Dance Art Research Articles

Brownness Is Here, Queerness Is Not Yet (T)Here

Brownness Is Here, Queerness Is Not Yet (T)Here

Өнер генетикалық мәдени кодтың көрінісі ретінде (қазақ халық биі мысалында)

This article presents the results of the study of the genetic cultural code, reflecting the spiritual values of the people on the example of the traditional dance-plastic art of the Ka- zakhs. As a research method, the author uses a semiotic analysis of movements and pos- tures of traditional Kazakh dance, which is part of the Turkic culture. The article provides definitions and functions of such terms as «art», «figurative language in art», «arche- type», «semantics», «semiotics». It also gives an analysis of the art of dance as a semiotic system, based on the fact that the language of dance, expressed by body movements, is non-verbal, containing signs and symbols that reflect, among other things, the subcon- scious thoughts and feelings of the dancer. The author, based on the symbols of sacred geometry and sign language, compares Kazakh national patterns and movements of Kazakh dance with similar names with the interpretation of the meaning of symbolic forms reflecting the cultural code of the people. In comparison, the author relies on the fact that the basis of the Kazakh ornament is made up of signs-symbols, for the development of which the folk masters are the source of the phenomena and objects of the surrounding world. As a result, elements of Kazakh dance are identified, which are common not only for the eastern peoples but also for the dances of the peoples of the Middle East and Egypt, which is indirect evidence of the common roots of the above cultures. The conclusions are partially confirmed by research works in the DNA genealogy of mankind, as well as by the works of a number of Türkologists

Research on the diversified development of dance art from the perspective of media communication technology

This paper takes media reports of dancesport events as the research object, and analyzes word frequency and word cloud of text source materials related to dancesport event reports in 2018 and 2019 by using The Python programming software "Jieba" tool, providing rigorous data support for the research. The results show that there are some problems in the media reports of dancesport events, such as the lack of depth of the content of the reports, the single form of the reports, the lack of rich media means and the lack of effective publicity of dancesport project culture and competition culture. Specific countermeasures include :(1) strengthening the media access system management, improve the level of media services; (2) Diversified content production integrating media thinking, fundraising information, experience and service to improve communication validity; (3) Formulate copyright protection clauses and clarify rights and responsibilities.

Intervention in professional dance students to increase mental health- and nutrition literacy: A controlled trial with follow up.

IntroductionThere is a need to change the culture within the art of dance, as it has been associated with injuries and mental health consequences. This study evaluates an intervention designed to increase mental health literacy, enhance nutritional knowledge, reduce symptoms and effects of low energy availability, and strengthen understanding of sports nutrition and recovery strategies, in dance students of mixed genders.Material and methodsA total of 125 dance students received three workshops, with 39 arts and crafts students serving as references. The results were evaluated by the Eating Disorder Examination questionnaire, the Low Energy Availability in Females questionnaire, the Hopkins Symptom Check List, and questions on mental health literacy, sports nutrition, and recovery knowledge.ResultsDance students achieved sustained improvements in mental health and nutrition knowledge and temporary improvements in driven exercise (i.e., performing exercise because of a compulsive drive). No other benefits were identified from the intervention.ConclusionOur findings indicate the need for an ongoing education program to reduce the occurrence and development of negative mental health outcomes and low energy availability in professional dance students. Such approaches may not only improve the mental health of dance students but also potentially prevent the high frequency of injuries.

Pembelajaran Tari Siwar Menggunakan Metode Drill pada Kegiatan Ekstrakurikuler di Mts Negeri 1 Lahat

Education cannot be separated from the teaching and learning process between teachers and students in a school institution, which plays an active role in providing education to students. This research if focused on extracurricular activities in school, Lahat district itself not only has a lot of diversity in dance, but also includes an area dubbed the student city because of the many schools that were established there, so the researchers chose to develop the art of dance, one of which is the Siwar dance throught extracurricular activities at school. Therefore, of couse, there are difficulties that often arise inlearning the siwar dance in extracurriculler activities, including students finding it difficult to understand the movements when demonstrastrating the dance using the siwar directly,because it takes strong concentration to establish the siwar on the fingers.With this the writer aimed to describe about Siwar Dance Lesson on Extracurricular Activity in MTS Negeri 1 Lahat by using Drill method. With qualitativedescriptive as the research method and withobservation,interviewsalso documentation as collectingdata. The result shown that the extracurricular activity in MTS Negeri 1 Lahat run well so it created achievements and becoming the sample for another extracurricular activity. The benefit of this research is to share the knowladge especially in educationand as references for the next researcher.

