Dance Art Research Articles

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.

Mechanisms for Affect Communication from Dance: A Mixed Methods Study

ABSTRACTDance is a multifaceted creative act that has been used to communicate emotions throughout human evolution. Despite this history, there has been no empirical exploration of components of dance that allow it to communicate emotion. We address this with a mixed methods study in which a quantitative study with dance viewers builds upon qualitative findings with dance artists. Qualitative analysis revealed proposed components of dance responsible for emotion communication are narrative content, social interaction, emotion portrayal intent, and textural quality of movement. These elements were then manipulated using dance video stimuli to quantitatively test viewers' emotion perception accuracy. Results revealed emotion portrayal intent (i.e., expression intent in dance creation) is an important factor for viewers to accurately perceive emotion, regardless of narrative content. While prior studies have focused on the perceiver's role in emotion perception from dance, this is the first study to demonstrate emotions are perceived from dance based on intent during dance creation. Findings highlight the nuanced structure of emotion communication in dance, for which we pose a theoretical framework. Together, dance holds possibilities for studying distinct mechanisms for creative communication that may be important for the study of generalized affect communication outside of creative arts contexts.

IMPLEMENTASI PEMBELAJARAN SENI TARI TRADISIONAL GANDRUNG DALAM UPAYA MENINGKATKAN KECERDASAN KINESTETIK PADA ANAK USIA 5-6 TAHUN DI RA PERWANIDA II PURWOASRI TEGALDLIMO BANYUWANGI

This study aims to describe: 1) Implementation of learning the art of traditional gandrung dance in an effort to improve the kinesthetic intelligence of children aged 5-6 years, 2) Supporting and inhibiting factors in the implementation of learning gandrung traditional dance in an effort to improve the kinesthetic intelligence of children aged 5-6 years in RA Perwanida II Purwoasri Tegaldlimo.
 This type of research uses qualitative research methods with research subjects principals, teachers, parents, and students aged 5-6 years at RA Perwanida II Tegaldlimo. Data was collected using the methods of observation, interviews, and documentation. In conducting this research, the researcher is the main instrument assisted by observation, interviews, and documentation. Data analysis in this study is data reduction, data presentation, and drawing conclusions. Triangulation is carried out to explain the validity of the data using source triangulation.
 The results of this study indicate that: 1) The implementation of learning the art of traditional gandrung dance in an effort to improve the kinesthetic intelligence of children aged 5-6 years, based on initial observations it is known that out of 14 children 5 developed as expected and 9 children began to develop, and after the research showed results that the kinesthetic intelligence of 14 children aged 5-6 years, 9 children developed very well, 2 children developed as expected and 3 children began to develop. 2) supporting factors, teacher readiness, support from parents, as well as talents that support and inhibit factors, teachers are less than optimal in providing material, lack of teacher preparation, and lack of support from parents.

Music and Ritual Dance Art of the Zhou Era

Chinese music and dance art of the Zhou era is a strictly structured, regulated action performed during state ceremonies. Under the infl uence of the emerging ethical teaching – Confucianism, dances were divided into offi cial (cult and court) and common folk dances. One can trace the transformation of archaic traditions of previous eras in these dances – magnifi cent, bright forms of vestments and the exact ceremonial of performing rites. The main ritual was a sacrifi ce based on the veneration of ancestors.

Geometry Concepts in the Reog Cemandi Sidoarjo Dance as a Learning Resource for Elementary School Mathematics

This research aims to describe the relationship between mathematics and culture, especially culture in the form of the Reog Cemandi Sidoarjo dance art. The focus of this research is to describe geometric concepts through the Reog Cemandi Sidoarjo dance which can be used as a learning resource in elementary school mathematics learning. This research uses a qualitative method with an ethnographic approach where this approach is used to determine the material of flat shapes in mathematical concepts contained in the properties worn and used by Reog Cemandi Sidoarjo dance performers. The results of this research show that in the Reog Cemandi Sidoarjo dance there are mathematical elements which can be linked to mathematics learning, especially in elementary schools. There are four types of props for the Reog Cemandi Sidoarjo dance which contain geometric concepts, namely wooden machetes, headbands (udeng), yellow sampur, and jarik cloth motifs. The flat shape concepts found are a wooden machete (trapezoid), a headband (triangle), a yellow sampur (rectangle), and a jarik cloth motif (parallelogram). The findings of geometric concepts can be used as a culture-based learning resource for fourth grade elementary school students

Explore the development of dance education and the application of art dance therapy in medical field

This thesis aims to explore the development of dance education and the application of art dance therapy in the medical field. As a comprehensive form of art education, dance education not only helps to cultivate students aesthetic ability and artistic accomplishment, but also promotes physical and mental health and personal development. This article first reviews the history and development of dance education, and introduces the status and role of dance education in the education system, as well as the reflection on the current education system. Then, the thesis discusses the application of art dance therapy in the medical field. Art dance therapy is a comprehensive treatment method that combines dance and psychotherapy, and promotes the individuals psychological and physical recovery through dance and physical movement. Through in-depth research on the development of dance education and the application of art dance therapy, this thesis aims to provide theoretical and practical support for promoting the development of dance education in the medical field.

Enhancing Education and Literacy through the Transmission of Tibetan Folk Music Performing Art in Qinghai Province, China

This study aims to propose guidance for the transmission of Qinghai folk music to the new generation, within the context of education and literacy studies. The sample group for this study consisted of three distinct groups of individuals chosen as key informants for the field research. These groups consist of two informants who are Music and Dance Artists, two informants who are performance artists and general informants. Based on the research, the following strategies are recommended for the transmission of Qinghai folk music to the new generation: utilizing the family institution, organizing social activities, creating a folk music curriculum, organizing international music festivals, and establishing a cultural center. These strategies aim to preserve and promote Qinghai folk music heritage and enrich education and literacy by incorporating cultural traditions into educational practices. This research contributes to the field of education and literacy studies by showcasing novel methodologies and creative applications of theories in transmitting cultural heritage through folk music. By emphasizing the importance of cultural transmission, this study emphasizes the transformative power of Tibetan folk music in fostering educational development, literacy skills, cultural awareness, and artistic expression.