Context Of Dance Research Articles

Meshwork choreography: a pragmatic approach to collaborative embodied learning in South African higher education

ABSTRACT The diversity of the South African higher educational student population requires innovative pedagogical strategies that facilitate transformative and collaborative embodied learning. This article demonstrates how the choreographic process emerges from the context of multiculturalism through a pragmatic learning approach called meshwork choreography. Meshwork suggests an interwoven relation that emphasises the ever-evolving nature of relationships within an environment. Choreography as meshwork is where the choreographer does not impose preconceived ideas on the dancers but rather facilitates a collaborative and exploratory process. The research employed a conceptual framework of phenomenography, embodied and collaborative learning to frame the discussion towards a model of how choreography functions as meshwork. Composition and design processes in and of themselves embrace transformative learning through collaborative, embodied, and relational practices and are bolstered when they converge within the creation of choreographic work. This article reflects on students’ experiences in the Performing Arts Dance Stream at Tshwane University of Technology in conceptualising choreography as meshwork. Phenomenography was adopted as the research methodology, where data was analysed within phenomenographic categories. The article offers a South African perspective, informed by Ubuntu, of a meshwork model for the benefits of applying transformative learning through choreography within a higher education dance context.

Dance displays in gibbons: biological and linguistic perspectives on structured, intentional, and rhythmic body movement.

Female crested gibbons (genus Nomascus)perform conspicuous sequences of twitching movements involving the rump and extremities. However, these dances have attracted little scientific attention and their structure and meaning remain largely obscure. Here we analyse close-range video recordings of captive crested gibbons, extracting descriptions of dance in four species (N. annamensis, N. gabriellae, N. leucogenys and N. siki). In addition, we report results from a survey amongst relevant professionals clarifying behavioural contexts of dance in captive and wild crested gibbons. Our results demonstrate that dances in Nomascus represent a common and intentional form of visual communication restricted to sexually mature females. Whilst primarily used as a proceptive signal to solicit copulation, dances occur in a wide range of contexts related to arousal and/or frustration in captivity. A linguistically informed view of this sequential behaviour demonstrates that movement withindances is organizedin groups andfollows an isochronous rhythm-patterns not described for visual displays in other non-human primates. We argue that applying the concept of dance to gibbons allows us to expand our understanding of communication in non-human primates and todevelop hypotheses on the rules and regularities characterising it. We propose that crestedgibbon dances likely evolved from less elaborate rhythmic proceptive signals, similar to those found in siamangs. Although dance displays in humans and crested gibbons share a number of key characteristics, they cannot be assumed to be homologous. Nevertheless, gibbon dances represent a strikingmodel behaviour to investigate the use of complex gestural signals in hominoid primates.

Perspektif Jean Piaget pada Proses Pewarisan Reog Obyog: Studi Kasus pada Masyarakat Transmigran Kota Banjarbaru Provinsi Kalimantan Selatan

This research aims to examine the process of inheritance in the Reog Obyog art in the Singo Budoyo community in Banjarbaru City, South Kalimantan. This inheritance process uses the theory put forward by Jean Piaget because it is considered appropriate to the conditions that occur in the field. This research uses a qualitative method with a case study approach. Data collection techniques use observation, interviews, and documentation. The data analysis carried out was by collecting data in the field then carrying out the coding and data reduction process and drawing conclusions. The results of the entire series of research that have been carried out have obtained answers to the research problem, namely the process of inheritance of the Reog Obyog art, there are four stages of development, namely sensorimotor, pre-personal, concrete operational, and formal operational which occur as a series of forms of cognitive development processes in children as inheritors of this art in society. transmigrants in Banjarbaru City. According to the results that have been found, this research concludes that in the dance context, children assimilate new movements by incorporating them into movement schemes that they already know. This is because the environment in which they live is not far from what they study.

Pendampingan Dalam Mendesain Lembar Kerja Peserta Didik (LKPD) Merdeka Belajar menggunakan Konteks Tarian bagi Guru Sekolah Menengah

This community service activity aims to provide knowledge and skills to produce the design of the Free Learning Student Worksheet (LKPD). The methods used in this activity consist of preparation, implementation and evaluation. This activity was held at FKIP UNSRI with the participants being High School Teachers of Pagaralam City offline and online. The results of this activity show the enthusiasm of teachers who have produced LKPD using dance contexts. The understanding of the teacher after the implementation of mentoring activities shows that the teacher's response to the activities carried out is very good. Some math teachers, Indonesian, English have been able to design LKPD Merdeka Belajar based on pagaralam dance context.

