Competitive Dance Research Articles

Evaluating the impact of digital dance competitions on university students’ digital competence amidst COVID-19

Evaluating the impact of digital dance competitions on university students’ digital competence amidst COVID-19

Collaborative Pathways in Studio Dance Education

In this article, we explore the transformational power of holistic studio culture in dance education, drawing from our personal experiences growing up in dance studios that engaged in community events and dance competitions. Unlike traditional studios bound by a single technique, our formative environments embraced a rich tapestry of dance experiences, including community involvement, competitions, and workshops. This diversity has significantly shaped our approaches to teaching dance today. We aim to demonstrate how embracing a holistic studio culture can enrich dance education, providing a model for fostering creativity and inclusivity in the classroom. Through this reflection, we invite readers to consider the impact of varied dance experiences on educational practices and student development.

Pembelajaran Kreatif Tari Jaipong Tingkat Anak Usia Dini: Tinjauan pada Sanggar Kartika Chandra Kirana Bekasi

The education system in Indonesia consists of three important sub-systems: formal, informal and non-formal education. The main focus in this research is non-formal education, which has become an alternative for those who wish to explore their talents and interests outside the scope of formal education. This research highlights the significant role of dance studios as a form of non-formal education that has experienced rapid development in Indonesia, especially in big cities such as Bekasi. The Kartika Chandra Kirana dance studio is a type of non-formal education that has an important role in preserving Indonesian arts and culture, especially in the context of dance. The aim of learning dance at this studio is not only focused on developing technical skills, but also on understanding and appreciating cultural values ​​and can increase the creativity of young children. In the learning process, this studio applies various learning methods, including cooperative methods, peer tutoring, demonstrations, discussions and lectures. Students are also evaluated regularly, including through participation in the Jaipong Dance competition at Taman Mini Indonesia Indah every six months. Through these various learning and evaluation methods, students can develop their dance skills, increase self-confidence, and gain a deeper understanding of Indonesian culture. In this way, Sanggar Kartika Chandra Kirana plays a role not only as a place for dance learning, but also as a forum for preserving and developing Indonesia's cultural heritage and forming students' character holistically.

Participating in Competitions to Go to University: The Discourse of Ballet Competitions in South Korea

This study unravels the intricate dynamics of ballet competitions in South Korea, highlighting the interplay between domestic and international competitions. Expected to function as fair and credible tests, domestic competitions in South Korea are entwined with academicism, neoliberalism, and private education. Meanwhile, international ballet competitions are perceived as more prestigious and occupy a hierarchical status over domestic events, which influences and, at times, compromises local practices and discourses. This research examines the interplay of nationalism, commercialism, and genre rivalry in dance competition to emphasize how these events in South Korea serve diverse entities and play both symbolic and practical roles.

Problems and Path Reconstruction of Physical Education Talent Cultivation in the Context of the Digital Economy

The development of the digital economy presents new challenges for the cultivation of talents in physical education programs in higher education institutions. This paper analyzes the requirements for physical education talent cultivation in the context of the digital economy, including solid professional knowledge and skills, proficiency in digital technology application, new media operation capabilities, intelligent equipment operation abilities, innovative thinking and creativity, teamwork and communication skills, and a lifelong learning mindset. The paper also draws on successful applications of digital economy teaching in various Chinese universities, such as Peking University's "Digital Sports" course, Nanjing Sport Institute's "Integration of Sports and Education," Hunan Railway Science and Technology Vocational College's "Campus Sunshine Fitness Run," Beijing Sport University's "Virtual Football Tactical Simulation," Guangzhou Sport University's "Online Sports Dance Competition," and Shenzhen University's "Sports Simulation Game Classroom." The analysis identifies existing problems such as insufficient digitization of teaching resources, lack of digital innovation in practical teaching segments, weak integration of course design with the digital economy, inadequate cultivation of students' digital learning abilities, limited investment in digital equipment and facilities, and knowledge anxiety caused by rapid technological updates. The paper proposes ways to improve the cultivation model for physical education talents in the context of the digital economy: optimizing the curriculum system, enhancing teaching methods and resources, strengthening faculty development, and improving research and innovation capabilities.

