Dance Art Research Articles

Exploring The Intersection of Geometry and Ballet

Ballet originated in the courts of the Italian Renaissance in the 15th century is still a popular dance art today. It is characterized by diversity, and the expression of emotion varies from situation to situation. Geometry plays a crucial role in ballet formation, human form, and movement proportions. This paper focuses on the relationship between ballet and geometry, deeply discusses how geometric principles such as line, triangle, circle, symmetry and asymmetry are integrated to ballet choreography and performance. By analyzing ballets such as Swan Lake and Giselle, this paper highlights how dancers use geometric concepts to create visually compelling formations that emphasize harmony and unity. These geometric elements are shown to enhance the precision, beauty, and storytelling in ballet performances.

A Critical Approach to the Reconstruction of Artistic Dance in Modern Era

A Critical Approach to the Reconstruction of Artistic Dance in Modern Era

The Influence of Singo Ulung Dance in the Celebration of Islamic Festivals

Singo Ulung is an art form originating from Bondowoso Regency, East Java Province, bordered to the west by Jember Regency, to the south by Situbondo Regency, and to the south by Banyuwangi Regency. The population of Bondowoso Regency is 776.252 citizens, and 90% of the population is Muslim. This research aims to discover the relationship between Singo Ulung Dance Art in celebrating the Islamic Festival and tohor related religious activities with Singo Ulung. The method used is descriptive qualitative, which uses observation, documentation, and interview techniques. The result of this research is Singo Ulung dance art, which is used to attract the community to carry out da'wah; performing Singo Ulung dance can attract the community to enliven the celebration of Islamic festivals and other religious activities.

The role of the history of art of Kazakhstan and its artistic trends in the students� educational process

Relevance. The relevance of the study is due to the need to supplement the course �History of Fine Arts of Kazakhstan� and thereby improve the quality of professional education of Kazakh students.Purpose. The purpose of this study was to cover the significance of the course of the history of arts of Kazakhstan in the educational process of students of professional and creative faculties.Methodology. The leading method of studying this problem was the classification method, which helped single out and systematize various areas and periods in the history of the arts of Kazakhstan. The following methods were also applied: iconographic method, system analysis method, logical analysis method, synthesis method, comparative method, deduction.Results. The paper presents the results of a study of the history of art in Kazakhstan, including an analysis of various artistic trends, key periods, and creative personalities. The paper presents the major features of the ancient culture of Kazakhstan, reveals the characteristics of traditional patterns, their symbolism, and meaning. The art of the Kazakh carpet was analysed, the main techniques for making carpets and their characteristics were identified. The study examined the role of the fine arts, jewellery art, and dance arts of Kazakhstan and presented their main characteristics and directions. It was concluded that knowledge of the history of art in Kazakhstan is a necessary component of student education, as it offers a more profound understanding of the history of the country and its cultural heritage.Conclusions. The materials of the study are of practical value, since they provide an opportunity to better understand the cultural heritage of Kazakhstan, and the use of these materials to develop new training and advanced training programs for specialists in the field of culture and art will contribute to the preservation and promotion of the unique traditions of Kazakh art in the world.

A Comparative Study of Aesthetic Differences between Guangxi Folk Dance and ASEAN Dance

Abstract Clarifying the aesthetic differences between Guangxi folk dance and ASEAN dance can promote the in-depth exchange of dance art and culture between the two. In this paper, the aesthetic characteristics of Guangxi folk dance and ASEAN dance are discussed, and the HRNet network is used as the basis, combined with the sequence multi-scale feature fusion and the PCA action gesture segmentation model for the action gesture estimation. The dataset was constructed according to different kinds of Guangxi folk dance and ASEAN dance, and the aesthetic differences between Guangxi folk dance and ASEAN dance in terms of intrinsic culture and extrinsic performance were analyzed using the dataset. The results show that on the inner culture, Guangxi folk dance is mainly based on traditional culture and folk customs. ASEAN dance is more influenced by religious culture, although it has differences, but the correlation coefficients of emotional expression and national custom are 0.963 and 0.954, respectively. On the outer manifestation, Guangxi folk dance has as many as 11 kinds of action dance forms, while ASEAN dance emphasizes more on The ASEAN dance emphasizes more on the “flat, taut, straight and standing” forms. The aesthetic differences between Guangxi folk dance and ASEAN dance can promote the exchange and integration of dance art and culture between the two and provide a good artistic foundation for the in-depth promotion of the Belt and Road.

