Dance Art Research Articles

KARAKTERISTIK MATERI PEMBELAJARAN TARI UNTUK MAHASISWA ASING

The internationalization carried out by Indonesian universities has become a trend favored by students both from within and outside the country. The internationalization program offered to foreign students at Universitas Negeri Semarang is precisely the dance class, because through dance they learn about Indonesian arts and culture. This study aimed to examine the dance learning program for foreign students at Universitas Negeri Semarang and find the concept of dance learning materials that are suitable for the needs and characteristics of foreign students. The method used in this study is a qualitative method. Collecting data using interviews, observation, and documentation. Data analysis techniques include data reduction, data presentation, and verification. The data validity technique uses triangulation of sources, methods, and theories. The results showed that the purpose of learning dance for foreign students is that students are able to get to know Indonesian culture through the practice of local dance arts. There are long-term and short-term dance learning programs. This affects the determination of the dance material being studied. The characteristic of dance material for foreign students includes: 1) the theme according to the local wisdom of the local area; 2) dance moves are sourced from local traditional dances but need to be adapted to the abilities and characteristics of the culture where students come from; 3) thick musical accompaniment with nuances and characteristics of local arts; 4) the duration of the dance is not too long, ideally 3-5 minutes. This concept is the basis for the preparation of dance scripts. The dance concepts and scripts that have been compiled can be used as guidelines for creating dance materials that are in accordance with the characteristics and learning programs for foreign students at Universitas Negeri Semarang

Alienating Choruses in German-speaking Performing Arts

The chorus has become a signature of German-language theater productions since the late 1980s. As a reflexive figure it exposes its linkage to the setting of the scene and the process of figuration. This article discusses the chorus against the backdrop of global societal changes, the specific situatedness of choral theater aesthetics in German history, the environmental epistemic turn in cultural studies and media discourses, and the institutional shift towards internationalized festival productions. It expands on the prefiguration of chorality in German literature (Elfriede Jelinek, Heiner Müller), the development of stage productions creating choral, i.e., non-dramatic aesthetics beyond group representations from Einar Schleef to Florentina Holzinger and thus the emergence of a new and manifold performative language at the threshold of performance and dance art. As this article suggests, these transformations of the chorus from rhetorical experiments to predominantly kinesthetic forms may indicate future unforeseeable turns of a figure that has been crucial for German-language theater in the last decades.

Intuitive Fitness

Intuitive Fitness is a workshop designed by dance artist and scholar Allison Peacock intended to blend practices of physical training, instant composition, and site-specific creation, while inhabiting the multiple roles of a dance artist (performers, choreographers, event planner, and audience). The workshop’s format is a result of over a decade of international research in contemporary dance and cross-training practices, and the desire to support low-tech dance performance experiences that simultaneously highlight the imaginative while training the physical. This article will detail the research and development of this workshop method, including exercise examples from the first three iterations of Intuitive Fitness, outlining responsive practices that work with site and the unique constellation of participants to build a physical and conceptual readiness for dance.

An Artist Speaks “The intellect travels in many different directions”: Talkin’ with Eleo Pomare (1937–2008)

This interview with Eleo Pomare focuses on his role as the choreographer of mature creative works that intermingle with his formation as a Black artist and activist after he returned from Europe to live and work in New York in the mid-1960s. It begins with discussion of his creative work in the community during the period of the Vietnam War and the movement for civil rights. Pomare reflects upon his early training and choreographic experiments as well as describes the construction of some of his best-known performance works. He ends with some thoughts on political advocacy and his influence on dance policy and dance criticism, and throughout the conversation Pomare shares insights about his philosophy as a Black dance artist.

Choreographing Proximity and Difference: Vassos Kanellos's Performance of Greekness as an Embodied Negotiation with Western Dance Modernity

Countering the historiographic under-representation of Greek modern dance, this article focuses on early twentieth-century dance artist Vassos Kanellos. Combining Western/European choreographic inputs and local, often traditional, elements, Kanellos rearticulated the inscription of Greek dance in historical time—beyond a sole focus on antiquity—and anchored it in a nationally marked space and in the specificity of a posited Greek “race.” Informed by new modernist studies, this article reads Kanellos's practice as a reflection of the country's process of constructing a hegemonic national identity against a background in which Greece constituted both Europe's subaltern periphery and the foundation of its genealogical narrative.