PEDAGOGICAL CONDITIONS OF FORMATION OF READINESS OF FUTURE CHOREOGRAPHERS FOR APPLICATION OF PROJECT TECHNOLOGIES IN PROFESSIONAL ACTIVITY

The process of revival of spiritual and national culture puts forward new requirements for the professional training of artistic and pedagogical staff, including choreographers, the development of their professional competencies, creative abilities and the use of new technologies in teaching children and youth the art of dance. The use of project technologies as a form of organization of the educational art process helps to create conditions for self-knowledge, self-realization and reflection of students, providing opportunities to find themselves, to stand on the path of independent productive action, which improves the quality of self-education. thinking, enrichment of the empathic-sensory sphere of the student, independence of students in solving creative tasks, intellectualization of the educational artistic process.The special course “Project technologies in the professional activity of a choreographer” is aimed at the ability to think in choreographic images and create countless different dance compositions, to feel and reproduce various movements, gestures, poses, people of different characters, to have excellent memory and keen eyesight. errors in the mass of dancers. In the process of the special course each direction of choreography, its features, inherent in the national environment and nationality of the performer are considered.The requirements for the work of the future choreographer based on the use of project technologies in professional activities are outlined. Examining the experience of using a practice-oriented approach to the formation of pedagogical competencies in the future choreographer in the process of professional training, we found that this approach is associated with the creative nature of professional and pedagogical activities of the choreographer.We consider the application of project technologies in the professional activity of future choreographers as one of the optimal components of forming an independent creative position of students in the process of working with educational choreographic groups.

Praktik Ketubuhan Silek Dalam Silek Galombang Binuang Sati Dan Tari Pasambahan Syofyani

This study aims to reveal the practice of silek in the formation of the performing arts of Silek Galombang Binuang Sati and Syofyani's Pasambahan Dance as well as the silek body that is presented in the two performing arts. This research is expected to add references and knowledge about traditional dances that grow and develop in the archipelago, and can find the role of Silek in a performance. The discussion is focused on embodiment analysis which emphasizes on performance or often known as a performance-centered approach. Embodiment includes the body of the performer involved in the performing arts. The results of the study show that overall the two performances have different bodily experiences, even though they come from the same body (embodiment).

DEVELOPMENT OF KNOWLEDGE MANAGEMENT SYSTEM FOR JAIPONG DANCE

Knowledge for culture is a concept of using information and communication technology to increase usability in the field of culture, especially in managing, documenting, disseminating information and knowledge of cultural arts, especially Sundanese cultural arts, namely the art of jaipong dance. For the art of jaipong dance to be maintained, it is necessary to manage information and knowledge that utilizes the sophistication of information and communication technology towards the noble values ​​of jaipong dance. In that way, the art of jaipong dance can be passed on to each generation to maintain culture as self-identity and show the existence of Sundanese culture in the eyes of the national and even the world. Knowledge Management Systems (KMS) is a solution that can be used to preserve the art of jaipong dance in Indonesia by managing existing knowledge about various things about the art of jaipong dance. The research method uses an integrated knowledge system management cycle. There are three main stages: knowledge capture and/or creation, knowledge sharing and dissemination, and knowledge acquisition and application. Meanwhile, for the formation of knowledge used in this study, the SECI Nonaka model was used. KMS itself can benefit experts, organizations, and the general public. It becomes learning material for every generation. The process of transferring information and knowledge about the movements in the Jaipong dance what musical instruments are used in performances, fashion, and make-up can run. properly and can preserve the art of jaipong dance, which is one of the characteristics of dance in Indonesia.

Investigation of ambek-ambek nagari koto gadang koto anau dance art to improve cultural tourism attraction

Minangkabau Tribe in West Sumatra hasone cultural problem, namely the traditional art of Ambek-Ambek Dance. This study aims to find out whether the art of Ambek-Ambek Nagari Koto Gadang - Koto Anau Dance can be used as a cultural tourism attraction in Solok Regency. The research method used is descriptive qualitative using the theory of tourist attraction. Data collection is carried out by observation, interview, and documentation methods. The results of this study show that Ambek-Ambek Dance meets the criteria of good tourist attraction; 1) uniqueness, ambek-ambek dance has a distinctive uniqueness and is different from other dances, namely in terms of dance history, naming, movement philosophy, herding music, costumes, and special rules in the presentation of dance. 2) originality, pure ambek-ambek dance comes from the traditional traditions and daily life of young mudi Koto Anau in ancient times in finding a partner. 3) Authenticity, Ambek-Ambek dance has a distinctive beauty naturally, exotic, and unpretentious. 4) diversity, ambek-ambek dance has a diversity of Minangkabau customs and culture which can be seen in terms of variations in movement shapes, floor patterns, herding music, and dance costumes.