Beginnings and endings—dance phrase edges in an interactive dance study

AbstractThis article describes a study exploring the expressive and creative potential of dance phrase onsets and endings in interactive dance, using an artistic research approach. After describing the context and background of interactive dance and relevant perceptual issues, the technical setup is presented, both in terms of the performance area, sensors and other hardware, and software. The main part of the article is concerned with the specific movement-sound mappings and their relation to the dancer’s movement choices in four different sections in the performance that the project resulted in, entitled Beginnings and Endings - Study I. Subsequently, the process and performance are evaluated, specifically focusing on the performer’s perspective. The most interesting points from the evaluation are then discussed with reference to the presented mappings, related movement choices, and relevant research literature. Findings include that the dancer experienced an increased awareness of beginnings and endings in different sections of the performance, that the affordances of different mappings were explored in different ways and to different degrees, and that some of this could be ascribed to a dynamic between liberation and restriction.

AI and augmented reality for 3D Indian dance pose reconstruction cultural revival

This paper delves into the specialized domain of human action recognition, focusing on the Identification of Indian classical dance poses, specifically Bharatanatyam. Within the dance context, a “Karana” embodies a synchronized and harmonious movement encompassing body, hands, and feet, as defined by the Natyashastra. The essence of Karana lies in the amalgamation of nritta hasta (hand movements), sthaana (body postures), and chaari (leg movements). Although numerous, Natyashastra codifies 108 karanas, showcased in the intricate stone carvings adorning the Nataraj temples of Chidambaram, where Lord Shiva’s association with these movements is depicted. Automating pose identification in Bharatanatyam poses challenges due to the vast array of variations, encompassing hand and body postures, mudras (hand gestures), facial expressions, and head gestures. To simplify this intricate task, this research employs image processing and automation techniques. The proposed methodology comprises four stages: acquisition and pre-processing of images involving skeletonization and Data Augmentation techniques, feature extraction from images, classification of dance poses using a deep learning network-based convolution neural network model (InceptionResNetV2), and visualization of 3D models through mesh creation from point clouds. The use of advanced technologies, such as the MediaPipe library for body key point detection and deep learning networks, streamlines the identification process. Data augmentation, a pivotal step, expands small datasets, enhancing the model’s accuracy. The convolution neural network model showcased its effectiveness in accurately recognizing intricate dance movements, paving the way for streamlined analysis and interpretation. This innovative approach not only simplifies the identification of Bharatanatyam poses but also sets a precedent for enhancing accessibility and efficiency for practitioners and researchers in the Indian classical dance.

Decolonisation and contemporary dance

ABSTRACT Thinking about decolonisation and solidarity within the context of contemporary dance, if we consider decolonising and self-authoring as a process of self-actualisation, what role can peer and institutional allyship play? This is a short provocation that was prepared for the roundtable discussion on ‘Decolonisation and Solidarity’ as part of the conference, Borderlines IX: Seeking Solidarity and Wonder Through Performance, which took place at De Montfort University in Leicester, UK, on 30 June and 1 July 2022.