Proses Kreasi Seni Tari sebagai Ekspresi Diri Anak SD Negeri Wotan 02 Desa Wotan Kabupaten Pati

This research is motivated by teachers and children in SD Negeri Wotan 02 in extracurricular activities, namely dance. The purpose of this study was to find out the processes and results involved in dancing activities for children at SD Negeri Wotan 02. This study used a qualitative research type with narrative analysis. The location of this research is at SD Negeri Wotan 02, precisely in Wotan Village, Dukuh Karanganyar, Sukolilo District, Pati Regency. The primary data sources are teachers and children participating in dance activities at SD Negeri Wotan 02. Secondary data sources come from research documentation, field notes and other supports. Data collection techniques used in this study were observation, interviews and documentation. Data analysis used in this study consisted of data reduction, data presentation, and inference. Based on the results of the research and discussion conducted, it can be concluded that the children's dance activities at SD Negeri Wotan 02 can be further improved. This is because in the process of dance activities many children do not master the basic movements so that the elements in dance with the creativity of children can develop creative dance arts.

Cultural Implementation in Dance Arts Extracurricular Activities in Elementary Schools

This study aimed to describe the application of culture in elementary schools through dance extracurricular activities. A qualitative approach was used in this study using a narrative research type. This research was conducted at SD Negeri I Blimbingrejo, with the research subjects being dance teachers and students participating in extracurricular dance arts. The data were obtained through observation, interviews, and documentation, which were then tested through triangulation of sources. Data analysis was obtained using data reduction, data presentation, and conclusion. Based on the research results, SD Negeri I Blimbingrejo applies cultural activities to learning through dance extracurricular activities. Supporting factors that influence dance extracurricular activities are internal and external factors. Internal factors include the condition of students who have interests, talents, and motivation to take part in dance extracurricular activities. At the same time, the external factors include support from schools with dance sei teachers, adequate facilities and infrastructure, and support from students' parents.

Dynamics of the development of choreographic culture and education

Relevance of research. Under conditions related to the reformation of the national education system in general and in the field of art in particular, when priority cultural values and ideals are being reassessed and rethought, it is becoming necessary to turn to those historically formed pedagogical traditions of choreographic education and culture, which, on the one hand, must be preserved, and on the other hand, adapted to the new conditions of the Ukrainian cultural, economic and political reality. The purpose of the article is to analyse the peculiarities of the development dynamics of the Ukrainian choreographic culture and education. These research methods are used: general scientific (analysis, synthesis, systematisation, comparison, generalisation, comparison) in order to clarify the historiography of the problem under study; historical (historical-structural, historical and genesis-based, historical-diachronic, criterial-complex) ensured the development of the research structure; made it possible to reveal the origins of the development of choreographic education and culture. The content of the study and its results. The article examines the peculiarities of the development of the Ukrainian choreographic culture and education in the context of general cultural trends of a certain era. Special attention is paid to the national cultural tradition, the spiritual sphere of society, the change of the general cultural paradigm, the functions of choreographic education and culture. It is noted that the problem of the dynamic development of modern dance art is closely related to the incessant civilisational and socio-cultural progress, the change in the format of psychological and pedagogical approaches, methods and means of choreographic education. The domestic system of choreographic education was formed in the process of long-term acculturation. The specificity of dance education lies in its bicentricity: it is equally closely connected with the educational sphere and with the artistic and performing practice of art. The reformation and development of modern stage choreography took place through the dialectical denial of academic traditions and the construction of new choreographic forms. Under conditions of the cultural and philosophical era of postmodernism, the phenomenon of modern stage choreography is considered as a stylistic reflection of the artistic trends of synthesis.

Analysis of the value of folk music intangible cultural heritage on the regulation of mental health.

