Classical Dance Research Articles

로젠탈 교육프로그램을 적용한 중국 무용수업 참여 중학생의 학업정서와 학업적 자기효능감이 과제지속에 미치는 영향

Purpose: The aim of this study was to apply the Rosenthal Education Program to middle school
 students who participated in Chinese dance classes and attempted to analyze the relationship between
 students' academic emotions, academic self-efficacy, and task persistence.
 Methods: For this purpose, 379 Chinese middle school students were selected and provided with
 the Rosenthal Educational Activity Program. In addition, academic emotions, academic self-efficacy,
 and task persistence questionnaires were measured. The collected data were analyzed by frequency
 analysis, reliability analysis, descriptive statistical analysis, and t-test analysis using the SPSS 22.0
 program, and confirmatory factor analysis was performed using the Amos 26.0 program.
 Results: First, Satisfaction with the Rosenthal Education Program applied to dance classes was high.
 Second, the Rosenthal Education Program showed significant differences in academic emotions,
 academic self-efficacy, and task persistence depending on the gender of the middle school students.
 Third, the Rosenthal Education Program showed significant differences in academic emotions, academic
 self-efficacy, and task persistence depending on the school.
 Conclusion: It is expected that the Rosenthal Educational Programs will provide useful information
 for the Chinese Education field by confirming the possibility that it can be applied to various subjects,
 including Chinese dance education.

창의적 무용교육이 지역아동센터 학생들의 사회성 및 정서반응에 미치는 영향

창의적 무용교육이 지역아동센터 학생들의 사회성 및 정서반응에 미치는 영향

DYNAMICS OF RHYTHM – THE TĀLA DAŚA PRĀṆA-S IN BHARATA NATYAM

Rhythm has been very closely associated with mankind ever since primitive times. Man felt the need for rhythmic impulses in order to co-ordinate his emotional movements. The simple sounds created naturally and consciously with the help of his body were man’s first attempts at the manifestation of rhythm – his first attempts to create pre-instrumental music. Rhythm is innate in nature. Universe will cease to function if the activities become arrhythmic. All activities- visible and non-visible adhere to the principle of rhythm. Rhythm is governed by the concept of speed or tempo. This is visible in both ordinary life as well as in the arts. Both plastic as well as performing arts are governed by rhythm. Especially in music and dance, rhythm becomes its very soul and reason for existence. Rhythm in dance is also governed by the body movements. This concept of rhythm has been deeply and minutely explored in music, which has given rise to the concept of the ten elements of musical time or tāladaśaprāṇa-s. The present paper is a study of the concept of ‘tāla’ in relation to its ten vital aspects. Each element is defined and explored from the perspective of Indian classical dance, namely, Bharata Natyam. Particular emphasis is given to the element- ‘yati’ by studying it from the practical aspect of Bharata Natyam.

스트리트댄스 수업이 초등학생의 자기효능감과 협업능력에 미치는 영향

스트리트댄스 수업이 초등학생의 자기효능감과 협업능력에 미치는 영향

A History of Gambyong: From Folk Art to Classical Dance. By Sri Rochana Widyastutieningrum. Translated by Maho Ishiguro, Rajendra Amira L.S., Sonia Pangesti Lambangsari, and Thow Xin Wei.

Gambyong is a Central Javanese dance form with folk origins. Today, it is performed in royal courts, at opening ceremonies for official municipal events, as well as at other social events such as weddings, performing arts festivals, and the anniversaries of establishments. While gambyong developed within the two court cities of Yogyakarta and Surakarta, it is in the latter where the dance has been more prominently cultivated and woven into the social fabric of today. Infused with the aesthetics and prestige of the Central Javanese courts, gambyong characteristically portrays the elegance, amorousness, and alluring liveliness of its female dancers. In this monograph, Sri Rochana Widyastutieningrum discusses the history and recent developments of gambyong, the content and context of its performance, and its practice in the present day. The author also explores gambyong’s sociocultural values and symbolism, its educational value for women’s minds and souls, its aesthetics and philosophical underpinnings, and its musical accompaniment.
 Citation: Widyastutieningrum, Sri Rochana. A History of Gambyong: From Folk Art to Classical Dance. Translated by Maho Ishiguro, Rajendra Amira L.S., Sonia Pangesti Lambangsari, and Thow Xin Wei. Ethnomusicology Translations, no. 14. Bloomington, IN: Society for Ethnomusicology, 2024. 
 Originally published as: Widyastutieningrum, Sri Rochana. Sejarah Tari Gambyong: Seni Rakyat Menuju Istana. Surakarta, Indonesia: Citra Etnika Surakarta, 2004.

Graceful gait: virtual ballet classes improve mobility and reduce falls more than wellness classes for older women.