초등학교 체육교과 세계민속무용 영역 내용 분석

Objectives The primary objective of this study is to investigate the significance of cultural education within the domain of world folk dance as integrated into primary school physical education curricula. Methods The study applied open coding, axial coding and selective coding techniques rooted in grounded theory principles. The analysis encompassed eight distinct primary school physical education textbooks tailored for fifth-grade students, specifically focusing on the segment dedicated to folk expression through world folk dance. The research involved categorizing content by the countries of origin, dance types, and specific dance composi-tions, encompassing a comprehensive scope of 20 nations and 38 distinct dance works featured in these textbooks. This analysis aimed to delve into the realm of folk expression while concurrently examining its relation-ship with cultural education, with a particular focus on discerning patterns and characteristics within the realm of folk dance. Through the autoethnography as a qualitative methodology, this study connects the concepts of dia-spora and cultural hybridity. It explores diaspora space appeared in diaspora festivals and the world festivals that include folk dances. Results The analysis of primary school physical education textbooks reveals three fundamental aspects of cultural education such as cultural identity, cultural diversity and cultural hybridity within the context of world folk dance. First, Cultural Identity: World folk dance serves as a conduit for students to connect with and express their cultural heritage. It provides a platform for celebrating one’s cultural identity through physical movement. Second, Cultural Diversity: The inclusion of folk dances from diverse nations exposes students to the rich tapestry of global cultures. This exposure fosters an appreciation for the diversity of human traditions, promoting tolerance and understanding. Finally, Cultural Hybridity: Some folk dances exhibit characteristics of cultural hybridity, where di-verse cultural influences merge to create unique dance forms. This aspect underscores the dynamic nature of culture and the interconnectedness of different societies. Conclusions The study highlights the significance of world folk dance in primary school physical education curric-ula, particularly for fifth-grade students. World folk dance serves as a valuable tool for enhancing students’ non-verbal expressive abilities through physical movements, simultaneously deepening their comprehension of diverse cultural perspectives. By framing world folk dance as an integral facet of culture, the research encourages educators to provide optimal opportunities for students to engage in meaningful expression activities within the realm of cultural education. The integration of world folk dance into primary school physical education curricula enriches students’ cultural experiences and aligns with broader goals such as cultural identity, cultural diversity and cultural hybridity.

Expanding the social cure: a mixed-methods approach exploring the role of online group dance as support for young people (aged 16-24) living with anxiety.

There is an increased interest in whether online arts interventions support mental health and social connections. This study explored eight weeks of online group dance as support for young people (aged 16-24) living with anxiety. The applicability of the 'social cure' theoretical framework to the novel context of an online dance class was sought. The study utilised an embedded QUAL+quan design, incorporating participatory focus group discussions (n = 3 groups; n = 11 participants) and one-on-one interviews (n = 2 participants), creative reflections (n = 16 participants) and ethnographic fieldnotes, and a repeated measures design with surveys at three timepoints (week 1, n = 27; week 4, n = 18; week 8, n = 14). Thematic analysis identified two overarching themes demonstrating how the dance classes (i) provided the opportunity to co-construct a meaningful shared identity and (ii) supported holistic wellbeing. The quantitative findings supported this, suggesting lower anxiety, depression, and loneliness and higher wellbeing, self-esteem, self-efficacy, and group closeness. This study expands the social cure to its application to an online dance context for the first time.

RME-based local instructional theory for translation and reflection using of South Sumatra dance context

A learning trajectory as a sequence of mathematical activities that could facilitate the growth of students’ understanding of learning goals. This research aimed to produce an instructional sequence to learn the concepts of translation and reflection and to investigate how students develop their understanding informally using a South Sumatra dance context. The research employed the design research method, which consisted of three stages: preliminary design, design experiment (pilot experiment and teaching experiment), and retrospective analysis. This research involved six students who have the high, medium, low capability at the first cycle and 32 students ninth graders at the second cycle at Junior High School 1 Palembang. Data from observations, tests, interviews, and documentation were analyzed descriptively. The tests used were aimed to determine the improvement made by the students; while the classroom observations, interviews, and documentations were used to develop the local instructional theory. This study produced a learning trajectory with three activities include: the students watched a dance video to describe the dancer’s’ positions in relation to floor tiles; the students were asked to determine the starting points of the dancers in Cartesian coordinates to learn concepts; and the students developed a formal concept based on their own knowledge.

‘It shouldn’t be necessary, but it happens a lot’: Undergraduate contemporary dancers’ perceptions of pain, injury, and fatigue

Contemporary dancers are at risk for musculoskeletal injury due to the choreographic, artistic, and physical demands of the form. Group norms such as persevering through and normalization of pain and injury have been demonstrated within dance contexts and may contribute to the high prevalence of reported injury among dancers. The purpose of this study was to explore contemporary dancers’ perceptions of pain, injury, and fatigue. Ten undergraduate contemporary dance students, self-identifying as women (18-23 years), participated in semi-structured interviews. Interviews were analyzed using reflexive thematic analysis. Four themes were generated: (1) It’s more abnormal for people to sit out than to dance through their injuries; (2) Pain, injury, and fatigue aren’t just physical; (3) Safe dancing environments are important; (4) Implementing dancer health knowledge into practice is complicated. Participants described training and performing through pain and injury, and not always feeling comfortable expressing these experiences to instructors. Pain, injury, and fatigue impacted participants physically and psychologically. Safe dance practice education was viewed as important but challenges implementing knowledge into practice were noted. Continued efforts to integrate safe dance practices into university dance curriculum are needed to help minimize the high prevalence of pain, injury, and fatigue among university contemporary dancers.