This paper proposes an approach based on the safeguarding of intangible cultural heritage (ICH) by studying the value of ICH to explore the value of the ICH of folk music on mental health and its safeguarding measures. Additionally, a questionnaire survey is conducted on the value of the ICH of folk music among college students. The Tibetan Guozhuang dance and music in the ICH are taken as the object. The students' awareness, participation, and effects on physical and mental health, emotional regulation, and stress regulation are investigated, to study the safeguarding value of folk music. The survey results reveal that in the process of participating in the folk art of Tibetan Guozhuang dance, 41.8% of the students consider it very useful for emotional regulation and stress relief, and 46.31% believe it is useful. 36.95% of the students feel that it is very useful for the development of mental health, and 49.75% think it is useful. This indicates that a total of 86.7% of the students believe that the dance is helpful to the development of students' mental health. And most of the students are in a happy mood when participating in the dance. Among them, 71.7% of the students say that they are elated, and 66.98% feel that they are excited. It illustrates that as a young group, the students are fond of folk art, but they lack the cognitive approach. Finally, the safeguarding suggestions and implementation paths are put forward in view of the existing problems of the ICH of folk music. The research can provide a research reference for the safeguarding of the ICH of folk music.

“Dance of the Heart. Flight of the Soul”. Exhibition as a Project

This article presents a description of the cultural and educational exhibition project in the country, dedicated to children’s fine arts in the context of dance art. At all times, the issue of education and enlightenment of young people has always been at the forefront. Such a task caused a variety of not only methodological, but also creative solutions, which were to a greater extent associated with evolutionary processes and the surrounding reality. Today, in the age of the Internet, being in one place, it is possible to attend several events around the world at the same time, including participating in competitions. The purpose of this article is to comprehend, analyze and describe the “Dance of the Heart. Flight of the Soul” republican exhibition, timed to coincide with the International Ballet Day and the 30th anniversary of the Independence of the Republic of Kazakhstan. To study the topic, the author used analytical and descriptive methods. The sociocultural approach seems to be productive for the study as one of the ways to determine the conditions and main characteristics of the creative environment among children and adolescents, the identification of which will contribute to the development of motivation for creative self-expression and creative competencies of children and youth. In order to comprehend the exhibition project, a review of sources was carried out and conceptual and practical approaches to organizing and conducting a children's creative project were formulated. Thanks to the analysis of the exhibition, it became possible to determine what methods can be used to develop children's and adolescent creativity, and to express of some internal, often unconscious intentions at a similar age.

Pendampingan Pelatihan Tari Sandur Manduro Pada Generasi Muda Desa Manduro Kabuh Jombang Untuk Membangun Kemandirian

Sandur Manduro is a performing art in the form of traditional theater which is rooted in or sourced from the people's way of life, born from the spontaneous life of the people of Manduro Village, Kabuh District, Jombang Regency. Sandur Manduro contains various elements of art, such as Fine Arts, Literary Arts, Music Arts and Dance Arts. Sandur Manduro's art has a ritual function, currently experiencing a decline in staging. There is no regeneration, because the Sandur Manduro players are old enough to be one of the problems. Through the Community Partnership Program (PKM) it is hoped that Sandur Manduro will be independent. One of the methods used is to provide training assistance for the Sandur Manduro dance for the younger generation of Manduro Village.

Interaction and psychological characteristics of art teaching based on Openpose and Long Short-Term Memory network.

As living standards improve, people's demand for appreciation and learning of art is growing gradually. Unlike the traditional learning model, art teaching requires a specific understanding of learners' psychology and controlling what they have learned so that they can create new ideas. This article combines the current deep learning technology with heart rate to complete the action recognition of art dance teaching. The video data processing and recognition are conducted through the Openpose network and graph convolution network. The heart rate data recognition is completed through the Long Short-Term Memory (LSTM) network. The optimal recognition model is established through the data fusion of the two decision levels through the adaptive weight analysis method. The experimental results show that the accuracy of the classification fusion model is better than that of the single-mode recognition method, which is improved from 85.0% to 97.5%. The proposed method can evaluate the heart rate while ensuring high accuracy recognition. The proposed research can help analyze dance teaching and provide a new idea for future combined research on teaching interaction.

