Creative Dance Research Articles

Creative Dance as an Aesthetic Educational Tool for Fostering Innovation : A Qualitative Case Study of Chinese Engineering Undergraduates

Creative Dance as an Aesthetic Educational Tool for Fostering Innovation : A Qualitative Case Study of Chinese Engineering Undergraduates

Breaking silos: the effectiveness of a knowledge integration approach for dance curricula

ABSTRACT The knowledge integration (KI) approach has been widely studied and recommended for improving the learning and teaching of science subjects (biology, physics, etc.). If the cognitive processes of learning, however, do not vary across domains, then what is helpful for science should also be helpful for dance. Choosing the teaching and learning of an improvisational and creative dance as a case on the far opposite end from the usual seated and normative science curriculum, one randomized-controlled trial and one before-after intervention trial were conducted to test if a KI curriculum is more effective than a common curriculum. Both trials found the KI approach significantly more effective in improving the performance of young dancers. As found, KI can be effectively applied to the curriculum design of breakdance, thus providing evidence to support the universality of this approach. It is implied that KI can, ergo, benefit learners of more subjects, including the artful ones, and need not be siloed as relevant only for science education.

The Effect of Providing Creative Dance Education on Early Childhood Self-Confidence at TK/Mother's Daycare Center

This qualitative study investigates how teaching creative dance impacts children's self-confidence at Ibunda Kindergarten. The phenomenological method was used in this study to understand children's perceptions and experiences during the creative dance program. Participatory observation, in-depth interviews and document analysis were the methods used to collect data. The study involved 15 early childhood children from Ibunda Kindergarten. The results showed that teaching children creative dance increased their own self-confidence. Creation dance teaches social skills, working together in a group, and self-expression. They also showed increased initiative and independence. The findings confirm that arts education is an important component of the early childhood education curriculum as it can help with psychosocial development.

Influence of social robots and digital media based on edge computing on dance performance entertainment environment

This article proposes a new social robot system that achieves robot dance creation through dance image feature extraction and dance action imitation, thereby promoting the development of digital media dance entertainment culture. This paper uses the edge computing model, and on the basis of the robot’s own computing power, puts some computing tasks related to image processing and action imitation down to the edge of the network to improve the real-time and fluency of dance performance. The study utilized image feature extraction technology to analyze and process dance images, achieving the imitation of dance movements by robots. By imitating and innovating dance movements through robots, unique forms and content can be provided for digital media dance performances. Digital media technology provides rich means and forms of expression, which can make robot dance performances more creative and artistic.

Intelligent multiple-attributes decision support for classroom teaching quality evaluation in dance aesthetic education based on the GRA and information entropy

Abstract Dance education in colleges and universities is the most important means of inheriting dance skills, cultivating dance talents, and promoting the prosperity and development of dance art. In the new era, the country’s emphasis on “aesthetic education” has provided fertile policy soil for the development of dance majors in universities. Based on the spiritual and cultural needs of the people and the development needs of the national dance art, it is of great urgency for colleges and universities to explore the future oriented Chinese dance higher education and dance creation. Dance education and dance creation are closely linked and interdependent. In the process of Dance education, dance creation inspiration is stimulated. Dance creation and innovation inject new soul into Dance education. College Dance education should combine the two organically to promote the high-quality development of Chinese dance art. The classroom teaching quality evaluation in dance aesthetic education is classical multiple-attributes decision-making (MADM). The probabilistic hesitancy fuzzy sets (PHFSs) are used as a tool for characterizing uncertain information during the classroom teaching quality evaluation in dance aesthetic education. In this paper, we extend the classical grey relational analysis (GRA) method to the probabilistic hesitancy fuzzy MADM with unknown weight information. Firstly, the basic concept, comparative formula and Hamming distance of PHFSs are introduced. Then, the information entropy is used to compute the attribute weights based on the expected values and deviation degree. Then, probabilistic hesitancy fuzzy GRA (PHF-GRA) method is built for MADM under PHFSs. Finally, a practical case study for classroom teaching quality evaluation in dance aesthetic education is designed to validate the proposed method and some comparative studies are also designed to verify the applicability.

