Dance Art Research Articles

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.

VARIATIONS OF ELEMENTS OF THE NATIONAL MEN'S DANCE («ZHOLBARYS ZHUREK» BASED ON A DANCE PERFORMANCE)

Abstract. Men's dance in the Kazakh dance art requires special attention in modern choreography. The development of dances for men, the scientific formulation of its history, and development trends are among the most pressing problems in modern dance art. Therefore, this scientific article is devoted to discussing the essence of the national dances of the Kazakh people, including dances for men, ways of their formation and development. The article is based on Almat Shamshiev's dance «Zholbarys zhurek» changes in the national men's dance elements were scientifically differentiated, and various scientific methods and receivers were used in scientific research. In order to determine the essence of men's dance, methods of historical and chronological systematization, differentiation, comparison, and control were used. In comparison, he tried to reveal the features of the dance of the guys through the dance the «Balbirauyn», and gave specific examples of what dance elements were added and what movements and postures were transformed according to the dance «Zholbarys zhurek». He concluded that the development of human consciousness, and the transformation of society are standard with the passage of time, and in this regard, new views appear in the art of dance, the release of new works, and the transformation of existing dance elements is a natural phenomenon and a modern necessity. Today, men who are engaged in the art of dance pay attention to the ability to flex, flexibility. It shows that some dance moves used only in girls ' dances in the past are successfully used in men's dances today. However, he says, in performing movements, the guys dance flexibly in a manner that corresponds to their masculine nature. However, he emphasizes that in making changes, it is necessary to constantly pay attention to Kazakh dances' essence and central national nature. Several recommendations were given on further developing Kazakh men's dance, increasing interest in it in society.

ANTIQUITY'S PHILOSOPHY AS A METHODOLOGY FOR CONTEMPORARY DANCE SCHOLARSHIP

Abstract. The art of antiquity, including dance, has long captivated human fascination with its timeless perfection, leaving an indelible mark on contemporary art. This influence is evident in the scholarly pursuits of those studying ancient Greek history. Dance held a significant position in ancient Greek life, as attested by surviving artifacts such as sculptures, reliefs, depictions on Greek vessels, and a wealth of written sources. Renowned philosophers, historians, and writers of antiquity, including Socrates, Plato, and Lucian, paid heed to dance as an art form. Even the epic poems of Homer, the "Iliad" and the "Odyssey," mention various forms of dance more than 20 times. Today, more than 300 types of Greek dances can be counted, and according to some sources, "there are more than 10,000 traditional dances that come from all regions of Greece." As research methods, the author uses an analytical review of surviving artifacts and ancient written sources, testifying to the important role of the art of dance in the life of the ancient Greeks. The author also made an analysis of the literature, which testifies to the important role of art, including dance in ancient Greece, which to this day has a huge impact on the development of modern art of choreography. And the “Apollonian” (conscious) logical and “Dionysian” (unconscious) free creative beginnings in art, which are widely discussed today, also originate from ancient Greek art. The author also emphasizes the epistemological significance of dance education and advocates for the revival of the classical tradition of mandatory dance instruction in schools.

Manifestation of Lingnan Folk Dance Culture within Dance Compositions

Lingnan folk dance, the traditional dance art form of the Lingnan of China, encapsulates the humanistic sentiment of the area. Various types of Lingnan folk dances reflect the simple and hardworking life attitude of the laboring populace in the Lingnan. The Lingnan of China is characterized by its rich folk cultural diversity, resulting in unique Lingnan dance styles under the influence of different folk cultures. The varied and dynamic variations of the typical Lingnan folk dance styles can be categorized into examples like Lingnan opera folk dance and lifestyle folk dance. Impacted by the multi-ethnic culture and social consciousness of the Lingnan, folk dances primarily express ethnic sentiment within dance compositions. The use of dance as a medium accomplishes the transmission of folk dance art, exemplifying folk culture in the process of this conveyance. As a means of cultural inheritance in the Guangdong and Guangxi, the elements of daily life should be emphasized within dance compositions of Lingnan folk dance, along with the aesthetic representation of dance. This thesis will summarize the content and artistic connotations of Lingnan folk dance and will further delve into the manifestation forms of folk dance culture.

An Introduction to the Relationship between Dance Choreographers and Dancers: Taking the dance work "Looking at the Sea Tide" as an Example

The process of producing a dance work of art, which can be roughly divided into the creation of dance art and the conveyance of dance art, is a process of continuous fusion and perfection between the choreographer and the dancers. Their roles are both independent of each other and interconnected, and they are constantly switching with each other. They share the same mind with each other, but they share different tasks and responsibilities. For the perfect presentation of dance art, this paper takes the basic conception of choreographer's creation and the analysis of the basic quality of dancers to explore and sort out the relationship between choreographers and dancers from multiple perspectives.

