Dance Art Research Articles

Effects of Using Physical Activity Applied Dancing Arts Model to Promote the Well-Being of the Elderly

This article aimed to study Effects of using Physical Activity Applied Dancing Arts Model to Promote the Well-Being of the Elderly. This is a quantitative research using the One Group Pretest-Posttest Design model of physical activity using applied dance, and a satisfaction questionnaire. The results of the study showed that form of exercise activities using applied dance to promote the well-being of the elderly. It consists of a total of 7 activities. Independent movement principle related to emotions and feelings with music. The activity was spent 16 times, 1 hour 30 minutes each. Comparative results of the mean health scores in each aspect before and after the experimental use of the exercise activity model using applied dance poses. It was found that the mean score after the experiment was higher than before the experiment. The statistical significance at the .01 level. The satisfaction in the activities was at the highest level. This research reflects the role and importance of bringing the science and art of dancing and music to apply the principles of body movement in expression to cause development or development of the physical, emotional, social and intellectual, and most importantly is to build relationships within society between individuals.

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.

The Spiritual Education Value and Practical Approaches of Early Childhood Dance

Early childhood dance is an art activity for young children created according to the characteristics of their physical and mental development, which is characterized by intuitive image, sociality, and children's fantasy. It is characterized by intuitive image to show the form of all things for young children, which shows the knowledge of truth; young children shape their good character in the collective dance environment of cooperation and communication, which is for the sake of goodness; and young children experience the charm of dance art in the dance world of children's fantasy, which is for the sake of cultivating beauty. The truth, goodness and beauty it contains can nourish young children's hearts and promote the formation of positive psychological qualities in young children, which is an important way to educate young children. In this sense, educators should fully explore the value of early childhood dance according to the level of physical and mental development of young children, so as to achieve the dance wisdom - to promote the development of young children's cognitive ability, to dance ideology - to enhance the quality of young children's will, to dance and express their feelings. --Cultivate young children's positive emotions and feelings, nurture children's personality, and guide children's pro-social behavior. To realize dancing to nurture the heart and dancing to nurture people, and to promote the comprehensive and harmonious development of young children's body and mind.

Meshwork choreography: a pragmatic approach to collaborative embodied learning in South African higher education

ABSTRACT The diversity of the South African higher educational student population requires innovative pedagogical strategies that facilitate transformative and collaborative embodied learning. This article demonstrates how the choreographic process emerges from the context of multiculturalism through a pragmatic learning approach called meshwork choreography. Meshwork suggests an interwoven relation that emphasises the ever-evolving nature of relationships within an environment. Choreography as meshwork is where the choreographer does not impose preconceived ideas on the dancers but rather facilitates a collaborative and exploratory process. The research employed a conceptual framework of phenomenography, embodied and collaborative learning to frame the discussion towards a model of how choreography functions as meshwork. Composition and design processes in and of themselves embrace transformative learning through collaborative, embodied, and relational practices and are bolstered when they converge within the creation of choreographic work. This article reflects on students’ experiences in the Performing Arts Dance Stream at Tshwane University of Technology in conceptualising choreography as meshwork. Phenomenography was adopted as the research methodology, where data was analysed within phenomenographic categories. The article offers a South African perspective, informed by Ubuntu, of a meshwork model for the benefits of applying transformative learning through choreography within a higher education dance context.

Cultural globalisation: From the globalisation of modernity in traditional dances to the practice of hybridisation in contemporary dance in Cameroon

ABSTRACT This article argues that while cultural globalisation may be perceived as a loss of national cultural identity and a threat to modern society, contemporary Cameroonian dance artists use cultural globalisation as a “counter-flow” to challenge Western cultural hegemony and cultural standardisation. Rather than being passive representations of globalisation in the form of Westernisation, Cameroonian dances evolve in response to this influence. The modernisation of traditional dances such as the Ku'ŋgaŋ, the Pénemfon, and the use of hybridisation in contemporary dance, as exemplified by the works of André Takou Saa and Merlin Nyakam, actually promotes globalisation as a counter-current phenomenon. This is perceived by some as a loss of cultural identity, yet it enables the creation of new forms of bodily expression, contributing to the enrichment of Cameroon’s national culture and illustrating that dancing cultures are dynamic.

Bringing awareness of the sensing body – Dance for Health at Cambridge University Hospitals NHS Foundation Trust

ABSTRACT Dance for Health at Cambridge University Hospitals NHS Foundation Trust (CUH) was established in 2014 as a participatory programme for inpatients on the wards at Addenbrooke’s Hospital. Co-founded and led by dance artist Filipa Pereira-Stubbs, Dance for Health has grown in its practice, becoming a flagship programme that has supported over 6,000 patients, staff and family members. In its 10th anniversary year, this article sets out to provide a reflective insight into the work, with authors CUH Head of Arts, Natalie Ellis, and Filipa Pereira Stubbs looking back on the evolution of the programme, the context within which it operates as an ongoing artist-led intervention in an acute hospital setting, and the space it occupies in the day-to-day life of a busy teaching hospital. The article delves into the creative practice at the heart of Dance for Health, describing the shape and structure of the sessions, and gives an insight into the experiences of participants. The article considers the outcomes for patients and staff involved in the programme, and reflects on the contributions made to the provision of care on the wards.