Analysis of Basic Social Skills of Elementary School in Saman Dance Learning

Education of children at an early age helps to bring out their sensitivity. Dance is one method or way to apply art education from an early age or elementary school age. Saman dance, which is unique, becomes one of the attractions to discuss in depth. Saman dance is a complex art starting from its body movements, musical instruments, and verses of songs used to accompany Saman dance. Not only that but the value contained therein, and the implied meaning can be implemented into learning. The result of this research is that the role of Saman dance learning implemented in elementary schools actively helps students form their social skills well and practice every Saman dance movement. Social skills that grow in learners are formed when doing Saman dance activities with the cooperation and building cohesiveness between one student and another. Implementing saman dance art activities for elementary school-age children helps children interact with others. This research was conducted by collecting data from several sources, such as previous research journals, and then analyzing the data from these journals. The subjects in this study are elementary school-age children and teachers, especially class teachers. Thus, this study aims to foster and improve the social skills of elementary school-age children by applying Saman dance learning in elementary schools. Sensitivity to interact socially will help children's basic social skills improve much better than before.

Composition Elements of the Traditional Joget Utan Dance in Bunjung Village Siak Regency

This research aims to examine the elements of dance composition in the Joget Utan traditional dance in Bunsur Village, Sungai Apit District, Siak Regency. The Joget Utan dance is rich in cultural values and is a legacy from previous generations. The traditional Joget Utan dance is an integral part of the life of the local community. However, there has been no research that has studied in depth the elements of this dance composition. Therefore, this research aims to fill this gap and provide a deeper understanding of the elements involved in the Joget Utan dance. The research method uses a qualitative approach with data collection methods through direct observation of dance performances, interviews with dancers and local community leaders, as well as literature study to obtain information on the Joget Utan dance. The collected data will be analyzed descriptively to describe the elements of dance composition. By following this stage, it is hoped that we can provide better insight into the richness of Joget Utan dance culture and contribute to efforts to preserve and develop this traditional dance art

Dancing with pain: agency through pain worlds

ABSTRACT This article examines a series of qualitative interviews with seven dance artists in the UK who make dance works with and about their own chronic pain. It integrates research from dance studies (on dance and agency) and health-based chronic pain research (on agency with pain) to focus on individual, interpersonal, and environmental dimensions of agency with chronic pain. The research addresses therefore how the dance artists have individually acted as agents by making change in their own self-identities and working lives. Further, it highlights the importance of peers and audiences alongside the environments of performance which enable agency for the artists. Finally, the article proposes that agency is created in performance through the ‘pain worlds’ shared by the dance artists, that give felt and sensorial pathways to understanding aspects of living with pain.

Dance and Social Interaction: Exploring the Role of Dance Art in Social Transformation

This article explores the significant role of dance art in social transformation, with a particular focus on its function in social interaction and communication. Initially, the article examines the historical perspective of how dance reflects and impacts social dynamics, analyzing the evolution of various dance styles and their societal influence. It then delves into dance as a medium of communication, highlighting its role in community building, cultural exchange, and cross-cultural understanding. The article pays special attention to the use of dance in social advocacy, exploring how dance raises public awareness about critical social issues. Furthermore, it investigates the psychological and sociological impacts of dance, including its role in emotional expression, identity formation, and group cohesion. The role of dance education in social development is also explored, emphasizing its value in fostering social skills and holistic development. Finally, the article discusses the challenges and opportunities faced by contemporary dance, as well as its potential in social innovation and technological integration. The article aims to underscore the enduring power of dance as a social art form and its unique position in driving social interaction and change.