When and why consumers prefer human-free behavior tracking products

Despite disliking behavior tracking for marketing, consumers actively adopt technological behavior tracking products. Our research examines the psychological factors driving this adoption and the conditions under which it occurs. We theorize that consumers prefer technological (versus human-based) tracking, because human-free tracking reduces concerns about negative judgment. However, we propose that this preference is weakened, and even reversed, when immediate judgment concerns are less salient than the need for feedback from relevant humans such as when consumers pursue performance (versus personal) goals. Across four preregistered studies (n = 2,601), we found that consumers generally prefer technological (versus human) tracking due to lower negative judgment concerns (Studies 1 and 2A). Consumers’ gender, goal satisfaction, and self-efficacy influenced this effect (Study 2B). However, preference for technological tracking was reversed when consumers pursued performance goals (e.g., training for a public dance competition) versus personal goals (e.g., training to lose weight) (Study 3).

Instructional Practices and Interpretations of Harm: A Qualitative Inquiry with 24 Competitive Dancers

ABSTRACT Recently, cases of harm have surfaced in competitive dance. The purpose of this study was to explore experiences of harm in competitive dance, specifically focusing on interactions between dancers and instructors. Semi-structured interviews were conducted with 24 competitive dancers of various gender and racial identities. Data were analyzed using reflective thematic analysis. Four themes were generated: hurtful comments, physical expressions of frustration, physical conditioning directives, and favoritism. Findings are interpreted to suggest the existence of harm in competitive dance and a need for more critical reflection on teaching practices within the competitive dance environment. Based on this research, recommendations are posed for preventing harm through the application of student-centered pedagogies.

Does the direction of shapes and bodies influence the aesthetic perception of stage setups in dance?

PurposePerceiving aesthetics in watching dance is a complex field of research, yet the component of space in general and stage setups, in particular in dance, is rarely studied. This study investigates the space on stage through the stage setups used in dance competitions. The main goal was to explore the aesthetic preferences of symmetry and the front-facing direction of shapes in a dance presentation. The investigation tries to determine how observers with differing dance experiences perceive the aesthetics of V-setups, diagonal lines, and their involved dancers by mirroring and turning shapes and bodies.MethodsCategorised into three groups (modern dancers, other dancers, non-dancers), 72 active female participants from dance studios and college sports courses evaluated the perceived aesthetics of eight arranged stage setups through a video ranking. Nine motion-captured avatars performed the hip-hop bounce movement in each setup. The participant’s task was to rank the presented stage setups based on their aesthetic perception. The ranking was illustrated with the means values, and the 5% significance criterion was tested with the Friedman-ANOVA.ResultsThe stage setups are perceived differently by the observers. The V-setups reached higher aesthetic scores than the diagonal lines. Only the group of modern dancers showed no preference for the V versus the diagonals. There was a significant difference between the direction of the arranged dancers on stage. The setups with all dancers’ bodies front-facing are aesthetically preferred. Furthermore, the regular V-setup with its top to the front and with all dancers’ bodies facing the front achieved the highest score in the aesthetic evaluation.ConclusionsThe results provide evidence that the feature of symmetry is a driving factor in perceiving aesthetics in dance. The V-setup can be suggested for use in dance choreographies to improve the aesthetic value of observers. Also, the direction of the dancers facing the front is recommended and should be used in dance stage setups.