Dance Culture in the Digital Age

The purpose of this article is to analyze the existence of dance culture in the context of its active interaction with media technologies. The modern theatrical repertoire offers a large number of experimental performances, which provides a basis for a cultural understanding of dance culture, based on the works of researchers of culture, theater and dance, as well as on the basis of the results of creative searches of choreographers and dancers (lectures and individual performances). The synthesis under consideration generates new stage techniques (formation of space without the use of decorations, direct “interaction” of the dancer with electronic “props”), technical means for rehearsals (tracking movements in space, remote work of the choreographer and the performer). This makes dance art accessible to the viewer making it a part of media culture through musical films and television projects. The article pays special attention to the wide opportunities of the dancer’s self-presentation in the digital space, which requires not only beautiful dance technique, but also technical skills (filming, editing).It is important that the synthesis of technology and dance is a special case of the relationship between the classical and the modern. This manifests itself in unusual musical works, where genres and musical instruments of different styles are combined, as well as in experimental dance performances in which there is a place for both classical dance and digital technologies as decorations or even participants in the stage action. The article concludes that dance culture continues to develop with the help of media technologies, but it should be borne in mind that further technical transformations will never replace the live movement and expressiveness of the human body with digital effects.

Sculpting Time: Sara Rudner in Her Studio

Sculpting Time: Sara Rudner in Her Studio

ҰЙҒЫР ХАЛЫҚ БИ ӨНЕРІНІҢ ДАМУЫНДАҒЫ ГУЛЬНАРА САИТОВАНЫҢ ШЫҒАРМАШЫЛЫҚ РОЛІ

The article examines the creative and pedagogical path of G. Saitova, who studies the dance art of Kazakhstan, including the dance culture of the Uighur people. Having received choreographic education at the Republican Studio of Variety and Circus Art (now the College named after Zh. Yelebekov), since 1971, the performing and choreographer path has been held at the State Academic Uighur Theater named after K. Kozhamyarov.In Kazakhstan, she is recognized as a scientist who plays an important role in the study of choreographic art, including the dance culture of the Uighur backgammon.

“TARI KASETYANING JATI” PENCIPTAAN KARYA TARI DALAM MASA PANDEMI

This study uncovers and identifies the aesthetics or beauty of “Tari Kasetyaning Jati” with a focus on the idea of Creation, the elements of dance and the form of relationships as forming the beauty of dance. During the Pandemic, creators try to keep creating, working with all kinds of limitations. With a point of view on dance performances in one form of creation by experimenting, searching and processing ideas without leaving the spirit of the body as the essence of the art of dance. No longer fixated on making technical collages in building images that will be produced in a dance performance by leaving its function to the wider community. Therefore, it is described the figures who are seen to be able to represent and become a forum for ideas and ideas. That is the figure of Dewi Sinta who undergoes various trials and temptations to prove her loyalty to Sri Rama. This aesthetic analysis is also based on the aesthetic concept of traditional Javanese dance dances in the Surakarta and Mangkunegaran styles, both technique and taste as the corridor.

Pavlo Virsky's creativity is the symbiosis of choreographic and theatre art of the XX century

Purpose of Research. The purposes of the research are to analyse the artistic works of Pavlo Virsky, the Ukrainian choreographer-director, in the State Honored Academic Dance Ensemble of Ukraine and to reveal the phenomenon of his theatrical folk choreography in the context of theatrical art. Methodology. The scientific methodological basis of the research is the combination of the dialectical principle of knowledge, systemic, socio-cultural and historical approaches, the fundamental provisions of the culture theory and history of. The general scientific and interdisciplinary research methods were used, which revealed the close connection between folk and stage dance and theatre art in the artist's staging work. Scientific Novelty. The scientific novelty of the results are to identify and generalise the features of dance art of Ukrainian choreographer, which brought his theatrical performances in the ensemble to a kind of author's folk dance theatre. Conclusions. P. Virsky’s creativity is a living proof of the syncretic connection among dance, stage and theatrical art. These spheres merged so strongly and organically in his many years of work in one of the best dance groups in Ukraine, because everything he did in the national folk choreography had a pronounced theatrical and figurative character. Having absorbed modern ideas and forms of choreography, reworking them into his plot productions, the artist forms clear guidelines for the synthesis of folk – choreographic and theatrical arts. Thus, he allegedly points to a promising direction in the development of folk dance art in Ukraine. In addition, as a result of the analysis of artistic and stylistic features of P. Virsky's artistic works we have found out that he managed to expand the genre boundaries of folk-stage dance art, bringing them closer to the style of performance. This allows us to talk about a kind of author's folk dance theatre, the basic basis of which was the State Honored Academic Dance Ensemble of Ukraine. Keywords: theatrical folklore, syncretism of folk-stage choreography, symbiosis of stage arts, folk dance theater, artistic-stage imagery.