The contribution of Sanggar Siradjuddin Gowa as a Developer of Traditional Dance Arts in the Context of Community-Based Arts Education

Abstract This research is motivated by the activities of members of the siradjuddin studio in gowa district, who have made various contributions as developers of traditional dance arts in the context of community-based arts education. This research was carried out to support arts and culture education and the inheritance of cultural traditions in a district . This type of research uses an interdisciplinary approach consisting of the disciplines of Ethnochoreology and Arts Education using qualitative methods based on case studies. The results of the research show that the contribution of the Gowa Siradjuddin Studio as a developer of traditional dance arts in the context of community-based arts education consists of three, namely (1) the contribution of the Siradjuddin Gowa Studio as a manager of non-formal arts education (educational contribution), (2) the contribution of the Siradjuddin Gowa Studio as an arts developer. traditional dance (conservative contribution), (3) contribution of the Siradjuddin Gowa studio as a creative industry player.
 Keywords: Contribution , Traditional Art , Community Based Arts Education .
 
 ABSTRAK Penelitian ini dilatarbelakangi oleh kegiatan anggota Sanggar Siradjuddin Kabupaten Gowa yang telah memberikan berbagai kontribusinya sebagai pengembang seni tari tradisional dalam rangka pendidikan seni berbasis masyarakat. Penelitian ini dilakukan untuk mendukung pendidikan seni budaya dan pewarisan tradisi budaya di kabupaten Gowa. Jenis penelitian ini menggunakan pendekatan interdisiplin yang terdiri dari disiplin ilmu Etnokoreologi dan Pendidikan Seni dengan menggunakan metode kualitatif berdasarkan studi kasus. Hasil penelitian menunjukkan bahwa kontribusi Sanggar Siradjuddin Gowa sebagai pengembang seni tari tradisional dalam rangka pendidikan seni berbasis masyarakat terdiri dari tiga, yaitu (1) kontribusi Sanggar Siradjuddin Gowa sebagai pengelola pendidikan seni non formal (Kontribusi Edukatif), (2) kontribusi Sanggar Siradjuddin Gowa sebagai pengembang seni tari tradisional (kontribusi konservatif), (3) kontribusi sanggar Siradjuddin Gowa sebagai pelaku industri kreatif.Kata Kunci : Kontribusi, Seni Tari Tradisional, Pendidikan Seni Berbasis Masyarakat.

АНАЛИЗ УЙГУРСКОГО ТАНЦЕВАЛЬНОГО ФОЛЬКЛОРА ЧЕРЕЗ ПРИЗМУ СОВРЕМЕННОГО ВЗГЛЯДА

The article provides a historical analysis of uyghur dance folklore. The worldview of the uyghur people and the reflection of religiosity in their dance culture are considered. On the basis of the studied materials, dances that have not reached our days are revealed. There are also identified dances that, having lost their ritual character, have retained some traditional elements of dance movements. The presented information testifies to the existence of the uyghur dance art since beginning of our era. This led us to believe that modern uyghurs are carriers of a very ancient tradition.

The Kalpika Natha Mascot Dance: A Substance of Anthropological, Semiotic, and Aesthetic Studies

The creation of a mascot dance entitled Kalpika Natha at SMP Negeri 2 Abiansemal is one of the ideas to create a symbol or identity through performing arts including dance, vocal art, and karawitan. In this interdisciplinary research, anthropological, semiotic, and aesthetic approaches are used. In anthropological studies, the art of mascot dance can be studied from the point of view of cultural and social aspects. The Kalpika Natha Mascot Dance as a representation of organizational identity can be a reflection of societal values and norms. Apart from that, the Kalpika Natha Mascot Dance can also be a medium to introduce and promote the culture of a region or country. Semiotic studies can assist in understanding the meaning and symbols contained therein which are interpreted through semiotic analysis to reveal the message the choreographer wants to convey. Furthermore, in the study of aesthetics, it can be seen from the form, the weight of the content of the Kalpika Natha dance. In this research, interdisciplinary studies of anthropology, semiotics, and aesthetics can provide a more comprehensive understanding of mascot dance as a form of performing art and promotional media. Thus, this research can provide broader implications for the development of the Kalpika Natha Dance in the future.