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.

Leveraging Educational Technology in Liberal Arts Dance Sports: Exploring Effectiveness and Sustainable Application

This study explored the effectiveness and sustainable application of educational technology in a university liberal arts dance sports class. A qualitative case study was conducted with nine students enrolled in liberal arts physical education classes at S University in Seoul in 2023. It focused on how educational technology, including apps such as Pose & Tracking and Slopro, can enhance students’ understanding of dance movements, promote active discussion, and facilitate objective assessment. The findings indicate that the use of these technologies not only improved the students’ learning experiences by facilitating visualization and feedback but also supported collaborative learning and creative expression. This study highlights the potential of educational technology to enhance the quality of liberal arts physical education by making learning highly engaging and effective.

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

Understanding Embodiment and Existentialism in Contemporary Chinese Dance

This paper employs the theoretical framework of phenomenology of the body to explore embodiment and existentialism in contemporary Chinese dance. With the backdrop of the current status and influence of Chinese contemporary dance in the realm of dance arts, it analyzes the unique forms and techniques of bodily expression in Chinese contemporary dance, attempting to explore how personal emotions, inner experiences, and spiritual states are conveyed through bodily expression in Chinese contemporary dance. The paper utilizes case analysis and observational research methods to delve into the cognition of bodily expression and identity construction in Chinese contemporary dance, as well as how the body is used to reflect on the cognition and positioning of Chinese traditional and modern cultural identities, exploring the diversity and changes in Chinese cultural identity. Finally, by applying Merleau-Ponty's phenomenology of the body theory, it deeply analyzes the significance and existentialism of bodily expression in contemporary Chinese dance, experiencing and understanding the relationship between bodily subjectivity and self through dance. Through these studies, we can gain a deeper understanding of the complexity and diversity of bodily expression in contemporary Chinese dance, enabling dancers to reassess their ability to express emotions, as well as the application and insights of Merleau-Ponty's phenomenology of the body therein.

Arena and (Re)Stabilization of Reog Bulkiyo Dance Cultural Production

Contestation among traditional art performances, in the technology and information era, creates complex and diverse challenge to the dance of Reog Bulkiyo. In 1999, the dance had to be stopped following the regeneration and economical problem. Although Reog Bulkiyo has been performed again since 2009, the conditions which makes this dance can be produced is still inexplicable. This article attempts to explain why dance experiencing production and activity stagnation. Pierre Bourdieu’s cultural production theory is used to analyze this problem, while ethnographic qualitative is used as the method. This study found that Reog Bulkiyo dance is in the arena of traditional dance art which has a double-tiered structure. The first structure leads to popular culture, while the second structure leads to art culture. In the first structure, Reog Bulkiyo dance group uses relational capital with relatives, social and Islamic groups to survive in the midst of competition with other popular arts. The dance then gains a relationship with the academy and the state which provides relational, cultural, and symbolic capital in the form of granting intangible cultural heritage status. These two relations give Reog Bulkiyo dance group the opportunity to maintain its cultural production.

Pelaksanaan Quiz Beserta Umpan Balik Menggunakan Aplikasi Kahoot dalam Pembelajaran Seni Tari di SMA Negeri 4 Kerinci

This study aims to determine the implementation of Dance Arts learning activities as well as supporting and inhibiting factors in the implementation of Dance Arts learning activities by using the Kahoot Application to increase the learning motivation of Class XI MIPA students at SMA Negeri 4 Kerinci. This type of research is qualitative research with a descriptive method. The research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. Data were collected through literature studies, observations, interviews and documentation. The steps to analyze data are data collection, data reduction, data display and data inference. The results of the study show that the use of Kahoot application media in Dance Arts learning is aimed at increasing students' learning motivation. There is an additional value so that this motivates students to learn so that they can play the Kahoot application well. In addition, this game can also help students to strengthen their memory of the material that has been delivered by the teacher. By using the Kahoot App, students can actively participate in answering questions. The Kahoot app motivates and activates student learning as it can test their knowledge, repeat important concepts, create class discussions and student-to-student interactions. The supporting factor for the use of Kahoot application media in learning Dance Arts is the availability of adequate facilities and infrastructure such as Wi-Fi, lcd projectors, and so on. Then there is also the enthusiasm of students when playing games on the Kahoot application so that it gives a positive response and can facilitate the learning process. Meanwhile, the inhibiting factor for the use of Kahoot application media in Dance Arts learning is a poor signal connection that causes learning to be hampered.

