Creative Dance Research Articles

Exploring the essence of a creative dance programme for older adults: Programme overview and research insights

IntroductionDance is recognised as a safe, effective, and enjoyable means to boost physical, mental, and cognitive health in older adults. Detailed content of dance programmes for this age group is sparsely described. AimsThis study provides a comprehensive description and evaluation of a Creative Dance Programme for older adults. MethodThe dance programme, described in detail in our study, was analysed with three quantitative (i.e., gait, balance and executive function tests) and one qualitative (i.e., interviews) pilot studies to gain insights into health effects of the programme. ResultsCreative dance increased participants walking speed in both the single (t(13) = 6.65, p < 0.001) and dual-task conditions (t(13) = 5.51, p < 0.001) and reduced participants’ dual-task costs of walking (t(13) = -2.24, p = 0.043). Moreover, participants reported that they felt energised after the sessions and more confident in daily activities. ConclusionOur research highlights that creative dance programmes can have a positive effect on the dual task costs of walking and movement adaptability in daily life of older adults.

Expression of Culture Diversity Through Creation of Zapin Nusantara Berlenggang Dance

This article elaborates on Nusantara diversity as a phenomenon that underlies the creation of the Zapin Nusantara Berlenggang dance. In many regions, the characteristic of Zapin dance has grown through evolution that involves the unity of various ethnicities, mainly ethnics living in the coastal area. Such unity is a strong pillar that supports the Republic of Indonesia. Although the political situation is fluctuating, there is still an effort to empower local potentials to maintain diversity in Indonesia. The exploration of the Nusantara theme in the creation of the Zapin dance is powerfully relevant to the objective of this research, which is to strengthen the unity of Indonesia through its pluralistic nature. The creation of Zapin dance with the Nusantara theme will be understood through the approach of creation process experience, which, thus, is the type of this research that is explorative qualitative descriptive. In other words, this research is developmental research that emphasizes exploring the creation process. The research data are collected through three procedures respectively: interviews with Zapin dance patrons in Palembang, Pekanbaru Riau, Gresik, and Malang; dance technique exploration conducted in Malang and Gresik; and a dance trial held at the Indonesia Art Institute of Denpasar. The focus of this research is on managing the technical and aesthetical experiences of the dancers to internalize the Nusantara theme into their minds. The research question, therefore, comprises (1) What is the function of Zapin Nusantara Berlenggang dance? Moreover, (2) How is the creation process of Zapin Nusantara Berlenggang dance?

Creation of Dance According to Beliefs from The Namo Coin Sign

The creative performance of the Pallava Namo series. The researcher used mixed methods by conducting qualitative research to find the form and elements of the performance and study the ideas obtained after the creation of a performance of a dance performance based on beliefs from the Namo coin symbol by using research tools consisting of studying and surveying information from academic documents, information media, studying areas and surveying field data, structured interviews and the researcher's experience used the obtained data to analyze and synthesize the content analysis and data triangulate. Then, evaluate the performance by using statistics and finding the mean and standard deviation and presenting them descriptively in the development and design of dance works that are used to explain through the dimensions of creative performing arts that are a medium for conveying values and importance. The results showed that the creative styles can be classified according to 8 elements of the 1) Performance Design; is divided into 3 periods. The first period, “Pain” is the period that conveys pain and suffering and sadness from sickness and death from plague, the second period "Hope" is the period that conveys the prayers of the holy things and having hope. Based on the belief that sacred things will help protect and heal villagers from various illnesses, the third period, “Faith”, is a period that conveys a better life through belief and faith in Namo coins. 2) Selection of performers 3) Design of dance moves 4) Design of performance equipment 5) Performance Sound and music design, 6) costume design, 7) lighting design, and 8) performance space design. In addition, the researcher took into account three ideas obtained after creating dance: 1) considering creativity in dance, 2) considering the use of symbols in creating dance, and 3) considering dance theory, music, and visual arts.

PELATIHAN EKSTRAKURIKULER TARI KREASI DALAM MEMBENTUK SIKAP PERCAYA DIRI SISWA OLEH KAMPUS MENGAJAR 7 DI SDN 50 CAKRANEGARA

Abstrct. Extracurricular dance is a very important activity to build students' self-confidence and sense of responsibility at the 50 Cakranegara State Elementary School. With extracurricular activities, they are able to express themselves through dance movements and musical rhythms so that students' self-confidence can develop. The research method used is the PALS approach (Paraticcipatory action learning system). The data collection was obtained based on observations in grades 4 and 5 as well as notes while in the field. The results of the research showed that children in grades 4 and 5 who took part in dance extracurricular activities and received dance instruction appeared to have a confident attitude. This is demonstrated by several factors, including responsibility and self-confidence. Aspect of self-confidence: students who are always confident and self-confident seem to have a firm stance, drive and joy, which can be seen in every action they take. The ability to fulfill obligations and fulfill commitments is a measure of responsibility. With this creative dance extracurricular, it is hoped that it can foster two aspects, namely confidence in one's abilities and responsibility. Key Word. Extracurricular, Confidence, Dance Art