The Religiusity Of The Wali Topeng Sidhakarya In The Religious Life Of Hindus In Bali

In the era of modernization that is happening in the life of the Balinese people today, mask dance still has a position as a work of art that has high value. Cultural arts in Bali are commonly used as a complement to the implementation of upācāra yajña. Based on the decision of the sacred arts seminar, the types of dances in Bali are as follows: Wali Dance (Religious Dance), Bebali Dance (Ceremonial Dance), Balih-balihan Dance (Secular Dance). In particular, this article will discuss the Bebali Dance Art (Ceremonial Dance), namely the Wali Topeng Sidhakarya. In several discussion articles that were used as specific references, there was no discussion related to the religiosity of the Wali Topeng Sidhakarya. For this reason, the main issues raised in this article are: (1) how is the mythology of Dalem Sidhakarya in Bali? (2) the religiosity value of Wali Topeng Sidhakarya in the religious life of Hindus in Bali. The method used is descriptive qualitative with an art transformation approach. Data collection techniques through observation on documents or sources that are relevant to the object of research. Data analysis is inductive/qualitative, the results of the research describe the interpretation of meaning based on the phenomena encountered. The conclusion from the results of this study shows that historiographically the Wali Topeng Sidhakarya in the implementation of the upācāra yajña in Bali has a very important role because the upācāra yajña is believed to be imperfect if it has not presented the Wali Topeng Sidhakarya. Wali Topeng Sidhakarya carries out three main concepts namely Satyam (truth), Śiwam (holiness) and Sundaram (harmony). The religiosity inherent in the Wali Topeng Sidhakarya sasolahan includes six dimensions, namely the dimensions of belief (theology), religious practice (ritualistic), practice, appreciation, and knowledge which as a whole contribute to the inculcation of Hindu spiritual values.

INOVASI PEMBELAJARAN SENI TARI BERBASIS ANDROID DI MASA COVID 19

During Covid 19 the learning process experienced very severe obstacles, one of the 03semarang Elementary School and Elementary School 01 Semarang. In this study the Android application was used to support the dance learning system where students had to learn their own dance arts at home using the Android application. From the interviews conducted as many as 66.3 % like learning with mobile phones and 72.1 % understand the theory in the Android application so that when learning with mobile phones can easily understand. But for learning the practice of dance 54.7 % does not understand it. This may be the video displayed is not suitable for elementary students so you need a suitable learning video for learning that requires movement.

Establishment and development of the stage dance: trends and particulars

This article is dedicated to the retrospective analysis of the constitution and development of stage dance, starting with the appearance of the first works with reference to the art of dance and ending with the best-known contemporary studies in this regard. The emphasis is put on the specific premises and trends that have generated the development of stage dance. It extensively analyzes the evolution of stage dance from the perspective of modernity and postmodernity, including in the context of the Romanian area, highlighting the external and internal factors that determined the specificity of the development of national choreographic art. The article also addresses the dichotomic aspect in the constitution and development of stage dance. At the same time, the purpose of this article is to present the analytical framework of the most valuable works in the field of choreography.

Flexible Performativity

Scholarly work rarely examines the labor of the contemporary dance artist as a performer. Flexible performativity describes the discrete skill set dancers today must be able to deploy in performance. Flexible performativity and its characteristics of negotiating proximity, autodramaturgy, hyperindividualism, and hyperreferentialism mold the dancer prototypical of the movement logics of the early 21st century.