Dance is an effective and motivating form of exercise for older women, but few studies have quantified the benefits of virtual dance classes nor, specifically, ballet. This study tested the effectiveness of virtual ballet compared to virtual wellness classes, with the goal of reaching underserved populations. It is among the first to explore the effects of virtual classical ballet on functional gait mobility, balance, and quality of life measures in older women. Older women were recruited in two waves and randomized to two groups: a ballet class modified for older adults and a wellness-based control class. Both groups received 12 weeks of online classes, meeting twice per week for 45-min sessions. Classes were taught by a local company that offers community-based ballet classes. The same instructor led both the ballet and the wellness classes. Pre- and post-intervention assessments include gait and balance testing using wearable inertial sensors and self-report outcomes including quality of life and mood questionnaires. Forty-four older women completed the study: Ballet group (n = 21, 67.81 ± 7.3 years); Wellness group (n = 23, 69.96 ± 6.7 years). Pre- to post-intervention, both groups increased velocity on the two-minute walk test (F1,42 = 25.36, p < 0.001) and improved their time on the Timed Up and Go (F1,42 = 4.744, p = 0.035). Both groups improved balance on the Mini-BESTest (F1,42 = 38.154, p < 0.001), increased their scores on the Activities-Specific Balance Confidence Scale (F1,42 = 10.688, p < 0.001), and increased quality of life via the Short Form Health Survey (F1,42 = 7.663, p = 0.008). The ballet group improved gait variability in the backward direction (F1,42 = 14.577, p < 0.001) and reduced fall rates more than the wellness group [χ2(1) = 5.096, p = 0.024]. Both virtual ballet and wellness classes improve select measures of gait, balance, and quality of life. The benefits seen in both groups highlight the importance of considering social interaction as a key component when developing future interventions to target mobility in older women.

SATTRIYA DANCE: AN AESTHETICAL OUTLOOK

Aesthetic is the pursuits of one’s individual mind. The theory or sense of beauty is always in connotation with art appreciation or criticism and is cultivated in the responsive spectators. The aesthetic experience evolve among the sahridaya and varies from person to person depending upon the perception of beauty. Indian Classical Dances are sacred art forms associated with the union of individual soul with the Absolute. They imbibe the spiritual values. Sattriya dance, one of the classical dance form from Assam, created by the great saint Sankaradeva in the 15th -16th century was a product of neo-vaishnavite movement. This form carrying the legacy of living tradition till today is performed in the Sattra precinct as a ritual service to appease the almighty while simultaneously seen performing on stage to appease the audience. This research paper is an attempt to assess the aesthetic qualities of Sattriya dance and to evaluate the aesthetic experience that arise out of the dance form in the minds of the spectators. The paper will be based on secondary sources comprising magazines, books, journals and internet content.

DANCE AS MIRROR OF SOCIAL AND CULTURAL CHANGE: A PEEK INTO MANIPURI PERFORMANCE HISTORY

The paper attempts to highlight significant moments in the history of Manipuri dance and their implications on the dynamics of social and cultural developments of the time. The dancing body is now no longer a simple reproduction of historically created style of human movement that seem to continue forever as symbol of people’s tradition and culture. The dancer’s body is now read as sign, as discourse, as platform for human experience and the structure and formulations of movements in time in the body do inform particular thoughts, ideas, emotions and affects that were involved in the creation of a language of dance. By analyzing the kind of dance produced in creative people’s history, we shall be able to provide hints on the structure of power, knowledge and the world views of the society of the times. No doubt technology, utilization of resources, spiritual and religious influences and power exercise do impact on social and cultural change. But the kind of dance style also do inform on the very nature of the creative inputs of society that had been necessitated in the production of the dance. Reading dance can also be as pleasurable as reading literature.We shall study the pre – Haraoba, the Lai Haraoba dance and its transformation into the 18 th century classical dance of the Raas Leela during the conversion of the Manipuris into Hinduism. The introduction of colonial money economy and structural changes in the society and culture and its impact on dance shall be explored. Globalization and its impact on dance traditions shall also be indicated. As we go deeper into the semantic field in the structure and form of dance, operas and performance in different stages of history, we are able to discover the manifold transformation in the realm of peoples’ and rulers’ ideas on life, relationships and processes in response to the challenges of the time. The challenges no doubt come sometimes from outside of the realm in which the people thrive. Foreign conquests and introduction of new ways of life and action also impinges on the traditional equilibrium in society. There are times of turmoil and unease. Livelihood and art are in moments of crisis. But the response to the crises is unique, as the culture of the time indicates the resilience of that society in culture. Manipuri dance history relates this experience.

Supporting adult unpaid carers via an online dancing intervention: A feasibility/acceptability study.