Development of ballroom choreographic culture in Ukraine in the 2010s–2020s

The purpose of the study is to reveal the consequences of the challenges of the 2020s, namely the COVID-19 pandemic and full-scale invasion of the Russian Federation with partial occupation of territory, migration of population, expansion of zone of battle actions and the threat of aerial attacks for the entire country. All this had an impact on the ballroom choreographic culture in Ukraine.
 The methodology is based on the principles of a system-synergistic approach. The main methods applied were participant observation, analysis, generalization and systematization of the authors’ many years of dance, organizational and pedagogical experience.
 The results. The challenges of the 2020s, namely the COVID-19 pandemic and the full-scale aggression of the Russian Federation with partial occupation of the territory, population migration, expansion of the combat zone and regular missile terror throughout the country, have significantly affected the ballroom dance culture of Ukraine, in particular, changed the country’s dance map, limiting and partially making it impossible to hold competitions and training in the combat zone and eastern regions that are unprotected from sudden missile attacks. The socio-political upheaval has prompted the Ukrainian dance community to seek national self-identification, giving rise to the creation of imaginative and meaningful compositions through ballroom dance that would embody the pressing issues of our time, including the themes of war, occupation and the challenges they have caused. At the same time, the national organization system of the ballroom dance tournaments and training process has revealed significant shortcomings. In particular, the problem of upgrading to an international class of dancing in the context of the pandemic and then the war, which was felt in previous years, made it impossible for dancers in the eastern regions of Ukraine to develop, as they were deprived of the opportunity to regularly participate in competitions.
 The scientific novelty of the study is to analyze the modern tournament and training system of sports ballroom choreography in Ukraine in the last decade and to identify the problems that hinder the development of this type of dance art and have become especially acute during the challenges of the 2020s.
 The practical significance. Some provisions of the article can be used for updating Ukrainian ballroom dance competitions in accordance with current social and political conditions.
 Prospects for further research. A number of problems require scientific and theoretical comprehension, in particular, the place of ballroom dance in Ukrainian culture, its philosophy, images, styles, principles and expressive means of dance composition. The methodology of dancer’s physical training, based on the peculiarities of sports ballroom dance, requires separate research.

Cultivating Cheer Dance Team Cohesion Factors Towards Team Performance Among Student- Athletes In Selected Universities In Anhui Province, China

The study analyzed the current situation of team cohesion among cheer dance athletes, in order to find out the factors that influence team cohesion and to help the cheer dancers navigate towards enhanced team performance and eventually results in improved competition results. The study was conducted to ten selected universities in Anhui Province in China based on garnered awards in cheer dance competitions. The respondents who were purposively were the 15- member cheer dance team of each 10 targeted universities or for a total of 150 cheer dance members and joined by 10 coaches or their assistant coaches . The study utilized a validated survey questionnaire to assess on team cohesion factor and team performance dimensions. The findings showed that cheer dance athletes were very cohesive. The assessment among the athletes were found to vary with sex, age , grade level and college affiliation. Performance of cheer dance athletes were found satisfactory among coaches, citing that prior learning, team goals, and positive attitudes are contributory factors to team performance. The correlation between team cohesion and the assessed level of team performance among cheer dance athlete-respondents were found strong and positively associated. It was inferred that the team members who work together, produce positive results, and lead to ensure long-term success for their performances. It reflects that transformation leadership play a pivotal role in putting cohesiveness among players in a competitive game. The study recommends that a program on teambuilding be developed to sustain cohesiveness.

Dancemania: Analyzing the Commercialization of Dance Crew Competitions

This research delves into the intricate landscape of commercialization within dance crew competitions, employing a focused examination of prominent television series, notably the widely recognized "Dancemania." As the dance competition model gains unprecedented popularity and financial success, there is a discernible risk that the core authenticity of this expressive art form may be compromised. Rather than adhering to artistic values, there is a growing concern that these competitions may veer towards catering primarily to mass entertainment tastes. To comprehensively unravel the increasing commercial influences and economic incentives shaping the competition format, this study employs a multifaceted approach. Interviews and surveys are conducted, drawing perspectives from dance professionals, competitors, and television producers intimately involved in the dance competition milieu. Through qualitative insights and firsthand accounts, the paper aims to shed light on the evolving dynamics propelled by commercial interests. Quantitative data analysis forms a critical component of this research, uncovering correlations that exist between success metrics and influential factors, such as viewership ratings, which may take precedence over the technical prowess of dance ability. The findings from this analysis serve as a catalyst for discussions surrounding potential policy and structural adjustments. The overarching objective is to realign the priorities of competitive dance with a renewed emphasis on artistic values, countering the prevailing trend of prioritizing commercial interests. This research signals the need for holistic interventions and shifts in the competition landscape to preserve the inherent artistic integrity of dance within a commercialized context.