On the Shaping of Characters in Dance Drama

Dance performance is a kind of artistic dynamic image soaked with "emotion", and only by grasping the unity of inside and outside and the situation, can we completely shape the character image and achieve a certain artistic aesthetic effect. In dance creation, the creator is an inseparable and complete process of artistic creation, from deeply capturing the dance image, creating and organizing the dance language, arranging and designing the dance section, to finally reflecting the artistic conception on the stage by the actors through rehearsal. This paper takes the dance drama "Zhaojun Out" as an example to discuss how to shape the characters with dance, improve the dancers deep aesthetic thinking on the dance image, and shape the character characteristics of the main characters in the dance drama.

Implementing creative dance activities for primary school children to improve health and wellbeing: a qualitative study in the North East England.

Evidence suggests that group arts activities with children build resilience and positive mental wellbeing. However, insufficient attention has been paid to how such activities can be implemented in practice across different contexts, particularly in socio-economically disadvantaged areas. Therefore, we explored the implementation of a dance-based intervention in two primary schools situated in an area of high economic deprivation in North East England. Our study explored Year 1 (age 5-6) and Year 5 (age 9-10) children, their parents, teachers and dance artists' views of a creative dance intervention (South Tees Arts project; STAR) in two schools in North East England, using interviews and focus groups, combined with innovative data capture activities (i.e. movement activities, graffiti walls, songs and Vox Pops). Children felt that STAR contributed positively to their emotional wellbeing and physical health. Teachers noticed improved confidence, engagement, literacy, and social and motor skills and less disruptive behaviour in class. Benefits continued beyond school, with children exercising at home to practice their dance moves. Several implementation barriers were identified ranging from limited time, large classes, dealing with challenging behaviours, the impact of COVID-19, stigma and anxiety. In response to these challenges, several solutions were developed during project delivery, such as artists and children working in pairs and role modelling by teachers and dance artists. We found three underlying mechanisms for successful implementation: (1) constant communication between teachers, dance artists and parents was essential to managing challenging behaviours, building personal relationships with children, and helping parents to get involved and support their children at home. (2) Linking dance activities to the school curriculum (using narratives from existing reading schemes) helped to support skill gaps. (3) A strong ethos of partnership between school, dance and arts providers and researchers ensured the adaptability and flexibility of projects.

Appreciation of Mongolian Dance Works and Aesthetic Concept by Taking Pentium as an Example

Through the representative of Mongolian dance works pentium appreciation, establish a preliminary understanding of Mongolian dance, again through the 1978 after the history of the development of Mongolian dance creation research, combined with social development, social culture and other factors, derive this period of Mongolian dance behind the aesthetic concept, in order to Mongolian dance development in the future.

Gandasari Gandawangi Dance: The Transformation of Legendary Form Into Tourism Arts in Jalawastu Brebes

This article traces the transformation process of the legend of the characters Gandasari and Gandawangi into Gandasari Gandawangi Dance, created as a tourism performing art in Jalawastu Traditional Village, Brebes, Central Java. The legend narrates the story of a civil war among prominent figures embracing Islam in that region. From this narrative, a dance and music performance with an innovative tourism package highlighting Jalawastu Traditional Village's local wisdom was realized. The research methodology employed in this study is qualitative with an ethnographic approach. Data collection techniques encompassed interviews, documentary studies, and field observations. Observations were conducted to gather data, which was subsequently analyzed to formulate the transformation process and understand the significance of the Gandasari Gandawangi Dance. This article concludes that Gandasari Gandawangi Dance is adapted from the legend and further developed with creative dance movements, thereby serving as a tourism performing art that is expected to enhance the tourism potential of Jalawastu Traditional Village.

Investigating the Relationship Between Dance Flow and Improvisation

This article explores the intrinsic connection between dance flow and improvisation, aiming to analyze dancers’ thinking and behavioral patterns in dance creation from a psychological perspective. The study points out that the application of flow theory in the field of dance is relatively scarce, while improvisation, as a core skill in dance art, requires dancers to create without preset conditions. The article begins with an overview of flow theory, emphasizing how the flow state facilitates dancers’ technical performance and creativity. It then analyzes the improvisational practices of professional dancers to reveal the positive interactive relationship between flow and improvisation. The research finds that dancers in a flow state are more likely to enter a state of improvisation, and improvisation itself can also stimulate the flow experience. The article concludes with a discussion on the role of dance flow and improvisation in dance education and performance practice, highlighting the importance of relational creativity in dance creation.

