Creative Dance Research Articles

Structured, Creative Dance Classes for Children with Developmental Disabilities: A Pilot Study of Feasibility and Preliminary Effect on Motor Function.

Promoting physical wellness for preschool-aged children with developmental disorders (DD) is a known challenge. Interventions are more likely to succeed when physical activity opportunities are available to children within the context of their typical environments. We evaluated the feasibility and preliminary effect of 1 potential solution: structured creative dance classes delivered within a preschool environment. Using a non-randomized feasibility study design, we offered physical activity in the form of creative dance classes for children with and without DD within an inclusive preschool. Classes lasted 30 minutes and were held once a week or 7 weeks. We measured attendance (primary), observed active participation (% of class duration), and balance (Pediatric Balance Scale). Non-parametric descriptive statistics are expressed as median (interquartile range). Balance was evaluated regarding (a) difference between groups at baseline (Mann-Whitney statistic) and (b) intervention effect for children with DD (1-tailed, paired t-test). Twelve preschoolers (age range = 3-5 years) participated: 4 with DD and 8 with neurotypical development. Attendance was 93% (79%-100%) for children with and 100% for children without DD. Per class, rate of active participation in dance activity was 33% (28%-45%) for children with and 80% (71%-82%) for children without DD. Starting balance scores were lower (P = .014) for children with DD (42 (39-45)) compared to those without (51 (50-52)). Post-intervention, balance scores improved for the children with DD to 50 (50-51) (df = 3, p = .014, t-statistic = 2.35); each child with DD surpassed minimal detectable change for balance. Creative dance classes, delivered within an inclusive preschool environment, are feasible for some preschool-aged children with DD to participate in and efficacious as a physical training challenge at low activity doses. More study is warranted of this potential solution to meet the need for physical wellness promotion among young children with DD.

PENINGKATAN MOTIVASI DAN HASIL BELAJAR SISWA PADA MATERI TARI KREASI MELALUI PROJECT-BASED LEARNING BERBANTUAN APLIKASI TIKTOK

The aim of the current research project is to enhance students’ learning motivation and their ability in developing creative dance choreography design through the employment of projectbased learning model assisted by TikTok application for 36 (thirty-six) eleventh graders of SMA Negeri 5 Yogyakarta. Classroom Action Research using Kemmis and Targart model (1988) was adopted in this study, in which there are four components in its design, namely planning, action, observation, and reflection. Data were collected through observation with its field notes, documentation, questionnaires, interviews, and product assessment, and were analysed using qualitative descriptive technique. The result of the study demonstrates that the implementation of project-based learning assisted by TikTok application can enhance students’ motivation and their ability indicated by their learning achievement in developing choreography design of creative dance materials.

Research on the Integration and Creation of Regional Intangible Cultural Heritage Dance in Aesthetic Education in Universities: Taking Sichuan University for Nationalities as an Example

The promulgation of the Law on the Protection of Intangible Cultural Heritage is sufficient to demonstrate the degree of attention that the country attaches to it. This article uses methods such as literature research and experience summary, and takes the integration of regional intangible cultural heritage dance in the aesthetic education curriculum of Sichuan University for Nationalities in the "Intangible Cultural Heritage on Campus" as the example. Furthermore, it combines "active inheritance" with university aesthetic education to explore the integration and creation of regional intangible cultural heritage dance in university aesthetic education curriculum. This article argues that the introduction of regional intangible cultural heritage dance into aesthetic education courses in universities is a feasible path for upholding integrity, innovation, inheritance and development, and a feasible path for the construction of characteristic courses that integrate transmission, exhibition, and creation in ethnic universities related to Ganzi.