The Uniqueness Of Kayie Dance Art In Village Laban Nagari Salido District IV Jurai Painan South Pesisir Based On Space, Time, And Energy Aspects

The traditional art of Kayie Dance in Laban Nagari Salido Village, IV Jurai Painan District, the South Pesisir is an identity for the life of the community itself, because this art reflects the activities of the South Coast community who work as fishermen. As a source of livelihood and fishing activities in the southern coastal area, the community believes in the value of life that comes from catching fish in the sea or river. Moving away from the values ​​of life, local artists have created art that is characteristic of the southern coastal area, especially in the village of Laban Nagari Salido, District IV Jurai Painan. The uniqueness of this art is that it combines beautiful and rhythmic movements, and each movement has its own beautiful value. The Kayie dance has its own uniqueness which is created by the dance atmosphere expressed through the dance movements. Kayie's dance has 11 main movements in the dance, starting with the initial sambah movement to the closing sambah movement. There are many aspects of beauty contained in every element of the Kayie Dance art. The function of the Kayie Dance is as a means of entertainment and learning for all levels of society, this is an attraction for the community to preserve the Kayie dance on the South Pesisir.

Педагогічні можливості мистецтва хореографії у творчому розвитку підлітків

The article deals with pedagogical methods that ensure the creative development of adolescent students through the art of choreography. The importance of the art of dance in working with a children's choreographic group is determined. The article notes that the modern world is characterised by a focus on digitalisation and automation, but art classes allow you to experience personal emotions, which is important for modern students to feel and understand the beauty of the work done and transform its energy into creative achievements. The main problem of our research is to study the methodological and theoretical system of prominent Ukrainian choreographic teachers and the use of effective methods in the creative activity of future choreographic art specialists. The purpose of the study is to substantiate the pedagogical possibilities of choreographic art in the creative development of adolescent students in the study of classical, folk and contemporary dance. The determining condition for success in creativity is systematic, hard work that requires mobilisation of spiritual forces and maximum concentration. The harmonious combination of dance and pantomime, music and poetry, plasticity of movements and drama of a literary work into a single whole is an important factor for the aesthetic education of the individual, his or her creative development and value attitude to reality. The authors note that in recent years, the relevant disciplines have been increasingly introduced into educational institutions, performing a number of functions, namely: educational, cognitive, creative dialogue and co-creation, which significantly affects adolescents, increases their self-esteem, and promotes the need for self-development. It has been established that the art of dance is an integral part of the culture of the Ukrainian people, and Ukrainian choreographic art has its own powerful, original voice in the world of culture and art. The pedagogical innovations of our choreographers are widely known outside Ukraine, and they are known and respected in the world. The article highlights the pedagogical methods successfully used by contemporary teachers Radu Poklitaru, Larysa Tsvetkova and others in their work. These include methods of individual approach to each student, improvisation and experimentation, use of multimedia technologies, trainings, business games, situational tasks, master classes, problem-based learning, and creative forms of work (combinations, sketches). The experience of well-known teachers has shown that the art of choreography opens up a wide scope for the development of the creative potential of the individual, allows to introduce creative elements into dance education and upbringing along with performance practice.

Processus relationnel embodié dans le projet de désorientation de P. Megan Andrews

This article offers embodied, phenomenological descriptions of the disorientation project, a solo work by dance artist P. Megan Andrews. From the position of an ongoing witness of Megan’s practice, the author reflects on how experiences of perceptual disorientation can be potent and productive, opening space for relations of care.