A critical and reflexive qualitative study with independent dance artists: Transferring knowledge from creative dance to health and care practice

A critical and reflexive qualitative study with independent dance artists: Transferring knowledge from creative dance to health and care practice

Assessing teachers' acceptance of traditional games-based creative movement for increasing preschool children's imagination

This research aims to explore the urgency, content expectations, and teachers' attitudes towards learning creative dance based on traditional folk games in building the imagination of preschool children. Knowledge about the teacher's urgency, content, and attitude is needed to develop a creative dance learning model that can increase the imagination of preschool children using traditional folk games. A survey conducted on 40 preschool teachers in Malaysia showed that teachers felt an urgency to improve children's imagination (mean = 4.48), proposed some content related to traditional games (mean = 4.45), and saw that traditional games could inspire a creative movement to increase children's imagination (mean = 4.41). This research is still in the early stages of evaluating teacher needs and readiness and has not yet reached the design or empirical testing of the Active-Tradir model. Nevertheless, these findings provide a strong basis for further development and implementation of a future creative movement learning model based on traditional games, which we have named "Creative Movement Based on Folk Traditional Games (Active-Tradir)." Keywords: children's imagination, traditional games, creative movements, preschool teacher, Malaysia

75 Moving Together: Exploring Peer Relationships through Creative Dance in First Grade

75 Moving Together: Exploring Peer Relationships through Creative Dance in First Grade

Application of Three-Dimensional Vision Technology in Dance

The development of science and technology constantly injects new vitality into dance performance and creation. Among them, three-dimensional (3D) vision technology provides novel ideas for the innovation and artistry of dance performances, expands the forms of dance performances and the way to present dance works, and brings a brand-new viewing experience to the audience. Nowadays, 3D vision technology in dance has been widely researched and applied. This review presents the background of the 3D vision technology application in the dance field, analyzes the main types of technology and working principles for realizing 3D vision, summarizes the research and application of the 3D vision technology in dance creation, perception, enhancement, and dance teaching, and finally looks forward to the development prospect of the 3D vision technology in the dance.

Outbound Training Based on Local Wisdom and Art Attractions in Gamplong Tourism Village

The purpose of this community service activity is to develop tourist attractions based on local wisdom so that they can be used as one of the tourist attractions. The obstacles faced by Pokdarwis are the limitations in developing outbound training materials based on local wisdom and cultural potential in the form of dance arts that have not been explored as tour packages that can be offered to visitors. The program implemented is Outbound Training based on local wisdom aimed at outbound guides and modern-traditional creative dance training. The activity method is delivered through counseling and training where partners and the community participate directly in the activity. The results of the activity are increased knowledge and skills of partners in packaging outbound materials and games based on local wisdom.

Popularitas Sanggar Tari Svarga Art Dance sebagai Organisasi Seni Pertunjukan Tari di Kabupaten Bungo

This study aims to reveal and describe the popularity of the Svarga Art Dance Studio as a dance performance art organization in Bungo Regency. This type of research is qualitative research using a descriptive method. The instruments of this research are interviews, observations and documentation. The steps of analyzing data are data reduction, data presentation and data verification as well as conclusions. The results of the study show that the Svarga Art Dance Studio is very popular in Bungo Regency, this is evidenced by the achievements, as well as the many new dance creations that are only owned by the Svarga Art Dance Studio and become an attraction so as to increase the love of the people of Bungo Regency for dance arts. With the form of democratic management, the performance of the Svarga Art Dance Studio between branches 1 and 2 and its cooperation with UMMUBA UKM of the University of Muhammadiyah Bungo went well and was growing. This, supported by the marketing of the Svarga Art Dance dance studio which uses the Social Media Marketing system through the official Instagram and Tiktok accounts, is also supported by the personal branding owned by the owner of the studio, with this the Svarga Art Dance dance studio can achieve its popularity. The Svarga Art Dance Studio until now has many routines in its performance which are often used by agencies, governments and the general public both inside and outside Bungo Regency.

PENCAK JAIPONGAN BY CHOREOGRAPHER GUGUM GUMBIRA

Jaipongan has been recognized as a creation dance in West Java. The dance genre derived from Ketuk Tilu and Pencak Silat has made Jaipongan an icon of Sundanese Dance. The purpose of this research is to explore how the development of pencak silat movements in the Jaipongan Dance created by Gugum Gumbira the creator of Jaipongan. Qualitative research methods were applied to collect data through a literature review of references relevant to the topic of study and documentation on videos of several Jaipongan works. The motion characteristics of Jaipongan were analyzed through Keser Bojong, Rendeng Bojong, Kawung Anten, and Pencug Bojong. The creation of Jaipongan was an outgrowth of Gugum Gumbira's experience as a dancer of Ketuk Tilu, Bajidoran, and Pencak Silat. Gugum's understanding and mastery of these three West Javanese folk dance genres led him to choreograph Jaipongan as a phenomenal new creation dance genre in West Java. The footwork technique is the foundation of the dance, to avoid the danger of slipping while dancing with the agile and attractive character of Jaipongan Dance. Therefore, mastery of pencak movement is important to be able to dance Jaipongan aesthetically.