Analysis of The Choreography of Kenes Ghandes Dance At Kinanti Sekar Art Studio

This study aims to read and recognize the 'Kenes Gandhes' dance work, a dance that depicts the agility and grace of Javanese women. It is developed from various dances found in several regions of the Special Region of Yogyakarta, choosing creative dance movements as its form. Kenes Gandhes dance, accompanied by vibrant music, is neatly packaged by its choreographer by combining elements and movements of Tradition and developing them into a new creative dance work. The choreographer and creator of Kenes Gandhes, Kinanti Sekar Rahina, categorizes Kenes Gandhes as a dance for children aged 13 to 21 years, after observing children at Kinanti Sekar Art Studio (SSKS) who show sufficient agility and energy in this age range. This dance can be performed by either a solo female dancer or a group, wearing yellow brocade costumes with short sleeves and batik skirts with the wahyu tumurun motif. This study uses a choreography approach proposed by Y. Sumandiyo Hadi, covering aspects of form, technique, and content, with basic elements consisting of movement, space, and time. The design of floor patterns, motion motifs, musical accompaniment, and choreography elements are structured into the choreographic form of Kenes Ghandes. This dance is expected to become one of the dance works that can develop in the general community to encourage ongoing love for culture. Additionally, this study seeks to explore the cultural values contained in the Kenes Gandhes dance to enrich the repertoire of dance art in Indonesia. This work is also expected to enhance public appreciation of local cultural richness and encourage the younger generation to preserve the nation's cultural heritage.

Peningkatan Kemampuan Motorik Kasar Melalui Tari Kreasi Di TK Putri Kembar Pasir Julu

Based on the results of research carried out by the author, it can be concluded that (1) Gross motor skills in the Kembar Pasir Julu Girls' Kindergarten are still low, namely in the Not Yet Developed (BB) category of 2 children or 11.76%, while the gross motor skills of children in the Starting to Develop (MB) category ) 8 children or 47.06%, the gross motor skills of children in the Developing According to Expectations (BSH) category were 6 children or 35.29%, while the gross motor skills of children in the Very Well Developing (BSB) category were 1 child or 5.88%. (2) Improving children's gross motor skills through the implementation of Kreasi Dance at the Kembar Pasir Julu Girls' Kindergarten in cycle I has started to increase, namely there are no children in the Not Yet Developed (BB) category, while the gross motor skills of children in the Starting to Develop (MB) category are 5 children or 29 .41%, the gross motor skills of children in the Developing According to Expectations (BSH) category were 8 children or 47.06%, while the gross motor skills of children in the Very Well Developing (BSB) category were 4 children or 23.53%. in cycle II it has increased, namely there are no children in the Not Yet Developing (BB) category, while the gross motor skills of children in the Starting to Develop (MB) category are 1 child or 5.88%, the gross motor skills of children in the Developing According to Expectations (BSH) category are 8 children or 47 .06%, while the gross motor skills of children in the Very Well Developed (BSB) category were 8 children or 47.06%. So it can be concluded that the implementation of creative dance at the Kembar Pasir Julu Girls' Kindergarten can improve children's gross motor skills.

창의적 무용교육이 지역아동센터 학생들의 사회성 및 정서반응에 미치는 영향

창의적 무용교육이 지역아동센터 학생들의 사회성 및 정서반응에 미치는 영향

重庆地区非遗舞蹈秀山花灯的当代舞台创作分析

Xiushan Lantern Festival, also known as “jumping lantern festival”, “playing lantern festival” and “lantern festival”, is a comprehensive folk performance art integrating “singing, dancing and drama”. By sorting out the humanistic beliefs and living habits in Xiushan area, this paper deeply explores the artistic characteristics of Xiushan Lantern, and at the same time, makes a comparative analysis of the relationship between contemporary stage art works based on Xiushan Lantern and traditional manifestations of Xiushan Lantern, explores the creative characteristics of Xiushan Lantern stage art dance since the 21st century, and with the help of the analysis of the current situation, re-examines the contemporary predicament of Xiushan Lantern dance creation, and analyzes the creative path of the stage from the perspective of contemporary cultural aesthetics.