‘I did not know that the pupils loved dancing … until the projector came’: constructions of dance as learning activity in school-age educare

ABSTRACT Interest in school-age educare has been growing internationally. School-age educare in Sweden emphasises learning and participation in aesthetic and creative learning activities. This study aims to critically examine how dance as a learning activity is constructed by educators in Swedish school-age educare. Discourse analysis is used to shed light on discursive constructions made by school-age educators when they reason about dance and learning in their educational practices. The empirical material consists of six focus-group interviews with 18 school-age educators. Three discourses are identified: (1) dance as a joy-filled activity, (2) digital tools as prerequisites for dancing, and (3) pre-choreographed dances as a preference. The results show that there is a lack of aesthetic and creative aspects in dance in school-age educare. School-age educators include dance because it is fun and is carried out by imitating movements without a focus on learning. The educators who appreciate dance lack the know-how to develop pupils’ dance skills beyond what they already know. There are holistic ambitions in school-age educare to let care, play, and learning intersect, but creative dance still has an untapped potential to engage pupils in cultural activities and to contribute to gender repositioning.

REOG BULKIYO DANCE: TRADITION AND HISTORICAL REPRESENTATION OF THE JAVA WAR

The Java War, often known as De Javasche Oorlog or Diponegoro War, was an event that had an impact on national and local history. The capture of Prince Diponegoro by the Dutch on March 28, 1830, resulted in many of his troops fleeing to remote areas to avoid Dutch capture. As a result of the escape they settled in an area, disguised as ordinary people. One of the places where Diponegoro's troops escaped was in Kemloko village, Nglegok sub-district, Blitar district. The mind of the soldiers who managed to escape had a work of art in the form of Reog Bulkiyo Dance. The purpose of this study was to determine the history of the formation of Reog Bulkiyo Dance, the characteristics of Reog Bulkiyo dance, the existence of Reog Bulkiyo dance. This research uses a historical method consisting of (1). Heuristics, (2). Criticism, (3). Interpretation, (4). Historiography. The approach is carried out using cultural anthropology and the theory of cultural forms according to Koentjaraningrat to understand the origin of the creation of Bulkiyo reog dance as a form of expression, a symbol of communication and humanity to fight Dutch colonialism. The results of this study show that there are several historical facts about the emergence of Bulkiyo Reog Dance in Kemloko Village, Nglegok Subdistrict, Blitar Regency. The characteristics of Bulkiyo reog dance are influenced by Javanese, Arabic and Chinese cultures, this can be seen from the attributes and equipment used, the existence of Bulkiyo reog dance is influenced by internal factors of the Genealogical Inheritance system, and external factors of support from the community, government, and academics.

Pengembangan Tari Sumbun di Kabupaten Tanjung Jabung Timur Provinsi Jambi

This study aims to reveal, describe, and analyze the development of Sumbun Dance in East Tanjung Jabung Regency, Jambi Province. This type of research is qualitative research using a descriptive method. The research instrument is the researcher himself assisted by supporting instruments in the form of stationery and cameras. Data were collected through literature studies, observations, interviews and documentation. The steps of analyzing data are data collection, data reduction, data modeling, and drawing conclusions. The results of this study show that the development of Sumbun Dance can be seen in terms of quality and quantity. In terms of the quality of the development of Sumbun dance, it is seen from the movement, floor patterns, dancers, music, makeup and clothing, time and place of performance. Meanwhile, in terms of quantity, it can be seen from the addition of actors, increasing performances, expanding the performance area. The development in terms of movement of the Sumbun dance which before it was developed there were 8 types of movements and in the creation of Sumbun dance there were 11 types of movements. The musical instruments used in the Sumbun dance that were previously developed were kulintang, gong, drum, and accordion and in the Sumbun dance that had been developed kulintang, gong, drum, accordion, violin, gambus, drums, keyboard, bass, and guitar. The floor pattern is carried out by variating what was initially 8 types of floor patterns now to 10 types of floor patterns and in the form of variations. The costumes that used to be danced using Malay traditional clothes from Tanjung Jabung Timur were equipped with batik-patterned cloth songkets as well as golden iron head accessories and necklaces and men's accessories only used headbands. Now the costumes used in the creation mung dance have been packaged and created in a new form like costumes for performance events. Meanwhile, in terms of quantity, the number of Sumbun dancers who have been dancing for a long time amounted to 6.