DANCE FILM FOR THE NEEDS OF THE NATIONAL STUDENT ARTS COMPETITION FESTIVAL (FLS2N) AT SMP NEGERI 3 DEPOK

FLS2N is a forum for students to develop interests and talents in the field of arts and culture and compete to reach the peak of achievement. Through this program, it is hoped that students will be able to develop ideas and creativity in the arts from an early age to create self-confidence in their abilities and explore various potential intelligence. The 2023 FLS2N dance competition will be held by recording dance material in the form of a dance film with various provisions in accordance with the guidelines for recording dance films. In this case, we will review the Leuwi Abyudaya Dance Film created by the PKM PM Team as a form of community service for SMP Negeri 3 Depok. The author uses the creation method according to Alma M Hawkins, where this method consists of the Sensing, Feeling, Imaging, Transforming, Forming process, and use the cinematography composition method by Kurt Lancaster that consist of shot sizes and lenses, camera height and angle, camera motion, focal depth of field, light and dark, line and linear perspective, layers, weight, color, dan texture shot sizes and lenses, camera height and angle, camera motion, focal depth of field, light and dark, line and linear perspective, layers, weight, color, dan texture.

A Discourse on Efficacy of Dance Competitions in Television Reality Shows in Nigeria

Dances have been an important aspect of human culture for centuries, with different styles and traditions evolving over time. In recent years, competition dance has become increasingly popular, with dance reality shows such as So You Think You Can Dance, Dancing with the Stars, and World of Dance, Strictly Come Dancing, Maltina Dance All, etc attracting large audiences. These shows feature dancers competing against each other, with the ultimate goal of winning a prize and achieving recognition. Dance reality shows in Nigeria since its inception has been tremendous and dynamic as it concerns both participants (dancers) and audience across the country. It has made significant landmarks and has been able to help participants in diverse ways despite its competitiveness. This act of competition is what makes a Nigerian survive amidst where and what they do in contemporary Nigeria. The study identified diverse styles, techniques, and trends in the dance and examined the efficacy of dance in social-cultural well-being of the society. This research adopted the content analysis approach in its examination of dance the within the context of dance reality shows. It employed the data to analyse the influence of dance reality shows in Nigeria thus far as it will seek to gain insight into dance arts among competing participants, viewers and the wider dance community. The research concludes that change is dynamic and as globalization continues to greet the universe, transformation in all facets of life and society is inevitable and dance as well as dancing is not an exemption. Keywords: Discourse, Nigerian Dance Competitions, Reality Television Shows

Platform Model for Teaching Dance Sport Class

Background and aims: The teaching and learning of the University Statement and the significance of problems in China are organized in many forms, especially in the current era of rapid development in China's education, causing the university to modernize teaching methods. This paper aims to create a teaching model for dance movement courses and expand the scope of dance education. Materials and methods: The study consists of four stages: reviewing relevant literature, using the Delphi technique to construct the platform, evaluating the suitability of implementing the model, and summarizing and presenting statistical data. The analysis reveals that the planned dance teaching platform includes various media such as WeChat, Mooc, Youku, Xiaohongshu, TikTok, YouTube, Line, videos, and television. Learners can search and select teaching assistants through public relations and establish admission criteria. Results: The organization involves nine different styles of teaching and rehearsal, choreography filmed from the side with feet above the scapula, and providing feedback and suggestions for students' assignments in non-traditional environments. Choreographed competitions must be completed within a specified time frame and prepared for community teaching. Other aspects include dance competitions, dance routines, dance pairings, dance etiquette, and teaching Latin and standard dances. The scoring system for Chinese Frandiamond dance on platforms such as Xiaohongshu, Youku, Mooc, and TikTok is out of 20 points. Conclusions: This study provides an applicable teaching model for dance movement courses, expanding the range of dance education.