Unpaid carers often experience poor mental and physical health linked to their caring role. Engagement in physical activity has been shown to alleviate these negative health outcomes, but it is harder for carers to find the time, energy and space to exercise. This qualitative study, based in the UK, explored the feasibility of an online, dance-based physical activity intervention with six female unpaid carers. Five themes resulted from the thematic analysis of the pre- and post-intervention interviews: Perceived physical health benefits of the intervention; Perceived mental health benefits of the intervention; Satisfactoriness of the dance classes; Impact of caring responsibilities on participation; and Suggestions for future classes. Further research is required to measure the effectiveness of the dance intervention in improving mental and physical wellbeing with larger samples including a wider mix of carers in terms of gender, age and health conditions of the care recipients, as well as international samples. Future research should also consider the barriers that some carers may face when accessing an online intervention, and alternative forms of exercise that may appeal to other groups of carers (e.g., male carers, older adult carers).

Arts and Mental Health Co-Research with Youth Advisors: The Role of Emotions, Creating Community, Learning and Growth

The inclusion of children and young people as co-researchers within mental health research has become increasingly recognised as valuable to improve equity and research quality. These approaches are considered important to shift knowledge and power hierarchies in research that has traditionally marginalised the voices of young people and prioritised positivist ways of knowing. Yet, very little research has explored the value of including youth advisors in research exploring the arts and mental health. This article, co-written intergenerationally, explores the role of a youth advisory (YA) in the design, data collection, and knowledge exchange of the DanceConnect research project: a study exploring if and how online dance classes may improve the social and mental wellbeing of young people (aged 16–24) living with anxiety in the UK. Drawing upon qualitative data (audio recordings of advisory meetings from the study (n = 5 meetings), a youth advisory focus group with an arts-based component (n = 1), and researcher ethnographic fieldnotes from four researchers), this study reflects on the role of a youth advisory in young researchers’ own lives. Through a reflexive analytic approach, we found that the youth advisory constructed meaningful emotional experiences, fostered spaces of learning and growth, and enabled a sense of community. Reflecting on our findings, we also set out key recommendations for researchers working in the field of arts and mental health who may wish to establish youth advisories in the future. This article acts as an important resource that can be used to inform and reflect on improving coproduction processes with youth advisors in arts and mental health research.

Classical dance and Mediterranean imaginaries: Jia Ruskaja in Fascist Italy

Abstract Russian dancer and film actress Jia Ruskaja (Evgeniya Borisenko, 1902–70) forged a rapidly rising career in Italy as a dancer, teacher and company director during the thirties. The author of La danza come un modo di essere (1927) was a female education reformer, whose Milan dance schools were subsidized by the Fascist Regime. In 1940, she was entrusted with the directorship of the newly founded Royal School for Classical Dance. Though inspired by Isadora Duncan, in the early thirties, Ruskaja added ballet to her modern dance since she considered it crucial for the sound training of the body. According to her, the century-old codified system of ballet, once mingled with the ability to make artfully crafted movements inspired by classical imagery (‘plastique’) and rhythmic gymnastics, could transform into a new and organic physical practice, able to create a new beginning in dance. Was this so? Could her modernized ballet, imbued with the Mediterranean myth that inspired a number of artists in the twenties and thirties, convey such a modernist futural thrust, or was it rather held captive by centuries-old balletic values and culture?

Effect of Dancing Interventions on Depression and Anxiety Symptoms in Older Adults: A Systematic Review and Meta-Analysis.

This systematic review and meta-analysis (PROSPERO CRD42023428105) investigated the effect of dancing on depression and anxiety symptoms in older adults. Conducted up to October 2023, the search across seven databases and gray literature yielded 5020 records. Only randomized trials that analyzed dance interventions for depression and/or anxiety in older adults were included. Nineteen randomized trials, involving 508 participants in dance classes lasting 5 weeks to 18 months, were included and 16 were subjected to meta-analysis. Risk of bias was assessed using the Cochrane tool. The meta-analysis showed a statistically significant reduction in depression among older adults participating in dance interventions (p < 0.01). A decrease in depressive symptoms was significant compared to that in those involved in no other intervention (p = 0.02) but not compared to that achieved with other interventions in control groups (p = 0.96). Subgroup analysis showed no significant differences in depression scores for those with mild cognitive impairment (p = 0.47). These conclusions are associated with moderate bias and very low certainty. Due to heterogeneity and the small number of studies, conclusions for anxiety outcomes could not be drawn. These results underscore the potential clinical relevance of integrating dance into mental health interventions for older adults, thereby highlighting a promising avenue for enhancing the mental well-being of this demographic.