Pengembangan Media Pembelajaran Flipbook Materi Seni Tari Kreasi Pada Mata Pelajaran SBDP Di Sekolah Dasar

This research is motivated by the limited use of learning media used in the learning process, especially in the material of creative dance in learning the arts and crafts. The purpose of this study is to develop learning media flipbook creative dance art materials on SBdP subjects in elementary school. This study is a Design and Development Research, using research procedures proposed by Peffers, et al. (2007) namely identify the problems, desxribe the objectives, design & develop the artifact, test the artifact, evaluate the testing results, and communicate the testing results with data collection techniques using validation questionnaire sheets from experts and user response questionnaire sheets, namely teachers and learners. Development is done to evaluate the product on the feasibility of the media when used as a learning medium. Participants of this study involved material experts, media experts, and language experts for validation as well as teachers and students to provide responses in the use of media. The results of this study based on the validation of material experts get a percentage of 100% with the category “very decent”, assessment of media experts get a percentage of 91.88% with the category “very decent”, and linguists with a percentage of 93.75% with the category “very decent”. After testing the Learning media get an assessment of the teacher's assessment with a percentage of 100% in the category of “very good”and the assessment of students with a percentage of 95% in the category of “very good”. Based on these results, it can be concluded that the Learning media flipbook creative dance art material on SBdP subjects in elementary school is very feasible to serve as a learning media in Grade IV of elementary school.

Choreographical Culture of Ukraine and Creativity of Radu Poklitaru in Theoretical Discourse

The purpose of the article is to study the Ukrainian choreographic culture in the field of theoretical developments with a focus on the work of Radu Poklitaru and his theatre. The research methodology is based on the application of general scientific methods, namely, systematic analysis, which allowed for an analytical review of the problems of contemporary choreography in Ukraine and the world and to study the contribution of Ukrainian choreographers to the process of formation and development of choreographic culture and art in Ukraine. The outline of time dimensions, substantiation of internal correlations and transformations in the development of contemporary choreography required the use of comparative historical and chronological methods. The method of structural-functional analysis helped to identify specific aspects of the functioning of contemporary dance in the cultural space. Comparative analysis was used to justify changes in the classical art of dance and to prioritise traditions or innovations. The cultural approach was used to analyse the process in question and to determine its role in the overall cultural and artistic process. The scientific novelty of the study lies in the hermeneutic interpretation and generalisation of the significant contribution of Ukrainian artists to the development of choreographic culture and art, in particular, contemporary dance, on the example of Radu Poklitaru’s work and the proof that Ukrainian choreographic culture and art correlate with global processes, being determined by cultural and social factors. Conclusions. On the basis of the scientific and theoretical analysis, it has been determined that Ukrainian choreographic culture is actively studied at the theoretical level by choreographers (O. Gres, Y. Kovalenko, A. Korol, M. Korostyliova, A. Pidlypska, O. Plakhotniuk, M. Pohrebniak, D. Sharykov, E. Yanina-Ledovska) and art historians (O. Afonina, I. Horbunova, I. Drach, O. Zavialova, H. Polianska, Yu. Stanishevskyi, O. Chepalov). The main areas of research of scholars are contemporary dance, postmodern aesthetics, which influences the development of choreographers' thoughts, appeal to the reinterpretation of the classics. This is evidenced by the creative work of Radu Poklitaru, a prominent representative of choreographic culture and art. His ballets are considered in the scientific discourse of modern dance, contemporary choreography in Ukraine and the world in terms of his contribution to this process and the development of choreographic art and culture.
 Key words: choreography, dance, ballet, theatre, performing arts, postmodernism, choreographic culture, Radu Poklitaru.

나치의 예술시대, 무용가 라반의 활동에 대한 두 가지 담론

The purpose of this thesis is to compare the differences between the two discourse on Rudolf von Laban's (1879-1958) activities under the Ministry of Propaganda in Germany from 1933 to 1937. To this end, 'Movement Chorus', 'The German Dance Festival (1934)' and 'Master workshops (1935)' organized by Laban were examined. The research method is a literature study, and research was conducted through domestic and foreign books, academic journal articles, internet articles, news, magazines, and book reviews. It is comprehensively described by considering the people around Laban, a series of events, and the situation of the times. It is meaningful in that it requires a contextual understanding of Laban's activities in Germany from a value-neutral point of view and studies by placing the two opposing discourses on the same line. The conclusion is as follows. First, the advocacy/critical views on Laban's activities in Germany are compatible, and in-depth research is needed. Second, it is necessary to understand the historical and political situation of Laban at the time and to understand his activities in the historical context of dance art. Third, it can be said that Laban's activities in Germany from 1933 to 1937 had both positive and negative effects on Laban's reputation in the future. Fourth, Laban and the propaganda department's different views on dance led their relationship to ruin. Finally, it is necessary to discuss the facts that have not yet been actively publicized about Laban's activities, and consider the intrinsic and extrinsic factors regarding the severance of relations between Laban and the Propaganda Department. The next question to think about is the question, ‘Can dance be controlled?’, and follow-up research is needed on this question.