An Empirical Study on the Factors Affecting the Popularity of Short Dance Video -- A Case Study of Station B Dance Area Video

In recent years, the short video industry has developed rapidly in China. With the help of the Internet, which has great communication advantages, the short dance video, with its rich forms of expression, has made traditional dance art quickly show the characteristics of popularity and diversification, accounting for an important proportion in the short video market. This study explored the content elements that affect video popularity and their impact effects, and thus analyzed the aesthetic preferences of user groups for online entertainment short video works. This research uses content analysis, and stratified random sampling that was conducted for the dance works in the dance section of BilliBilli Video Ballscreen Network within a day. We took video content and likes, forwarding, coin dropping, collection and comments as the research objects. The music style, creation type, duration, background, and the number of dancers are encoded in six dimensions to conduct content analysis, define the popularity index, and analyze its influencing factors.

Representing National Culture on the Dance Stage: A Chapter from the History of Hungarian Ballet between the Two World Wars

In the case of a mixture of dance languages, especially in dance productions that are the result of a conscious creative process, the interpretation of the symbolic content and message of the dance language elements becomes important. It is in this context that the dance art endeavours of the 19th and 20th centuries in Hungary can be examined, which aimed at staging folk dance culture on the one hand, and at developing a modern language of dance art by using folk dance culture as a source of inspiration on the other. The underlying motivations behind these dance art endeavours could be different, as they could be born in the spirit of modernism or traditionalism, or they could be the manifestation of political-social artistic aspirations, or the two different motivations could overlap. Taking these aspects into account, my study seeks to answer the question of why and how the need for a stage work to function as a national representation of Hungarianness emerged in the history of Hungarian ballet.

Tari Cucuk Lampah sebagai Perwujudan Do’a Prosesi Pernikahan Masyarakat Muslim Kecamatan Badas Tahun 1990-2000

Indonesia has so many cultures, cultures in literature, fine arts, theatre, music, and dance, especially traditional dance. However, awareness of the importance of preserving a traditional art is still a matter of concern. This can be proven in a sacred ceremony, while dances that should be included in the agenda can be omitted. An example is the Cucuk Lampah Dance which is performed in a traditional Javanese wedding, which took place in the Badas District, namely the dance began to disappear since 2000. This study aims to analyze the portrait of the Cucuk Lampah Dance in the Badas District in 1990-2000. Cucuk Lampah dance is one of the traditional dance arts in Indonesia. The role of Cucuk lampah is as director of the carnival at traditional Javanese wedding ceremonies. Besides that, cucuk lampah also acts as a conveyer of meaning regarding Javanese cultural values ​​that are adhiluhung in the process or tradition of marriage. The task of Cucuk Lampah in the bridal procession is as the leader of the group. The entourage in question consisted of the two brides, then the good pager, and the daughter of the dhomas. Cucuk Lampah led the group from the changing place to the kuade. This study uses historical research methods which include five steps, namely: topic selection, heuristics, criticism, interpretation, and historiography. The findings in this study are the beginning of the emergence of the Cucuk Lampah Dance in Badas District, namely in 1980. In the late 1990s, Cucuk Lampah began to experience decadence. Whereas in 2000, the Cucuk lampah show in the Badas sub-district was no longer present in Javanese traditional weddings.

Pakeliran Layar Lebar

This study aims to describe the development model for Balinese shadow puppet shows in the era of globalization. For nearly thirty years, Balinese shadow puppet performances marked ups and downs of requests from the public to respond to and watch them, especially for traditional performances. For this reason, to restore the Balinese shadow puppets to revival in the era of globalization, young puppeteers try to save them by exploring, preserving, and developing shadow puppet shows by creating a new work called Pakeliran Layar Lebar. The work on Pakeliran Layar Lebar is one of the genres of traditional wayang art that has appeared since 1988 under the encouragement of Prof. Dr. I Made Bandem, who at that time was chairman of the Denpasar Indonesian Art College. Visually, the form of Pakeliran Layar Lebar is very much different from the traditional ones. In its presentation, dance artists, musicians, puppeteers, theatres, narrators, and interpreters supported Pakeliran Layar Lebar with advanced technology such as; lighting, scenery, sound system, computer, LCD, and so on also support. Pakeliran Layar Lebar is classified as a balih-alihan (spectacle) art, so it functions as a medium for education, entertainment, and artistic creativity with an aesthetic nuance.