Competitive dancers’ social identities and experiences of harm

ABSTRACT The purpose of the research was to explore competitive dancers’ experiences of harm in the dance environment with a focus placed on dancers’ social identities. Limited attention has been given to instances of harm in competitive dance. In addition, the impact of social identities on experiences of harm has yet to be discussed. Semi-structured interviews were conducted with 24 competitive dancers. Data were analyzed using thematic analysis leading to four generated themes, including the higher value of boy dancers, Whiteness as the standard, the impact of socio-economic status, and the sexualization of young girls and women. Competitive dancers reported that their social identities impacted their dance experience and at times influenced their opportunities to be showcased in choreography as well as their instructor-dancer relationship.

Specificity of Plastic Imagery of Competitive Dance Pasodoble

The purpose of the article is to reveal the specificity of the plastic imagery of the Pasodoble competition dance. Research methodology. The historical method was applied, which contributed to the study of the origin and development of Pasodoble; the typological method thanks to which the peculiarities of its formation as a competitive ballroom dance were revealed; the method of artistic-stylistic and art-historical analysis, with the aim of identifying characteristic stylistic features, features of performance technique and specifics of Pasodoble's plastic imagery; method of theoretical analysis and generalisation. Scientific novelty. The plastic imagery of the Pasodoble competitive ballroom dance is studied; the technique of its implementation is characterised; the history of the origin of the dance is considered; The peculiarities of the theatricalisation of Pasodoble's choreography as one of the ten dances of the international competition programme have been revealed. Conclusions. The dramatic Latin American dance, which originated in Spain, has become one of the most popular ballroom dances in the world over the last hundred years. The specific combination of dance elements and figures in the composition by French dance teachers in the 1920s create a unique Pasodoble choreography. In the 1940s, it was codified as one of the dances in the Latin American International Style programme. Pasodoble is characterised by strong, bold movements, and the use of dramatic poses in the process of telling the story of the bullfight. Due to its theatricality and unique music, the Pasodoble is commonly performed at ballroom dance competitions and used in stage ballroom choreography. Pasadoble dance and music are steeped in ritual tradition, with a high sense of drama and power. The specific attire of the dancers, the feel and atmosphere of the dance refer to Flamenco – these dances have a strong connection and symbolic origin in Spanish history and culture. The aesthetic expressiveness of Pasodoble is created by plasticity, a musical-plastic image, which embodies the combination of the inner potential of the dancing couple and the mastery of their bodily expressiveness. Specific theatricalisation by means of choreographic expressiveness is manifested in the Pasodoble competition ballroom dance in many ways. The creation of choreography oriented and theatrical interpretation is connected with solving a number of artistic tasks. The complex of expressive means used by dancers helps to clearly outline the meaningful line of the dance. The imagery of the Pasodoble competition ballroom dance choreography is characterised by its own poetic reflection of the bullfight, taking into account the current codification of steps and figures of the Latin American programme of the international style. The plastic image represents socio-cultural aspects, current social symbols, and meanings in the dance.
 Keywords: Pasodoble, competitive dance, plastic, artistic imagery, theatricalisation.

Exploring Postsecondary Experiences for Dance Majors in Texas with Backgrounds in Competitive Dance and/Or Drill Team

ABSTRACT The purpose of this qualitative study is to explore the experiences of college dance majors in Texas who have a background in studio dance, competitive dance, or drill team as they navigate the culture of dance in postsecondary education. At this stage in the research, the experience of college dance majors will be generally defined as the benefits and challenges they face, the positive and negative impacts of these challenges and benefits, and the interpretations they have of their existence within the culture of dance in postsecondary education, as well as how they define that culture of dance. Findings from this study show dance majors from this participant pool who had consistently challenging experiences regarding their own integration into postsecondary programs. The conclusion of this study provides a recommendation for postsecondary dance programs to consider curriculum revision to better suit the needs of a significant demographic within their student populations.