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.

Transformation Through Practice: A Dialogical Exploration of Embodiment and Presence in Arts-Based Qualitative Research With Self and Others

In this article, we discuss the potential of artist-researchers inviting research participants to engage directly in arts- and practice-based ethnographic work. To enable openings for this engagement, we find that the artist-researcher ontologically must stay oneself but also be able to share the self so that embodied knowing and years of embedded repertoires may find pathways of externalization, which may be walked co-creatively with research participants. In a reflexive conversation, we—Pini (dance artist, anthropologist) and Høybye (collaborative songwriter, ethnographer)—share insights from our respective artistic and academic fields to discern which areas of practice and knowledge creation may be similar, and which may be different. The aim is to identify how ways of working that have been transformative for us may be facilitated in interventions for others, and more specifically young cancer patients in our joint ongoing research project.

Creative Artwork of Elementary School Children's Dance Drama Performance Based on Folklore (Folklore) of Kediri City

Problems encountered related to art education include the rareness of alternative literacy of art forms for elementary school students based on culture. Local art products such as the Panji story will be very valuable if elaborated in the world of children in the form of performing arts. Involving children in the creative process of practicing art can provide empirical experience to improve their creativity. This study aims to determine the level of validity, originality of the work and the applicability of drama dance performance art works for elementary school children. The method of developing this drama dance art work is carried out with the stages of observation, exploration, composition and evaluation. The results of the study showed that the product of the creation of elementary school children's drama dance performance art based on folklore is very valid/suitable for use. This is evidenced by the score of 4.80 obtained by the dance expert validator. The validation results are related to the variety of movements, floor patterns, costumes and make-up. While the second validator obtained a score of 5 which means that the Panji Laras drama dance product/work is very valid/suitable for use. The validation results include the level of originality of the work, novelty and applicability for elementary school children. Thus, the work of dance drama performance art entitled Panji Laras is very valid/worthy of being used.

Traditional Art Dance Therapy to Reduce Stress Levels of Elementary School Students

COVID-19 pandemic has accelerated the development of new learning systems that are more student-centered. Unfortunately, elementary school students experienced stress and difficulties in adapting from face-to-face to online learning system. Online learning environment lacks in accommodating outdoor activities which are important for children. Several techniques can be applied to reduce stress, including dancing. This research aimed to examine the effectiveness of Traditional Art dance Therapy (TATA) for elementary school students in reducing stress. In this quasi-experimental research, one-group pretest-posttest design without control group was applied, involving 84 students at one elementary school in Yogyakarta, Indonesia. Students’ levels of stress were measured using the school-based stressors scale and were analyzed using bivariate Wilcoxon test. The results of the data analysis showed that older students had relatively lower stress levels than younger ones. A significant decrease in stress (p < 0.001) from 61.90 to 41.99 was identified between the stress levels before and after the implementation of TATA. It concludes that TATA effectively reduces the stress levels among elementary school students adapting to the new learning system in the new normal era after COVID-19 pandemic. Keywords: elementary school, stress, traditional art dance therapy Abstrak Terapi Tari Seni Tradisional (TATA) untuk Mengurangi Tingkat Stress pada Siswa Sekolah Dasar. Pandemi COVID-19 telah mempercepat pengembangan sistem pembelajaran baru yang lebih berpusat pada siswa. Sayangnya, siswa sekolah dasar mengalami stres dan kesulitan dalam beradaptasi dari sistem pembelajaran tatap muka ke sistem pembelajaran online. Lingkungan belajar online kurang mengakomodasi kegiatan di luar ruangan yang penting bagi anak-anak. Beberapa teknik dapat diterapkan untuk mengurangi stres, termasuk menari. Penelitian ini bertujuan untuk mengetahui efektivitas Terapi Tari Seni Tradisional (TATA) untuk siswa sekolah dasar dalam mengurangi stres. Penelitian ini merupakan penelitian quasi-experimental dengan desain pretest-posttest satu kelompok tanpa control grup. Delapan puluh empat siswa di salah satu sekolah dasar di Yogyakarta, Indonesia, berpartisipasi dalam penelitian ini. Tingkat stres diukur dengan menggunakan school-based stressors scale. Data dianalisis secara bivariate menggunakan uji Wilcoxon. Siswa yang berusia lebih tua dilaporkan memiliki tingkat stres yang relatif lebih rendah dibandingkan siswa yang berusia lebih muda. Terdapat penurunan stress yang signifikan (p < 0,001) antara tingkat stres pada siswa sebelum dan sesudah terapi tari seni tradisional, dengan tingkat stres dari 61,90 menjadi 41,99. Terapi tari seni tradisional (TATA) efektif menurunkan tingkat stres pada siswa sekolah dasar yang mengalami perubahan sistem pembelajaran di era new normal. Kata Kunci: sekolah dasar, stres, terapi tari seni tradisional