Dance Creation Based on the Development and Application of a Computer Three-Dimensional Auxiliary System

A three-dimensional auxiliary system serves as a foundational framework for spatial analysis and modeling in various fields. This system serves as a fundamental tool for visualizing and manipulating three-dimensional data, allowing researchers, designers, and engineers to accurately represent and analyze complex structures and environments. Dance creation is a multifaceted artistic process that involves choreographing movements, sequences, and gestures to convey ideas, emotions, and narratives through bodily expression. This paper uses the advanced automated application model for the dance creation with the 3D-auxiliary system for the choreography. The constructed model incorporates statistically integrated Principal Component Analysis (PCA) for the computation of features in the dance creation movement prediction. Finally, the estimation of the statistically integrated PCA model is applied over neural network modeling for the classification of features in the dance creation. With the estimated PCA model values statistical correlation between the PCA features are estimated and classified for the different dance types. The examination is based on the classification of dance movement dynamics, patterns, and stylistic elements for the dance creation. Simulation estimation demonstrated that a constructed statistical 3D auxiliary system was effectively involved in the dance movement prediction with the classification of features through a neural network for the dance movement prediction. The PCA model uses the 5 features to evaluate the auxiliary points of the dance movement in the reference human video. Through the analysis of the PCA features with the statistical values the outline sketch of the dance is framed and dance movement are created.

Pembelajaran Seni Budaya (Tari Kreasi Zapin Sekampung) Di SMAN 3 Siak Hulu Provinsi Riau TA.2023/2024

The aim of this research is to determine the learning of Cultural Arts (Zapin Sekampung Creative Dance) at SMAN 3 Siak Hulu FY 2023/2024. This research uses Hadiansyah's theory (2022). In this research the author used descriptive qualitative research methods. The research subjects were 36 Arts and Culture Teachers and Class X students. Data collection techniques using observation, interviews and documentation. The results of the research show that Cultural Arts Learning (Zapin Sekampung Creative Dance) at SMAN 3 Siak Hulu FY 2023/2024 can be seen from the Independent Curriculum components, especially those prepared through teaching modules which have several indicators including: Learning Achievement (CP) is learning competence that must be achieved by students at the end of each learning phase, Learning Objectives (TP) are a description of the achievement of knowledge, skills and attitudes obtained in learning activities, Learning Objectives Flow (ATP) is a learning phase for students in achieving learning, Teaching Tools are materials teaching in the form of learning material as the main material for discussion, Learning Assessment is the process of collecting and processing information data as a learning need, Student Worksheets (LKPD) are student learning sheets in the form of tasks given by educators referring to the basic competencies to be achieved. Learning activities consist of routine and scheduled activities based on structured lesson content according to what has been prepared through Teaching Modules that have been designed by the Arts and Culture teacher.

A comprehensive review of AI-based dance generation applications and their developmental prospects in virtual reality

In the context of the rapid development of large AI models, multimodal fusion, and extensive application of VR, particularly in the era where technology profoundly impacts artistic expression, this review explores the innovative intersection of artificial intelligence (AI), virtual reality (VR), and dance choreography. It discusses the evolution of dance creation from traditional methods to advanced AI-driven techniques, emphasizing the role of AI in analyzing and synthesizing complex dance movements. The review highlights the application of multimodal learning in dance, focusing on how AI utilizes auditory and visual data to understand and create dance sequences. A significant part of the review is dedicated to the integration of VR in dance, examining its potential to enhance the choreographic process and user experience. The paper also addresses the challenges and future prospects in AI choreography, including the development of VR interfaces for dance enthusiasts and creators, akin to modern music production software. This venture reflects a promising direction for AI and VR in transforming dance creation and presentation, making it more accessible and interactive.

Dance drama "Never Gone Radio Wave": the challenge and significance of genre dimension, emotional expression and artistic expression

With its rigorous creative attitude and exquisite dance skills, the dance drama "Never Gone Radio Wave" shows the perfection and romance of red theme dance creation and injects new vitality into spy war theme dance. Through subtle type deduction, technical support and detailed description, the revolutionary process and characters are portrayed more prominently. In shaping the characters in a specific background, the director not only highlights the main color, but also skillfully blends in other color blocks, which makes the dance drama have strong artistic expression. At the same time, the drama pays attention to the expressionist pursuit of subjective truth and transforms the fragmented historical materials into a ballet work, which fully embodies the challenge and far-reaching significance of this ballet.