The Exploration of the Holistic and Complex Impacts of Creative Dance on Creative Potential Enhancement

ABSTRACTInterest in nurturing individuals' creative potential is rising. Yet, the potential benefits of incorporating creative embodied activities have been neglected in both applied and research settings. To address this gap, this study examined the effects of a Creative Dance program on university students' creative self‐efficacy, emotional creativity, tolerance to ambiguity, and ideation behaviors. A total of 143 undergraduate students participated, either in the Creative Dance intervention or a sport‐based control group for 15 weeks. A mixed‐method approach using questionnaires and focus groups was adopted. Linear mixed effects models showed that engaging in Creative Dance had a significant effect on ideational behaviors and tolerance to ambiguity. Specifically, students in the intervention condition improved their ideational behaviors and remained stable in their tolerance to ambiguity compared to student in the control condition who remained stable and regressed on those variables respectively. Focus group results highlighted the social effects of the intervention, which help to contextualize the quantitative findings. This study underscores the importance of integrating creative embodied activities to foster individuals' creative potential while highlighting the need to develop comprehensive assessment tools to capture the dynamic interplay between individuals and their environment throughout this process.

Creative dance – practising and improving … what? A study in physical education teacher education

Creative dance, that is to say, movements, with or without music, which allow participants to express ideas, thoughts, and feelings, are sometimes accompanied by a ‘there is no right or wrong way to move’ rhetoric. This may reinforce the impression among physical education teacher education (PETE) students, who often have limited experience of (creative) dance, that there is nothing to practise in creative dance and that this activity is merely directionless movement. In this paper, however, based on Aggerholm's notion of practising movements, we explore an occasion in a PETE course where a magic moment occurred, indicating that the students had practised and ‘figured out’ something that made this moment possible. The purpose of the paper is to explore the knowledge in movement that PETE students were practising as they participated in creative dance. The purpose is also to shed light on what pedagogical practice contributed to enabling such practising. Video documentation and short interviews with students in one PETE course and one continuing professional development course for physical education teachers indicate that the magic moment was made possible as the students’ practised making sense of moving in non-predetermined – creative – ways and appreciating the expressive dimension of movement. Laban's movement analysis framework seemed, along with the teachers’ knowledge of movement, to be an important element in the pedagogical practice that made the magic moment possible.

The Importance of Stage Scheduling in Dance Creation - - Taking Far Mountain is Not Far Away as an Example

Stage scheduling is to schedule the stage, schedule the position of the actors on the stage, also known as scene scheduling. In order to better show the central idea and connotation of the work, it is necessary to design and arrange the actors on the stage, which is called stage scheduling in drama. This paper mainly describes what is stage scheduling, stage scheduling methods and stage scheduling in the role and application of dance choreography. The basic content of dance creation is innovation and thinking ability. In order to achieve a more ideal stage effect, the application of stage scheduling in dance creation is indispensable. There are two main functions of stage scheduling: action scheduling and lyrical scheduling. Action scheduling is mainly targeted to the actor s action scheduling, commonly used in opera or slightly small plot singing. The lyrical scheduling mainly refers to the scheduling that has no action connection with the performer, which is mainly formulated for the needs of the atmosphere. Stage scheduling is mainly a means to make the stage resonate with the audience.

The effect of a creative dance class applying the SCAMPER technique on middle school students" physical self-concept and creative personality and physical expression ability

The effect of a creative dance class applying the SCAMPER technique on middle school students" physical self-concept and creative personality and physical expression ability

“Research on Music Emotion Analysis and Dance Creation Based on Neural Network”

The one-of-a-kind avenues for self-expression that dancing provides as a form of physical art. Movements of the body, both internal and external, and other forms of expression make up the bulk of a dancer's lexicon. Through passive observation, the viewer is able to catch up on the dancer's intended meaning through their body language. It's the one-of-a-kind way that each dancer finds to convey feeling and story through their body. In this piece, we intelligently oversee dance training and take on challenging nonlinear control problems by combining AI technology and the BP neural networks (BPNN) approach.In this study, the training dance teachers receive in dance language, talking music for dancing, and stage art was evaluated using the BPNN technique and the PCA-BPNN strategy. Median accuracy for the BPNN research model is 85.35 percent as age 80 approaches, whereas for the PCA-BPNN research model it is just 65.64 percent. This demonstrates that the BPNN grading model provides more precise results than the PCA-BPNN model. Using BPNN algorithm-based dancing performed within the context of artificial intelligence technology is one way to attain two goals: the spread and pleasure of beauty, and the harmonious combination of athletics and the arts. These two aims are not mutually exclusive.