Формирование творческого опыта хореографа в системе профессионального образования

The modern system of training specialists in the field of choreography prepares a creative person who constantly strives for professional self-improvement and strives to teach and train others (children and adults). Since choreographic art is the art of beauty and health of the human body. Therefore, many teachers around the world strive to study, analyze and develop their own innovative teaching methods. Since they have a positive effect on (1) the manifestation of creative abilities in future specialists; (2) development of various forms of thinking; (3) expand worldviews in general, and (4) help to see the interconnectedness of dance art with biology and other sciences. It is precisely these qualities that future teachers and choreography teachers need and must be developed in the learning process. Therefore, in many educational institutions, the development of art education is noted through updating its content, associated with rethinking the social purpose of the profession of a choreography teacher, since it is he who is able to creatively introduce socially significant innovations and flexibly respond to the cultural demands of the time. The necessity is substantiated not only for the teacher to develop the subject and practical skills of a dancer, but also for the synthesis of knowledge, abilities and skills that allow the effective implementation of professional training of future choreographers with relevant competencies. The article emphasizes that the formation of artistic and creative experience is associated (1) with the need to get acquainted with works of art through perception and performing interpretation; (2) with the motivation to acquire knowledge in the field of expressive means as the basis for creating choreographic images; (3) with the development of the ability to perceive artistic images in the field of choreographic art for in-depth mastery of the art of reproducing choreographic works. Taking into account the listed features requires the effective use of creative tasks in the educational process through means of improving and optimizing educational activities. It has been proven that professional training in modern choreography requires the teacher’s ability to integrate his knowledge when teaching specific disciplines in order to appropriately update the educational process.

Features of the Development of Vietnamese Choreographic Art

For the first time, based on a multidimensional model of Vietnamese culture, the article examines the features of the development of Vietnamese dance art, the process of its professionalization, and the introduction of European classical dance to Vietnamese soil. A layer of authentic Vietnamese culture is taken as a framework, around which the configuration of cultural elements and the style of art are crystallized in different historical and cultural contexts. The classification of types and types of Vietnamese choreographic art is given. The emergence of the national ballet as a new type of performing art for Vietnam is analyzed from the point of view of the contact of authentic Vietnamese culture with Chinese-Confucian and Buddhist, European, Soviet, modern Western cultural traditions. The most significant works of small and large choreographic forms of 1950-2024 are given. The scientific significance of the conclusions lies in the fact that the methodological approach developed by the authors, the factual material introduced into scientific circulation and the formulated conclusions help to clarify the modern picture of the dynamics of Vietnamese culture and art. The article shows the role and importance of modern choreographic art in establishing interstate cooperation. The conclusion is made about the progressive development of Vietnamese choreographic art, and the need to preserve traditional Vietnamese culture is emphasized.

Analisis Pembelajaran 4 Gerakan Tari Payung untuk Siswa Tunarungu Kelas VI di SLB Negeri Tamansari Kota Tasikmalaya

Dance arts are related to movement and musical rhythm, with a strong connection to hearing. This research is motivated by the researcher’s interest in the abilities of deaf students who can synchronize their movements with musical rhythms to achieve excellence. The purpose of this study is to describe the teaching methods, the four movements of Tari Payung, and the interest of deaf students in dance arts at SLB Negeri Tamansari in Tasikmalaya City. This research uses a qualitative method with a descriptive approach. Data collection techniques use triangulation to combine various data sources and techniques. Qualitative research aims to understand phenomena related to behavior, motivation, perception, and actions of subjects holistically. The research findings indicate that deaf students have a good interest in learning dance arts. Students demonstrate interest, enjoyment, attention, active participation, and good awareness. This is evident from their consistent attendance, enthusiasm during practice, and the achievements they have attained in dance arts education.

Meningkatkan Minat Belajar Tari Kreasi Manuk Dadali Melalui Penggunaan Media Audiovisual pada Siswa Kelas VI di SDN 1 Cibeber Kecamatan Cikalong Kabupaten Tasikmalaya

This research aims to describe the planning for increasing interest in learning, implementation of increasing interest in learning, and increasing student’s interest in learning in Arts, Culture and Crafts learning after using audiovisual media in class VI SDN I Cibeber, Cikalong District, Tasikmalaya Regency. The type of research used in Classroom Action Research using audiovisual media. Learning is carried out through two cycles. The object of research is the application of audiovisual dance media created by Manuk Dadali with the research subjects, namely 15 class VI students at SDN 1 Cibeber Cikalong District Tasikmalaya Regency. Data was collected using observation, interviews, and documentation methods. The result of the research after the use of audiovisual showed an increase in student’s interest in learning the dance art Manuk Dadali.