Tap Dance in the Private-Sector Dance Studio

The experience of the tap dance educator in the private-sector studio was studied using a mixed methods approach that included a survey and individual interviews. Three hundred thirty-eight tap teachers responded to 25 survey questions about enrollment and hiring, training and curriculum, dance competitions and social media, and challenges and benefits. Interviews with nine tap educators collected in-depth descriptive data that expanded on the topics explored in the survey. Key findings include the following: tap enrollment is inconsistent; teachers teach the way they were taught; classroom content is focused on choreography with tap history, music theory, and improvisation listed eighth through tenth in importance; tap is fusing with other dance forms; and tap dance competitions lack qualified judges, appropriate flooring, and proper amplification. For tap dance to become more relevant in today’s dance scene, improved teacher training programs are needed.

Problems of institutionalization of higher professional education in sports ballroom dancing in Ukraine

The purpose of the study is to identify and systematize the features of modern sports ballroom dance, which should be the basis for the development of higher professional education in this field and its further specialization. The following tasks have been set: to determine the specifics of sports ballroom dance as a type of choreography, sport, and socio-cultural phenomenon.
 The methodology is based on a system-synergistic approach. The article is an analysis of the author’s own many years’ experience — sports, coaching, organization and teaching — by generalizing and systematizing observations.
 The results. New circumstances force further institutionalization of sports ballroom dancing, namely the definition and consolidation of social norms, rules, statuses and roles in this area, bringing them into a functioning system capable of self-development and self-reproduction. Sports ballroom dance has not lost its relevance even in the regions of Ukraine most affected by the armed aggression, proving once again its right to develop in the national cultural space. Its mass appeal, its reliance on fundamental ideas and images of life, and its potentially wide target audience of students will contribute to the resumption of competitions and the growing need for higher professional education. The profession of dance teachers is a promising area of work for universities. At the same time, the training of specialists in this field requires further specialization and institutionalization. It should be accepted as a fact that the career of ballroom dancing specialists will be in club and competition activities, and the educational process should be organized accordingly.
 The scientific novelty of the article is to clarify the peculiarities of the concept of sports ballroom dance in the system of choreographic art, its socio-cultural role, as well as to analyze dance competitions as the main sphere of their modern existence.
 The practical significance. Some provisions of the article can be used in education and special courses in ballroom choreography, theory and methods of dance sports and ballroom dance practices.

Features of the methodology for judging competitions in dance and dance sport

In this article, based on the analysis and systematisation of scientific research, the topical issues of the peculiarities of the methodology of judging competitions in sport dances and dance sport are considered. It is on the understanding of the sports judge of the criteria of the performance evaluation system that the objectivity of the evaluation of dancers during competitions in sport dances depends.
 Analysis and generalization of experience shows that every sports dance and dance sport specialist with professional training as a judge must know: fundamentals of fundamental and special disciplines; program and directive documents in the field of Physical Education and Sport; specific features of subjective nature of refereeing; regulations on qualification categories of sports dance judges; rules of sports dance competitions in the full range of the main chapters; "SKYTING" score determination system; content of the basic principles of the sport dance competitions. And also it is necessary to know the methods of judging: a) Students in dance schools and medalists; b) athletes in training groups (N, E, D); c) athletes at the level of sport perfection (C, B, A); d) athletes of higher sport mastery (S, M).
 The availability of a large amount of information is a prerequisite for the future career of a coach. This information must be correlated with the tasks and improved if necessary. First of all it is related to dance analysis and judging methodology.
 The education of judges plays a big role in the dance world. In this aspect judging experience, big outlook in dance world is important; the more knowledge a judge has, the better and more precise he/she evaluates performing skills of dancers. Judges get quite a lot of information for themselves when preparing for the judging examinations to obtain the judging category.