Sleeve in Chinese Classical Dance—Taking the dance drama "Qing Yi" as an example

The embodiment of Confucian thought in Chinese classical dance performance

The embodiment of Confucian thought in Chinese classical dance performance

Toward Becoming Good Relatives: Not-Dancing to Centre Indigenous Presence in the Dance Classroom

This co-written article considers the possibilities and limitations that community-engaged, decolonial pedagogies hold for challenging normative, settler-capitalist goals in dance education. Current mainstream discussions in US higher education demonstrate concern with utility and career readiness, especially in arts and humanities disciplines. In the performance-based classroom, these ideas can lend themselves to expectations of physical training to “prepare” students for a dance career. We argue that the alternative learning goals of not-dancing, listening to class attendees and collaborators, and working-for California tribal community partners can instead enable students and faculty to recognize and challenge implicit settler-capitalist frameworks and legacies of non-Native appropriation in undergraduate dance classes. We analyze a community-engaged, undergraduate seminar, titled Dance and Decolonization, which was taught by Tria Blu Wakpa, an Assistant Professor, with the assistance of her graduate student researchers, Sammy Roth and Miya Shaffer. This course asked students to support the cultural revitalization initiatives of individuals and representatives from three California Native tribes, which included archival research and dance revitalization efforts. We write this article as a conversation, following the pedagogical models offered by community partners who engaged students in dialogue, rather than teaching dances. We show how the course re-animated the space of the classroom to foreground Indigenous presence — an action which enabled students and faculty to identify and challenge historical and contemporary settler-capitalist power relations and, subsequently, recognize the constraints of learning about Indigenous issues in a land grant institution. In discussing the course, we offer strategies to work towards becoming "good relatives" from different community outsider positionalities: by not-dancing, listening, and working-for, we can be present to Indigenous presence and aim to be in relation with Indigenous peoples and land.

Improvements in Postural Stability, Dynamic Balance and Strength Following 12 Weeks of Online Ballet-Modern Dance Classes for Older Women

Improvements in Postural Stability, Dynamic Balance and Strength Following 12 Weeks of Online Ballet-Modern Dance Classes for Older Women

Accompanying Learning in Dance Classes in Quebec Schools through Movement Observation Analysis (MOA)

Accompanying Learning in Dance Classes in Quebec Schools through Movement Observation Analysis (MOA)

THE STRATEGIC ROLE OF VISUAL AND PERFORMING ARTS AS INSTRUMENTS OF INDIA’S SOFT POWER IN INTERNATIONAL POLITICS

The idea of soft power has become increasingly popular in the field of international relations, where cultural diplomacy is essential to influencing how the global community looks a country. India, with its vast and diverse cultural heritage, has strategically employed its visual and performing arts as critical instruments of soft power. From Bollywood films and classical dance forms like Bharatanatyam and Kathak to its traditional music and fine arts, India has utilized these art forms to project influence on the global stage. This research paper explores how these various artistic expressions not only serve as tools of India’s soft power but also foster diplomatic relationships, enhance bilateral ties, and build a positive international image. Additionally, the paper analyzes the historical roots of these cultural forms, their evolution over time, and their continued relevance in contemporary global diplomacy. By assessing case studies of India’s use of art and culture in fostering international partnerships and elevating its status in global governance, the study sheds light on how the arts contribute to India's foreign policy goals and solidify its presence in the complex realm of international politics.

HISTORY OF THE CHINESE BALLET ORIGIN

The history of the Chinese ballet has been more than 70 years. The So-viet ballet masters and artists who introduced the normative (performing) and scientific component of classical dance into the Chinese ballet educational sys-tem occupy a significant place in its formation and development. This allowed not only to maintain the rigor of classical ballet, but also to demonstrate the possibilities of representing traditions and specific features of the Chinese cul-ture.