Kontekstual Budaya Melayu Riau dalam Pembelajaran Tari Cik Puan Sri Kampar di SMA Negeri 1 Tambang

Students begin to lose their identity and encourage the entry of foreign cultures as well as a lack of understanding from the provision of dance material by cik puan sri kampar, SMA Negeri 1 Tambang is used as a writer to find out how deep the art of dance is by providing local dance material that is integrated into the curriculum. The aim of this research is to describe the contextualization of Riau Malay culture in learning the dance of cik puan sri kampar. This study uses a qualitative method. The results of the research are that the cik puan sri kampar dance is used as a means of communication, cultural values ??in dance movements, implementation of the struggles of Kampar women and their meanings, as a reminder for the millennial generation to preserve local dances, integrated contextualization and curriculum.

Pembelajaran Tematik Muatan SBdP Menggunakan Media Video Pembelajaran Tari Daerah Bengkulu

This study aims to describe the thematic learning process for cultural arts and crafts content using the traditional dance of Bengkulu learning video media at elementary school 19 Bengkulu City.The type of research in this research is qualitative with descriptive study method. The research subject is fourth grade teacher and students. The research instrument used guidelines for observation, interviews and documentation. Data collection techniques using observation, interviews and documentation. Data is analyzed through data collection, Data reduction,data display, conclusion drawing/verification.The results of this study indicate that the thematic learning process for cultural arts and crafts content using traditional dance of Bengkulu learning video media at elementary school 19 Bengkulu City what the teacher has done has been used to the fullest, even though the videos available in the school archives are still videos taken by amateurs by the teacher concerned. Videos traditional dance of Bengkulu that are applied by teachers at elementary school 19 Bengkulu City are offering dance, andun dance and serunai. Learning videos used by teachers support each stage of learning, namely: introduction, core and closing. Learning videos in preliminary activities can help students in apperception activities and explain learning objectives. The learning video in the core activity explains each step of learning carried out on the Bengkulu regional dance material, and the learning video for regional dance in the closing activity serves as the basis for giving rewards to students who have succeeded in practicing the art of traditional dance.

Simbol Kesenian Kuda Lumping Bagi Masyarakat Di Kelurahan Gunung Lengkuas

Kuda Lumping is a dance art in which in the performance process there are several things which are symbolized by mystical things, namely the ritual of burning incense, offerings of offerings and attractions of trance. The purpose of this study is to find out how the symbol of the Kuda Lumping art is for the people in Gunung Lengkuas Village. In this study the theory used by researchers is the Symbolic Interactionist theory. The method used in this study uses a descriptive-qualitative method which examines the artistic symbols of the Kuda Lumping for the people in Gunung Lengkuas Village. by using purposive sampling technique. Based on the results of the study, the researcher found that with the process contained in the Kuda Lumping performance where the community symbolizes that the things contained in the Kuda Lumping performance process are offering sesajen, burning kemenyan and the attraction of kesurupan is symbolized as mystical, thus an assumption or the meaning in society regarding the Lumping Horse is different which of course this is closely related to symbolic interactionism, where individuals or society in interpreting or assuming something based on creation through an interaction process which then chooses, evaluates, thinks, classifies and transforms the meaning of an object. So that in interpreting the art of Kuda Lumping it goes through an interaction process which then the individual concludes. In the community of the Gunung Lengkuas sub-district, 2 different meanings have been created regarding the Lumping Horse, namely the first, the Lumping Horse as entertainment and the Lumping Horse as a Mystical performance.

The meaning and impact on well-being of bespoke dancing sessions for those living with Parkinson’s

ABSTRACT Purpose This paper presents qualitative research findings from the evaluation of a Parkinson’s Dance well-being venture in the UK. Methods Qualitative data was gathered to see how bespoke dancing sessions helped people with Parkinson’s (PwP) to manage their conditions and improve their lives and prospects. Principles of a participatory approach were incorporated and methods included semi-structured interviewing, researchers participant observation and an elicitation-based activity. Nineteen PwP, six carers, four dance artists and seven helpers participated in the study. Results Participating in Parkinson’s Dance sessions meant that PwP could experience the possibilities to dance, develop a “can do” attitude, experience fun, enjoyment, social connection, exercise, movement to music, improvement and/or maintenance of their balance, suppleness, coordination and confidence with movement, symptoms being pushed back and ability to learn new things. Conclusions Our findings add to the evidence-base about the benefits of dance for people experiencing Parkinson’s and through novel application of the Life-world based well-being framework of K. T. Galvin and Todres (2011) we propose a theoretical basis for Parkinson’s Dance as a resource for well-being. There is scope to consider application of the well-being framework to other arts activities and as the basis of an arts and well-being evaluation tool.