Cognitive Ecologies of Presence(S) in Three Different Dance Forms

Abstract Presence is a central yet controversial topic in the study of performing arts and theatrical traditions, where the notion of ‘stage presence’ is generally understood as the performer’s ability to enchant the audience’s attention. How do dancers relate to the idea of presence in performance, and how do they understand, enact, and perform presence in their artistic work and practices? In this article I offer an investigation into presence’s variations in three different dance practices and choreographic contexts: the case of the Ballet National de Marseille during the staging of Emio Greco’s piece Passione; Contact Improvisation in the case of independent groups of contacters in Italy and Australia; and Body Weather, a radical movement ideology developed by Japanese choreographer Min Tanaka in the context of the company Tess de Quincey and Co. in Sydney. To illustrate how presence in dance practices emerges in relation to a complex and dynamic environment, I propose a cognitive ecological approach to the notion of ‘stage presence’, which considers both the co-presence of audiences and performers and the socio-cultural context of the performance event. By exploring how dancers articulate their lived experiences of presence in relation to their different dance contexts and traditions, I suggest framing phenomena of presence in an embodied ecological sense.

The development of geometry learning using traditional dance context assisted by GeoGebra

Research related to crazy bamboo dance, a traditional dance from Maluku and North Maluku, is still oriented towards cultural studies and has not been integrated into mathematics learning. On the other hand, the use of GeoGebra classrooms in previous research mainly refers to the influence on mathematics learning, so there is still a lack of development research based on GeoGebra classrooms that are integrated with cultures such as crazy bamboo dances. The purpose of this study is to produce learning tools in the form of a learning implementation plan (LIP), teaching materials (TM), and student worksheets (SW). In this case, the context of crazy bamboo dance is more focused on the dance medium, namely bamboo, to study tube material. The development model used is a 4D modified model from Thiagarajan. The results of this study produced an RME-based learning tool in the context of crazy bamboo dance assisted by GeoGebra classrooms that are valid, practical, and effective. In addition, the products produced can be used in geometry learning by teachers and students. Still, through this research, teachers can design and develop ethnomathematics-based learning tools by integrating them with the available mathematics software, one of which is Geogebra Classroom.

Japanized Modern Dance “Bikkono Odori”(Crippled Dance) in Kawabata Yasunari’s <i>Waltz of Flowers</i>(1936)

Kawabata Yasunari’s <i>Waltz of Flowers</i> (1936) is a novel that was originally a screenplay for a movie in which several popular female dancers were going to perform. Although the plan to make this film was abandoned, the screenplay of <i>Waltz of Flowers</i> is a good example of modernist work in the early Showa period, and the subsequent novel displays the crossover characteristics that result from combining film and dance with narrative fiction.</br>However, in previous research on Kawabata’s work little attention has been paid to <i>Waltz of Flowers</i>. Instead, much critical work has been done on <i>Snow Country</i> (1935), which was serialized at the same time, so it must be said that there is a bias in the history of this research. To redress this deficit, this paper firstly presents the critical literature on dance in the 1930s, and emphasizes the cultural context of modern dance, as a basis for reading <i>Waltz of Flowers</i>. In particular, it focuses on the three dance scenes in the novel：Suzuko and Hoshie’s duet at the beginning, Hoshie’s solo dance in the middle, and “Bikkono Odori” (crippled dance) near the end. The paper argues that “Bikkono Odori” was a form of Japanized modern dance which connected the styles of Japanese modern dancers in the 1930s.

Memory, Dance and Archive: How an Archived Performance Inspired the Creation of the Dancefilm Does the Dancing Have to Stop?