Pengenalan Nilai Seni Nusantara Pada Anak Usia Dini Melalui Tari Kreasi Wonderland

Art education in early childhood has an important role in shaping the foundation of their development. One aspect that should not be missed is the introduction of Nusantara art values, which is an inseparable part of Indonesia's cultural heritage. The purpose of this study is to add insight and children's ability to dance. This research discusses the introduction of Nusantara art values in early childhood through Wonderland Creation Dance, a concept that combines traditional dance elements with children's imagination. This study highlights the potential of Kreasi Wonderland Dance in introducing Nusantara art values, its impact on early childhood character development, and effective implementation strategies in the context of early childhood education. Through the introduction of Nusantara art through Kreasi Wonderland Dance, it is hoped that children can gain a fun art experience while building their appreciation for the nation's cultural heritage from an early age, forming positive character and personality, and maintaining the sustainability of Nusantara art and culture in the future.

Analisis Gerak Tari Sentak Baindang di Sanggar Tuah Sakato Kecamatan Pauh Kota Padang

This research aims to reveal and describe the movement analysis of the Sentak Baindang Dance at Sanggar Tuah Sakato, Pauh District, Padang City. The type of research used is qualitative research with descriptive methods. The instrument for this research is the researcher himself and is assisted by supporting instruments such as writing equipment and a camera. The data in this research uses primary data and secondary data. Data collection techniques were carried out using literature study, observation, interviews and documentation. The steps for analyzing data are data collection, data reduction, data presentation and concluding. The results of the research show that the Sentak Baindang Dance at Sanggar Tuah Sakato is a new dance creation. The Sentak Baindang Dance can be viewed from the aspects of space, time and energy. The Sentak Baindang Dance has 28 kinds of movements. From the aspect of space, it has elements of line, volume, facing direction and focus of view. The lines in this dance are predominantly straight, curved and angular lines. The volumes contained in this dance are predominantly large, medium and small. The facing directions in this dance movement are dominantly front, right and left diagonal, right and left side. The levels contained in the Sentak Baindang Dance movements are dominantly large, medium and small. The focus of view in this dance movement is dominant towards the hands, the property being held, the right and left sides, right and left diagonally. From the time aspect, the dominant tempo and rhythm are medium and fast. Meanwhile, the aspect of energy and intensity in this dance movement is dominantly medium and strong, the pressure in this dance movement is dominantly strong and the quality of the Baindang Sentak Dance movement is dominantly medium and firm.

Research on the optimization of emotion expression movement based on cognitive computing in dance creation

Abstract Cognitive computing technology realizes the processing of complex data and problems by simulating the human cognitive way, which is inspiring for the optimization of emotional expression in dance creation. In this paper, we propose a cognitive computing-based model for optimizing dance action emotions, using the improved 3DCNN model for dance action recognition and then CNN-BLSTM based on deep and shallow feature fusion for dance emotion recognition. The experimental results show that the students in the experimental group improved their movement emotion performance by 117% compared with the control group. Their professional level score was 8.42 points higher than that of the control group, the expert assessment score reached 43.98 points, and 82.5% of the students showed interest in dance learning. It shows that the optimization method for expressing dance emotions in this paper has good effects.

Research on Teaching and Dance Creation of Chinese Folk Dance in the Information Age

Abstract In this paper, we use motion capture technology to collect typical movements of Chinese folk dances and establish three-dimensional character models with the characteristics of human motion continuity and bone length invariance to discriminate the trajectory of skeletal movements. Video is used to export the data of Chinese folk dance. Design methods for extracting folk music and dance features to form a model for creating dances. Suppressing the noise of the original dance music, improving the accuracy of the fundamental frequency extraction of the music signal, and manually scoring the dance creation generation program are all benefits of using the Chebyshev filter. We propose the teaching method of Chinese folk dance in online broadcasting mode and carry out teaching experiments to compare the cooperative learning effect and dance technique evaluation effect between traditional dance teaching method and online broadcasting video lecture teaching method. The dance creation and generation program proposed in this paper is able to achieve a dance movement similarity of 0.92, which is able to preserve the original dance posture of Chinese folk dances to a greater extent. The results of the technical evaluation show that the teaching effects of the two teaching methods present significant differences in the four methods of basic technique, pair cooperation, dance expression, and total score, i.e., P<0.05, which shows that the online live video explanation method is more suitable for the teaching of ethnic folk dance in the information age.