Registration of Intellectual Property Rights of Thengul Ndadari Batik Motifs Based on Preservation of Dance Art

Dolokgede, Tambakrejo village located in Bojonegoro Regency has potential property art. One of the business opportunities that Bojonegoro community has begun to develop is batik, but there are still only a few people have batik character, they only make it without knowing the meaning of the resulting motif. The motifs that are widely used in batik are imagines plant and flower. During this time the community is very worried that there will be attention, extinction, appreciation from others for the batik motifs that have been produced. There for the Disbudpar and Uin Sunan Kalijaga service team asked for assistance to support the assistance of intellectual property rights on batik motifs produced by Dolokgede through the Director General Property Rights. So that it can foster the entrepreneurial spirit of the village community marked by the village communitu. Which produces written batik based on dance art and distributes tourism areas, therefore the tourist area will facilitate written batik produced by the people of Dolokgede Village.

Development of Body Movement Skills Using Illustrative Music as a Stimulus in Dance Learning

This research explores the use of illustrative music as a stimulus for skill development in the field of body movement within the Dance Education program at Padang State University (UNP). Illustrative music aids in motivation, rhythm regulation, concentration, emotional expression, memory, creativity, body mobility, and flexibility in the dance body movement courses. The research employs a qualitative methodology involving interviews, observations, and document analysis to investigate the impact of illustrative music. The findings of the study indicate that the use of illustrative music, such as Minangkabau ethnic music and classical music, during dance body movement exercises provides a positive boost to skill development, emotional expression, and movement comprehension within the art of dance. Through this approach, the Dance Education program at UNP creates a deep, holistic learning environment for body movement in the art of dance.

Applying Time Series Analysis to Study the Development Trend and Influencing Factors of Ethnic Folk Dance

Abstract In this paper, firstly, we propose to use time series analysis to observe the development and change process of social events, using the DF test and ADF test to eliminate the random autocorrelation in order to exclude the interference of white noise series. Secondly, the instantaneous frequency of non-smooth data is defined by analyzing the signal, and the constraints are modified from global constraints to local constraints. The Fourier-transformed eigenmode function is used to satisfy the four necessary conditions of completeness, orthogonality, localization, and adaptability. Finally, the development trend of ethnic folk dances and the change in communication dynamics are analyzed. The results show that the change of language on the spreading attitude of folk dance is 4.381, the change of custom on the spreading attitude is 5.943, the change of culture on the spreading attitude is 10.866, and the change of culture on the spreading attitude of folk dance is the largest, which shows that the development of folk dance away from the development of folk dance is not separated from the support of culture. The study will have a positive impact on passing on the distinctive art of ethnic folk dance and enriching Chinese traditional culture and art.

WORKSHOP TARI KHAS PAMEKASAN SEBAGAI PENGUATAN SUMBER BELAJAR LOCAL WISDOM DI SEKOLAH DASAR

WORKSHOP TARI KHAS PAMEKASAN SEBAGAI PENGUATAN SUMBER BELAJAR LOCAL WISDOM DI SEKOLAH DASAR

Embracing a Precarious Life

Abstract This article presents research focused on the precarious life of an independent dance artist in a European context. The aim of this study was to identify ways to understand and cope with the various unstable aspects of the lifestyle and profession of independent dance artists. Together with a group of fellow dance artists, I explored understandings of instability and stability and investigated how collective action might reinforce a sense of stability. I position this study in relation to current economic trends in which the individual is increasingly in focus, with few social security benefits, and the dancer is often faced with solitary living and working situations. I applied a performative, practice-led research methodology supported by feminist post-human theories. The findings led to discussions of the complexity and entanglement of stability and instability, which evolved into a joint phrasing of in/stability, in which I explored how the fluid practice of dance corresponds with not only a wider socio-political landscape but also an ever-changing world.