Towards a critical pedagogy of global citizenship: Breaking the silence as a trained dancer in post-apartheid South Africa

AbstractThis article reveals a reflective journey of a dancer through unpacking two performances experienced over the course of two years. It examines and navigates ways of decolonizing oppressive dominance and investigating the ramifications of indoctrination in dance. It depicts how a trained dancer evolved and became more conscious by breaking the “culture of silence” and changed in becoming a more critical reflective dancer in a post-apartheid South Africa. This project aligns itself with global citizenship education (GCE) as it re/imagines traditional forms of civic and citizenship education in a more critical and decolonial perspective. In writing this paper, we are reminded of “the myriad shifts of thinking, strategies and back-and-forth debating” with each other and can also see our “encounters as a dance” (Waghid in Dancing with doctoral encounters: Democratic education in motion, African Sun Media, 2015). In breaking the silence surrounding dance and its conservative elements, we question the technocratic practices and accepted norms in the performance arts and the dancing arena. How does a classical dancer redress the colonial past in a performance arts classroom? The significance of this paper lies in the argument that decolonization becomes an imperative within GCE if one is striving for social justice and intends to commit oneself to a more equitable society where crossing borders must be a seamless act.

Ground reaction force as a factor responsible for the topography of injuries in professional dance. An analysis of three dance styles: classical dance, modern dance, and folk dance.

The study aimed to identify the effects of ground reaction forces (GRF) recorded during landing in typical elements of three dance styles, including classical, modern, and folk dance, on injuries` topography. The research involved a survey and measurements of GRF generated during landing after the jump. The survey involved a group of 90 professional dancers. In the questionnaire, the dancers marked areas of the human body that were affected at least once by injuries. Biomechanical tests of the GRF recording were conducted on a group of 15 professional dancers. The analysis focused on the following parameters: a maximum value of the vertical variable of the GRF relative to body weight (maxGRFz), the time between the moment from first foot contact with the ground to the moment of reaching the maxGRFz (tmaxGRFz), and the loading rate of the GRF relative to body weight (LRGRFz). Regardless of dance style and sex, the lower spine, knee joints, ankle joints and feet were the areas most affected by injuries among professional dancers. The level of maxGRFz, tmaxGRFz and LRGRFz during typical jumps in classical, modern, and folk dance was statistically significantly different (P<0.01*). The highest mean maxGRFz values were recorded for jumps performed by classical dancers. Furthermore, the sum of injury-affected areas differed significantly across various dance styles and was connected with the impact forces transferred by the dancer's musculoskeletal system. The level of GRF is one of the decisive factors affecting the topography of professional dance injuries.

Exploring social touch in autistic and non-autistic adults via a self-report body-painting task: The role of sex, social context and body area.

What is already known about the topic?At least in neurotypical individuals, social touch represents an important channel for emotional communication associated with social bonding and pain/anxiety modulation. Autistic adults report to avoid social touch more and to have different tactile sensitivity than their non-autistic comparisons.What this paper adds?Few studies specifically investigated social touch in autistic individuals, and none of them examined the role of participants' sex, social context in which social touch occurs, and specific body areas being touched. In our study, adult participants reported how pleasant, erogenous and appropriate they would consider touches delivered by another person over their entire body in intimate (date), friendly (dance class) and professional (physiotherapy-massage session) social contexts. Autistic adults reported social touch to be less pleasant, erogenous and appropriate specifically in intimate and friendly social contexts and in body areas typically touched in these situations. Importantly, autistic females seem more at risk to experience unpleasant social touch as, although they considered it more unpleasant than non-autistic females and autistic males, they did consider it similarly appropriate in professional social contexts where touch is normed to be socially appropriate.Implications for practice, research or policyOur results might improve awareness and understanding about autistic adults' different, and often more discomforting, experience of social touch and thus help consider and respect it during everyday social interactions. Our results might also benefit future research investigating, for instance, the neural underpinnings of social touch differences in autism or aiming at developing support for autistic individuals seeking help in the diverse spheres of social touch.

Development and Innovation of Chinese Classical Dance Teaching Mode in the Background of Internet

Abstract Since the development of Chinese classical dance, its dance technology and dance skills have been maturing for a long time, but the innovation and development of classical dance teaching mode needs to be improved. In this paper, OptiTrack is used to capture the dance movement data of classical dancers, transform the data into three-dimensional coordinates, and extract the features of classical dance data through direction normalization. The Hidden Markov Model obtains the time series information in the features and constructs the correlation model. Using the skeletal model data to get the center of mass of the human body, the convolution-gated recurrent unit network structure is used to improve the accuracy of the classical dance score generation results. Combining the above methods, a new teaching model framework for classical dance is proposed from three aspects and empirically analyzed. The empirical results show that the mean value of each dimension of classical dance teachers’ teaching ability ranges from 3.4562-4.3621, which is an excellent overall performance. In the comparison between students’ classical dance movements and standard movements, there existed higher scores than traditional movements in the two time periods within 20 minutes, which were 30 and 5 points higher than the conventional scores, respectively. The rest of the time was slightly lower than the regular movements, which shows that the innovation effect of classical dance teaching is better, and optimizes students’ classical dance movements to a certain extent.

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.