Contributions of the encounter between psychodrama and Rudolf Laban’s creative dance

RESUMO Neste artigo, explana-se a interface entre o psicodrama e a dança criativa de Rudolf Laban, com o objetivo de revitalizar os recursos psicodramáticos utilizados para aquecimento corporal no contexto terapêutico. A pesquisa apresenta o trabalho desenvolvido com a dança criativa por meio da articulação entre o psicodrama e o estudo da arte do movimento de Laban. Este estudo de caso, qualitativo e de autorrelatos, combina revisão de literatura e diários de campo para analisar a sinergia entre essas duas abordagens. Os resultados mostram que a integração do psicodrama com a dança criativa fortalece a conexão entre mente, corpo e movimento, enriquecendo a prática terapêutica. Por fim, destaca-se a importância da contínua integração entre a psicologia e o estudo do corpo e do movimento, propondo a construção de uma psicologia do movimento.

Gender in Dance: (Re)Moving Stereotypes in Spanish Schools

Purpose: The study focuses on identifying and changing gender stereotype beliefs associated with sport and physical activity in primary education students. It also examines the influence and usefulness of an applied pedagogical intervention. Method: The study contains a descriptive cross-sectional stage, followed by an intermediate stage describing a pedagogical intervention program, and concludes with an evaluation of the intervention. Results: The students related the male gender with team sports and contact sports, whereas music-assisted and artistic-expressive activities were associated with the female gender. They also related strength with the male gender and flexibility with females. The pedagogical intervention led to a reduction in the students’ stereotyped views on ballet, rhythmic gymnastics, boxing, creative dance, flexibility, speed, and strength. Discussion/Conclusion: The teaching staff held generally positive views on the changes experienced by the students following their participation in the pedagogical intervention.

An Analysis of the Application of Motion Capture Technology in the Creation of Contemporary Dance with the Integration of Fibonacci Sequences

Abstract This paper combines the existing development of Fibonacci sequence aesthetics in art creation for the aesthetic planning of the Fibonacci sequence on music rhythm, proposes to design a new modern dance creation method by combining the diversified rotation methods of the Fibonacci sequence, and builds a process framework for generating Fibonacci sequence dance score based on motion capture. The wavelet transform is employed to determine the start of the dance movement, and the gradient descent algorithm is utilized to analyze the time coordinates and refine the dance movement. Recognize the segmented elemental action sequences using the DTW method, propose three basic actions from the dataset, and test the recognition rate of the DTW algorithm for each action. Generate a Fibonacci sequence dance score by combining human gestures. Combined with the research scoring, analyze the artistic talent of the Fibonacci sequence-generated dance. According to the data results, it can be seen that the action feature vector of the two-handed waving image is P=[0.8968, 0.9925, 0.9124, 1.0243, 1.0198, 1.2438, 1.4596, 1.3698, 1.5868, 1.6596, 1.5029] with 98.67% of the two-handed waving recognition rate (with a standard deviation of 0.25). The evaluation of Fibonacci sequence generation dance by research users tends to be moderate.

Multimedia interactive creative dance choreography design integrating hybrid density network algorithms

Multimedia interactive creative dance choreography design integrating hybrid density network algorithms

2022 개정 교육과정 초등학교 체육과 표현 영역의 신체활동 예시와 용어 정리 탐색

This study aimed to explore the physical activity examples and terminologies in the expression areas of the 2022 Revised Curriculum Elementary School Physical Education. This research employed a literature review methodology, specifically exploring “physical activity examples” and “physical education curriculum terms” presented at the conclusion of the revised 2022 elementary school curriculum. The results of this study are as follows. In the realm of physical activity examples, fundamental movements encompass locomotor activities such as walking, running, jumping on one foot, alternating jumping, following one foot, skipping, and sliding. Nonlocomotor movement expressions include activities like balancing, shifting the center of gravity, jumping with two feet, landing, extending, folding, twisting, turning in place, shaking, shaking, and more. Additionally, manipulative movement expressions, such as throwing, rolling, catching, hitting, bouncing, lifting, and turning, are essential components. It is necessary to modify basic movement expressions into creative rhythm expressions and include abstract expression, imitative expression, and tool-based expressions. Expressive activities include creative dance, Korean folk dance, folk dance of other countries, line dance, dance sports, and street dance. Additionally, the glossary should provide detailed explanations for every movement mentioned in the physical activity examples. In particular, it is necessary to present detailed descriptions of various locomotor movement expressions. As a follow-up study, it also recommends detailed, easy-to-understand explanation and research on the core idea, goal, and achievement standard of the curriculum.