Structure of the Movement Forms of the Jaranan Art Dance at the Kridho Budoyo Studio, Jaya Bakti Village, Mesuji District, Ogan Komering Regency

The background of this research is that the researcher wants to know the Structure of the Movement of the Jaranan Arts Dance in the Kridho Budoyo Studio, Jaya Bakti Village, Mesuji District, Ogan Komerin Ilir Regency. Mesuji District, Ogan Komering Ilir District. The purpose of this study was to find out how to describe the structure of the movements of the Jaranan Arts Dance at the Kridho Budoyo Studio, Jaya Bakti Village, Mesuji District, Ogan Komering Ilir Regency. The collection of research data is in the form of observations, interviews, and documentation from the head of the studio, dancers, and musicians. The structure of the movements of the Jaranan Art Dance at the Kridho Budoyo Studio, Jaya Bakti Village, Mesuji District, Ogan Komering Ilir Regency, there are 6 types of movements, namely Budalan Movement, Rete-reto Sabetan, Regular Sabetan, Ngecek, Worship, and Bambangan. Based on the research results that have been obtained that the Jaranan kridho budoyo dance has an initial, middle and final movement structure

The Characteristic Analysis of Characters in Gatotkaca Gandrung Dance by R. Ono Lesmana Kartadikoesoemah

It started with the appreciation of a dance artist from Sumedang, R. Ono, for the Gatotkaca Gandrung dance in the Solo style. Then, he attracted his attention to create a Gatotkaca Gandrung dance piece in the Kasumedangan style. Different from the Solo style, the dance created by R. Ono is played by four dancers, namely Gatotkaca, Pergiwa, Pergiwati, and Cakil, with their distinctive characters full of meaning in life. The purpose of this research is to analyze the characteristics of the characters in the Gatotkaca Gandrung dance by R. Ono through the study of choreography, makeup, and costume. This study used a descriptive analysis research method using a qualitative approach. The researchers collected data using observation, interviews, documentation, and literature study. The data obtained is analyzed by reducing the data, presenting the data in narrative form, and drawing conclusions. The results obtained are Gatotkaca, as the main character, has the character of monggawa lungguh from his hiber movement, makeup, and costumes reflecting his independence, strength, toughness, responsible, courage, sacrifice, agility, and calmness in dealing with problems. Pergiwa and Pergiwati, as supporting characters, have the character of putri lungguh who reflects a graceful and cheerful nature. In addition, Cakil is a symbol of the lust of human anger. As a supporting actor, he also reflects the nature of cunning, mischievous, crotchety, agile, and brave. This character research can be used as an artistic reference in formal and informal learning that can be applied in life.

The Form and Development of Jaran Kepang Dance in the Langen Budi Sedyo Utomo Association from 1996-2018

The Langen Budi Sedyo Utomo Association is located in Sombron Hamlet, Tlompakan Village, Tuntang District, Semarang Regency. The Langen Budi Sedyo Utomo Association in the course of the Jaran Kepang dance experienced development after the entry of the Songo dance in 1996. The problem that arose was the existence of external obstacles in the form of a lack of support from the people around regarding the views of dance art and maintenance of inventory of costumes, accompaniment or gamelan, and others. This study aims to analyze and describe the development of the form of the Jaran Kepang Dance at the Langen Budi Sedyo Utomo Association from 1996-2018. As well as the factors that influenced the development of the Jaran Kepang Dance form at the Langen Budi Sedyo Utomo Association from 1996-2018. The method used in this study is a qualitative research method that produces descriptive data. The research method used a qualitative method. Data collection techniques in this study used three techniques, namely observation techniques, interview techniques and documentation techniques. Interviews in this study were conducted 4 times with different informants. Based on the results of research conducted at the Langen Budi Sedyo Utomo community and the results of the discussion in chapter four, it can be concluded that the Jaran Kepang dance in the Langen Budi Sedyo Utomo community experienced development after the entry of the Songo dance, developments took place from year to year. From 1996-2013 the Jaran Kepang dance form in the Langen Budi Sedyo Utomo community still used movements that resembled Surakarta style dance movements, there was one dancer as the leader, then in 2013-2016, the Jaran Kepang dance form in the Langen Budi Sedyo Utomo community began to experience a variety of developments. movement and mining 1 Manggolo Yudho and 3 lead soldiers. In 2016-2018 the development of dance moves has been detailed because the movements have been updated by trainers who are more professional in their field. Developments can also be seen in costumes, makeup, and accompaniment.