Integrated deep learning classification of Mudras of Bharatanatyam: A case of hand gesture recognition

Bharatanatyam is a famous Indian classical dance which incorporates the essence of hand gestures or mudras as a means of communication by performers. Bharatanatyam has around 28 single and 23 double hand gestures respectively. Recognizing the gestures is challenging due to minor structural differences between the gestures and presence of gestures with higher structural similarity. This work proposes a deep learning strategy combining Scale invariant feature transform features with convolutional neural network to address the challenge in accurate recognition of mudras. The gestures are segmented using active net based segmentation model to reduce the influence of background in gesture recognition. The gestures are then grouped based on similarity and convolutional neural network is trained for each group to solve the problem of classification in presence of higher structural similarity. Convolutional neural network with structural conflict minimization kernel is used to classify the gestures. The proposed model attained an accuracy of 95% in classification of mudras and it has lower false positives of 2%.

"It doesn't feel like exercise": a realist process evaluation of factors that support long-term attendance at dance classes designed for healthy ageing.

Dance can positively impact older people's health and wellbeing across cultures and socioeconomic groups, countering age-related physical, sensorimotor and cognitive decline. The RIPE (Really Is Possible for Everyone) Dance program aims to improve older people's physical, mental, cognitive and social wellbeing by integrating engaging dance sequences with evidence-based fall prevention exercises. We sought to identify what mechanisms support observed long-term participation in this program, including by people living with challenging health conditions. Following a realist evaluation approach, we co-developed and tested program theories iteratively with participant interviewees (n = 20), dance teachers (n = 2) and via observation of a dance class. Initial data were dual-coded and emergent findings were interrogated by the research team. Findings were organised to express Program activities + Context + Mechanism = Process outcomes configurations. We identified four program theories comprising 14 mechanisms which explained long-term attendance: 1. RIPE Dance benefits my body and mind (trust in the program, belief in health benefits), 2. RIPE Dance helps me feel good about myself (self-efficacy, pride in achievement, psychological safety, defying expectations, feeling valued), 3. RIPE Dance creates camaraderie (social connection, mutual support, rapport with the teacher), and 4. RIPE Dance is uplifting (raised spirits, fun, synchrony, musical reactivity). The RIPE Dance program provides effective and enjoyable 'exercise in disguise' for older people with diverse mobility profiles. This research confirms that participation in dance can contribute significantly to healthy, happy ageing. Findings detail program activities that were most strongly associated with process outcomes, offering guidance for further program development, implementation and scaling up.

Apsara Aesthetics and Belonging: On Mixed-Race Cambodian American Performance

The image of the Apsara, a celestial dancer in Cambodian myth, is closely associated with Cambodian cultural preservation practices like Cambodian classical dance. The Apsara, its aesthetic features and its association with Cambodian cultural preservation have taken on new meaning in Cambodia’s diasporic communities. In the diaspora, Apsara aesthetics have come to symbolize Cambodian heritage, history and identity, becoming a major feature of performances by Cambodian diasporic artists. However, orientalist expectations of Asian performers in the diaspora, paired with both the forgotten history of colonial intervention in Cambodian arts and state-sanctioned initiatives towards Cambodian nationalism, contributes to orientalist (and thus racialized) expectations of Cambodian diasporic performance. Mixed-race artists fail to fit neatly into the dominant narratives of Cambodian performance and have been marginalized by the Cambodian diasporic community’s dominant conceptions of performance that are rooted in cultural preservation. As people that sit outside of the aestheticized markers of Cambodian-ness, mixed-race artists often struggle to have their work and their subjectivities recognized by their communities. To circumvent questions of their racial legibility, mixed-race Cambodian American artists construct performances that are strategically padded with markers of Khmer identity by engaging with Apsara aesthetics. This article will explore how three different SoCal-based artists have negotiated their Cambodian American identity and cultural politics through performance and/or performance related materials (ads, images, etc.). I will be using examples from the work of music artist and violinist Chrysanthe Tan, theater practitioner Kalean Ung, and autoethnographic engagement with my own creative projects to show how examining the work of multi-racial Cambodian American performing artists can bring forth the complex dynamics of Cambodian diasporic cultural politics and belonging.