The development of ballroom choreography in the Caucasian countries in the second half of the 20th century

The aim of this article. The purpose of the article is to analyze the historical processes of the development of ballroom choreography in the Caucasian countries in the second half of the 20th century - early XXI century. Research methodology. The following methods were used in the work: historical and historical-genetic - to understand the genesis, the specifics of the processes of development of ballroom dance; source study - for the selection and processing of sources related to the art of ballroom dancing; comparative - to compare the historical periods of the evolution of ballroom culture; included observation - to view individual choreographic works and their preliminary comprehension. Novelty. For the first time, an attempt is made to scientifically study topical issues of the development of ballroom choreography in the Caucasian countries in the second half of the 20th century - early XXI century. Results. The article highlights the peculiarities of historical processes of ballroom choreography development in the Caucasian countries in the second half of the XX century - early XXI century. The history of formation, local specifics of ballroom choreography in Georgia, Armenia, Azerbaijan are analyzed. Ballroom choreography in the Caucasian countries has been constantly evolving in recent decades: the number of its supporters is growing, associations have become members of international federations, and the training of ballroom dance specialists has improved. It is concluded that the gradual integration of ballroom dancing into the international socio-cultural space is a common trend in these countries. It is emphasized that the majority of the amateur target audience of ballroom choreography in Caucasian countries is children's and junior contingent. On the other hand, the mass popularization of ballroom dancing as a recreational and health resource among the middle-aged and elderly is almost non-existent, and in this respect, the Caucasian countries lag far behind the Western world with its more developed social policies against ageism. Broadcasting the experience of different generations of ballroom dancers gives the right to talk about the heritage of ballroom choreography traditions in Georgia, Armenia, and Azerbaijan. Keywords: ballroom choreography, ballroom dance, competition dance.

Contemporary global trends in choreographic art development at the beginning of the 21st century

The aim of this study was to identify the main contemporary global trends of choreographic art at the beginning of the XXI century and illustrate the practical aspects of existing trends in world choreography through a questionnaire survey. This practical study was conducted through an online questionnaire survey among 52 acting choreographers, members of the National Choreographic Union of Ukraine, 92 students of the Faculty of Choreographic Arts of the Kyiv National University of Culture and Arts, and 34 scholars in the field of art history conducting research work within the activities of choreographic art of Kyiv National University of Culture and Arts. Based on the study results, the main features of modern choreography according to the respondents were: improvisation in dance forms; synthesis of ballet tradition with dance innovations; the latest forms of interaction between choreography and other art forms, including synthesis, symbiosis, concentration, and transfer; synthesis of all genres of choreographic art; combination of other art forms (fine arts, theater, and cinema). The respondents were of the opinion that the understanding and use in the choreographic activities of the XXI century person image are designed, not only to have a mutual influence on the elements of socio-cultural space of different countries, but also to determine the trends of future social transformations. Also, choreographic art spreads a new social content in the created human choreographic images of the XXI century due to the specific features of the choreographic manner. In conclusion, contemporary choreographic art is a striking combination of different dance techniques and traditions. Careful research and analysis of this field will contribute to the formation and development of new forms of dance art in the future.

Assification of Interactive Multimedia-Based Teaching Materials in Class VIII Culture Arts

The title of the research is Asification of Interactive Multimedia-Based Teaching Materials in Class VIII Arts and Culture Subjects. The background of this research is that there is no material available for Class VIII Cultural Arts subjects (especially music and dance materials) that use interactive multimedia. The objectives of the research were: to compile teaching materials for the art of music and dance based on interactive multimedia in the Class VIII Cultural Arts learning in the form of a Book Creator. The target achieved in this research is to produce interactive multimedia teaching materials which are integrated into a single unit in the form of a Book Creator. The results of the study resulted in Cultural Arts teaching materials in the form of Book Creator consisting of e-books (materials for the art of music and dance), Malay music learning videos on Sri Langkat songs and techniques for playing Malay musical instruments, and Nias dance learning videos on Giri-giri dance and Nias dance techniques. It is hoped that the existence of Cultural Arts teaching materials using interactive multimedia (Book Creator) can increase students' creativity in learning Cultural Arts.