A Case Study on the Application of Criteria for the Effective Use of Visual Media in Creative Dance Works

A Case Study on the Application of Criteria for the Effective Use of Visual Media in Creative Dance Works

해외 사례와 비교한 한국무용의 정치적 트라우마 재현과 극복 가능성

Little specific research, in Korea, has been conducted on whether dance can overcome it by recreating the trauma caused by war or national violence. This study examines the possibility of active political participation in Korean dance by reproducing the trauma caused by national violence and applying the theory of dance and overseas cases that conveyed the message of overcoming to Korean dance creations performed at the 40th anniversary of the May 18 Democratic Movement. To this end, domestic research trends on dance, trauma, and political context are examined, and concepts related to choreography and dance are defined to find contact points with overseas cases. In addition, overseas dance cases and theories that reproduce the trauma caused by national violence are introduced, and this is applied to works performed at the 40th anniversary of the May 18 Democratic Movement. As a result of a comprehensive study of Roland Barthes' ecriture thought, which means falsehood in reality, Roland Bleiker's aesthetic politics on the premise of imperfections in the reproduction effect, and Bill T Jones's choreographer statement, which emphasized the humble choreography creation spirit, it was found that securing uncertainty and plurality in choreography creation can maximize the possibility of trauma reproduction. As a result, most of them are still limited to memorial rituals such as Ssitgimgut and Salpurichum, and it is necessary to sufficiently increase the possibility of overcoming trauma through the efforts of the audience such as victims.

Development of Gaynek Ta Cabiga-O Dance: A Way to Strengthen the Panaglaga Culture

"Gaynek ta Cabiga-o" emerges as a creative dance form inspired by the traditional artistry of crafting winnowing baskets, known as "panaglaga ti bigao," deeply embedded in the cultural fabric of the Itneg tribe in Nagsincaoan, Cabugao, Ilocos Sur. This exploratory-sequential approach research blends qualitative insights from interviews and participatory observations with quantitative analysis through validated questionnaires from five participants. Guided by the Communities of Practice (CoP), the study's focal point is to enhance and preserve the Panaglaga Culture by delving into the intricate stages of crafting bigao. This endeavor culminates in the creation of a dance, intricately weaving together traditional movements, such as bamboo cutting (panagpukan) and weaving (panaglaga), into a cultural expression. Key materials integral to panaglaga ti bigao include bamboo, customized knives, lebleb, uway, labtang, kulokol, bamboo strips, and residue. The resulting dance undergoes expert evaluation, receiving a "Very Much Acceptable" rating for dance steps and music. In essence, "Gaynek ta Cabiga-o" not only breathes new life into cultural practices but also serves as a testament to the community's commitment to cultural preservation and creative innovation. Recommendations based on these findings pave the way for further cultural enrichment and community engagement.

Exploring Movement in Creative Dance: Introducing ‘Dancemblage’ in Physical Education Teacher Education

Materialities play a crucial role in both the educational practice of physical education (PE), and in physical education teacher education (PETE). This article explores how, often unnoticed, materialities, human as well as non-human, play part in movement exploration in creative dance in PETE. The methodological point of departure is a pedagogical unit in creative dance enacted as part of an optional dance course in a Swedish PETE program where movement exploration was studied. In the unit, students and a teacher collaboratively explored movement and movement assignments, including the use of materialities. In order to understand how materialities ‘co-act’ in movement exploration during class, this article provides a post-anthropocentric and Deleuzian approach. The concept dancemblage is introduced both as a way to analyse materiality and as something to work with in pedagogical practice. Moreover, the article suggests that by recognising dancemblages in creative dance teaching, teachers can be given a tool to further learn about learners’ explorations and to become open to divergent understandings about what it means to participate in creative dance.