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

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

Creation of Dance as An Educational Tool in Gumala Kreatif Community

Creation of Dance as An Educational Tool in Gumala Kreatif Community

Contagious and Unexpected Moments as Gateways to Dancing Playfully Together: Students Creating Intervening Spaces

ABSTRACT Research on creative dance education has indicated that students can take risks and improvise when the teacher relinquishes control through an open and explorative approach. I add to the discussion by exploring the unexpected and spontaneous episodes when teaching dance improvisation in settings outside dance education. Based on empirical material from a design-based research project conducted within the Danish bachelor’s degree program in social education, I analyze three episodes where students take the initiative and use their bodies and voices to play essential roles in creating sensuous, repetitive, and humorous group formations. I argue that these episodes can be understood through philosophical and sociological conceptualizations such as sociability, contagion, affectivity, crowds, and laughter and that students can explore playful movement through various contagious “ripple effect” processes. These moments are a kind of significant everyday playful choreography that is a beneficial skill for social educators involving embodied creativity.

Discovery in the Pramesti Ulangun Dance: A Possibility for Innovation in the Form of Balinese Dance Creations

Discovery in the Pramesti Ulangun Dance: A Possibility for Innovation in the Form of Balinese Dance Creations

Research on the Path of Integrating Chinese Dance Movement Elements into Sports Dance

This paper studies how the movement elements of Chinese dance are integrated into sports dance, and discusses the path of integration. By analyzing the characteristics of traditional Chinese dance and the requirements of sports dance, it is found that there is a certain fit between the two. In the context of cultural inheritance and innovation, this article proposes some feasible paths, including cultivating the cross-domain ability of dance coaches and athletes, strengthening the cross-integration of dance and physical education, and promoting innovative dance creation. These paths are expected to promote the better integration of Chinese dance movement elements in sports dance, and provide new ideas and methods for the development of Chinese sports dance.

Embodiment of Symbolism and Meaning of Human Life Phases in the Characteristics of Topeng Tunggal Through the Creation of a Dance Film Titled Nindak Jirumklan

This research innovates dance creation by integrating Betawi dance, cinematography, music technology, visual arts, and scenography, aiming to broaden our understanding of dance in a cinematic format. It challenges the assumption that dance is confined to stages and advocates for a broader visual platform. Drawing inspiration from the Topeng Nindak Jirumklan, the dance film symbolizes life stages. The research problem formulation for creating a dance film involves exploring how to depict the different phases of life using the framework of a single-mask dance that features four mask characters. Betawi Mask Dance is an adaptation of the Cirebon Babakan mask, where each dance embodies aspects of human life. Using a qualitative approach, this study encompasses focus determination, data collection, observation, document use, interviews, and data collection matrices. Guided by Hawkins’ creation theory, it explores experiences, perceptions, feelings, imaginations, realizations, and formations. The anticipated outcomes of Betawi arts, including mask dances, Wayang, and Tanjidor music, extending across various regions with Malay influence, and the dance film Nindak Jirumklan, incorporating music, dance, comedy, and drama, inspired by the single mask dance, encompasses providing an imaginative journey, enriching artistic memories, exploring space through technology, and contributing to choreographic knowledge.
 Keywords: symbolization, character mask, Nindak Jirumklan, dance film

Strands of Eastern Thoughts and Creation in Western Contemporary Dance

This essay is part of a graduate thesis defended in 2021 at the University of Campinas (ANDRAUS, 2022) on the development of creative processes in contemporary dance inspired by different types of Asian body training experienced by the author over three decades. From this experience, the author reflects on the concepts of technique, permanence and interiority in dance and highlights possibilities for creative dance procedures involving the quoted repertoires, from a Western composition perspective.