The aim of this article is to delve into memory and dance, and to show how the archive can contribute to definitions of dance. It offers a personal journey into the records of my dance career, where I revisit and reclaim the past framed through the perspective of a mature dancer now aged in my sixties. Using the medium of dancefilm, my position is of observer, dancer, recaller, and bearer of my archive. I experiment with traces of the past, overlaid with the present, to introduce a dialogue about how this investigation can address the aging body as a site of archive. Through my research, I assert that as a dancer, my archive is housed within my body. I am using my dance history and my memories as the vehicle to address the issue of aging from a Western dance context.

Competition in tertiary ballroom dance education in China: ‘a double-edged sword’

ABSTRACT Presently there are approximately 50 million ballroom dancers in China, and over 100 tertiary institutions offering bachelor’s degrees majoring in ballroom dance. It was this context and the growth of tertiary ballroom dance education and the prosperity of ballroom dance competition in China that prompted this research question: What are tertiary teachers’ meanings of competition in tertiary ballroom dance education in China? In contextualising the study in China, the history of tertiary ballroom dance education and ecology of ballroom dance competition was outlined. Related to this were the various pedagogical approaches valued within Chinese educational institutions and ballroom dance contexts. A qualitative methodology was utilised in answering the research question. This study found that ballroom dance competition culture informed tertiary teachers’ pedagogy, students’ learning, and curriculum setting. This study posits that as ballroom dance continues to grow in China, tertiary ballroom dance education in China will require a more finely balanced approach to the role of competition within the curriculum, pedagogical approaches and assessment.

René Highway: David Earle with Jonathan Osborn

A conversation with David Earle about his friendship and collaboration with dancer René Highway, spending particular attention to his collection of personal photographs and how memory/legacy functions in a dance context.

Exhibiting Images of Disabled Dancers: Comparison, Reconstruction or Disruption?

When People Dancing’s 2013 ‘11 Million Reasons’ (11MR) project was first advertised, the vision for the photography exhibition was to ‘recreate iconic dance moments in film’. 1 When the 2016 follow-on project ‘11 Million Reasons to Dance’ (11MRTD) was conceptualised, the exhibition’s premise was described as commissioning ‘images of iconic dance moments from film, all reimagined by Deaf, sight impaired and disabled dancers’. 2 This shift from ‘recreated’ to ‘reimagined’, as well as the decision to use a RE approach at all for an intervention, was intriguing. This article explores the meaning, purpose and use of the RE prefix, evaluating its use in dance contexts, its impact when used within disability contexts and its use for the 11MRTD project, as well as considering questions raised by the project regarding the recreation of popular dance scenes in relation to the viewing of non-normative bodies by public audiences.

Equity-Informed Dancer Wellness

ABSTRACT This article examines the current construction of dancer wellness and argues that the focus on intrapersonal aspects of safety, health, and wellness should be balanced with a stronger consideration of interpersonal, institutional, and systemic aspects. The author explores how infusing dancer wellness with equity literacy can support individual and institutional aims to dismantle structural barriers and encourage equity and wellness in dance contexts. Equity-informed dancer wellness is advanced as a route to healthy dance practice and social justice.

The Dance from a Distance. The Pandemic and Its Contribution to Changing the Context of Dance

The ethnographic field of this study is the internet and specifically the virtual community called "Online Traditional Dance Seminars". The aim of this research paper is to study the reconstruction of the identity of Greeks involved in the kinetic activity of Greek traditional dance, during the covid-19 pandemic. Netnography was used to collect the data of the research. Oral history was also used as a method, through which everyday memory is projected as a quest of social history. For the presentation and analysis of the data, Geertz's model of "thick description" was adopted. Finally, the interpretation of the data was based on the theoretical visuals of the socio-cybernetic according to the control model of identity (ICT-identity control theory) that Burke proposed, under the terms of Berry's acculturation model. The analysis of the data showed that the traditional dance communities in Greece, in order to maintain the model of their identity, were acculturated and transformed into virtual dance communities, constructing a new identity of their collective and individual self. This new identity did not remain the same, but changed again when the conditions of the pandemic changed. This constant reconstruction of identity justifying the position that both the collective and the individual identity are not permanent, but are adapted according to the environmental conditions, being at the same time a process of interaction and internal control, that is a cybernetic process.