Perceptions of Senaputra Dance Students About the Art of Classical Dance and Traditional Creations

Around the 1970s, professional dance arts education for the general public began to grow. Students of professional dance were mostly the sons and daughters of wealthy individuals or government officials. Dance was regarded as a source of prestige for parents at the time. Such a perception exists because society is unable to contribute to the development of such status. After 50 years, though, that perception has changed. This study considered Sanggar Tari Senaputra Malang with the aim of examining the differences in perceptions among dance students at professional dance facilities. This was descriptive qualitative research and data were collected through observations of training activities and interviews with the leader of the Senaputra Dance Workshop (Siti Sofiana, 47 years old) and four trainers. Data were analyzed using phenomenological interpretation. The results demonstrated that: (1) classical dance takes a relatively long time to learn and is personal in nature to gain social prestige; and (2) traditional dance creations are simpler and faster to learn, and tend to establish social relationships.
 Keywords: classic dance, traditional dance, dance teacher, Sanggar Dance

Features of kinesthetic empathy in modern dance

The purpose of the article is to identify the features of kinesthetic empathy in the context of the specifics of dance partnership in modern dance. Research methodology. The method of cognitive and systems analysis was used (to highlight the basic essential characteristics of kinesthetic empathy and its manifestation in modern dance); comparative method (to identify the features of dance partnership in modern dance); method of theoretical generalization (to formulate research conclusions). Scientific novelty. Kinesthetic empathy in modern dance has been studied through the prism of dance partnership; the concepts of "kinesthetics", "empathy" and "kinesthetic empathy" in the context of the specifics of dance art are specified; the development of the kinesthetic-empathic approach in modern dance in retrospect is considered; the peculiarities of the manifestation of kinesthetic empathy in the process of partnership interaction are analyzed. Conclusions. The act of modern dance is a unique pattern of conscious movements in space-time, and a dancer endowed with the ability to go beyond it can cause a local experience in himself and his partner in kinesthetic communication. Contemplating the body of a partner in motion, he sees a possible move that can be made by his own body. The study found that the nature of relationships represents kinesthetic empathy in the dance partnership of modern dance, the specifics of physical performance parameters, external form of the existence and is based on three main aspects: contact (direct physical, emotional, visual, etc.); coherence of actions; mutual understanding (manifested both in functional technical characteristics, from the coincidence of rhythm, consistency of steps to visual consistency, and in the ethics of contact). Considering the partnership between dancers as a rhetorical act based on a particular type of nonverbal confidence between two (or more) people who move together physically and/or energetically (according to F. Adrin) and includes time, balance, strength, body shape, and personality, united in movement (according to K. Lowe), we can state that the concept of kinesthetic empathy in the context of the specifics of partnership in modern dance is manifested as an empirical interaction between performers, embodying aspects of their movements. This unique interaction is positioned as a sensory experience facilitated by the emotional component, memory, and imagination of the dancers - aspects of emotions and memory become ways to kinesthetically enhance their interaction. Dancers create motor images that combine positions of movement, so their partners can kinesthetically experience the dynamics of movement sequences, and thanks to the kinesthetic imagination, they "connect" to the energy and rhythms of the partner's movements.
 Key words: kinesthetic empathy, kinesthetic imagination, dancers, partners, improvisation, movements.

The religious aesthetic power of Baris Tunggal dance in Ubud traditional village

One of the performing arts forms in the Ubud Traditional Village is the art of baris tunggal dance. The baris tunggal dance in the Ubud Traditional Village has its own religious aesthetic, which is not found in the baris tunggal dances found in other areas of Bali. In addition, the baris tunggal dance in the Ubud Traditional Village also has distinctive characteristics, both regarding the dance movements (agem), the seledet, and the choreographic aspects so that it becomes an interesting phenomenon to be studied academically. This study was analyzed with two basic theoretical foundations that correlated with other theories, namely (aesthetic theory and taste theory. Data collection was carried out by observation, interviews, and document studies using research methodologies that had been designed. Data were analyzed and processed descriptively through three stages, namely data reduction, data presentation, and drawing conclusions. The results of this study indicate that Ubud has its own taksu. The approach to the development of performing arts in the Ubud Traditional Village positions Balinese culture with socio-religious characteristics as a source of value. Baris tunggal dance in the Ubud Traditional Village has a unique characteristic.