Dance Discipline Research Articles

Sports dance - definition of the concept of dance discipline in the field of choreographic education, common features and differences with dance sports

Sports dance - definition of the concept of dance discipline in the field of choreographic education, common features and differences with dance sports

Privilege in Dance Education: A Discussion for Students and Teachers

ABSTRACT This article introduces privilege and explains how it operates within dance for a high school or college level readership. By discussing how privilege is the flip side of oppression, this article explains why privilege is invisible and does not feel like privilege. Illuminating economic, race, and gender privilege as it relates to the dance discipline and dance education, this article offers questions that students can ask about their own privilege in dance, describes what privilege is and is not, and helps students apply the concept of privilege to their dance education.

THE SPECIFICS OF THE ARTISTIC IMAGERY OF DANCING IN CHOREOGRAPHIC ART

The folk stage dance within the framework of choreographic education stands out as one of the most crucial and foundational components of training, alongside classical, duet, historical, everyday, and modern dance disciplines. Beyond being solely an academic subject, folk stage dance embodies a living tradition of stage interpretations of dances from diverse cultures. This facet of choreographic art encompasses a myriad of artistic and pedagogical techniques, manners, and dance styles. Consequently, the cultivation of folk stage dance emerges as one of the most intricate and multifaceted tasks confronting aspiring performers and choreographers. The enduring beauty and cultural significance of this discipline render folk stage dance a perennial focal point in the realm of choreographic education in Kazakhstan. In the contemporary landscape of domestic education, the imperative to enhance the organizational and pedagogical conditions for teaching folk stage dance introduces new challenges to the educational sector. Given the nature of choreographic activity, artistry, and creativity in dance, maintaining professional consistency becomes paramount. The qualitative selection of students becomes indispensable, fostering the cultivation of a genuine vocation for choreography. Essential characteristics such as artistic skill, professionalism, expressiveness, and acting prowess have consistently been demanded from ballet dancers, constituting prerequisites that must be fully nurtured within choreographic schools. In optimal organizational and pedagogical environments, these qualities should be thoroughly developed. The specificity of choreographic imagery lies in the utilization of a system of expressive means, uniquely refracted in the plastic language of dance at every stage of cultural and historical development. Plasticity serves as the primary means of expression when crafting a choreographic image

Research on Intelligent and Innovative Teaching Mode of Dance Discipline in Colleges and Universities under the Background of Informatization

Abstract In this paper, we first count the dance action motion information and compute different lengths of dance action videos through the threshold of segmentation as the input of a convolutional neural network. Combined with the two-layer level optimization function, the dance action trajectory values can be solved. The dance action trajectory values are compared with the standard action in terms of point distance, which suggests the location of the error for dance teaching assistance training. Finally, based on the three-dimensional data capture to establish a three-dimensional dance teaching model, the dance student’s various parts of the movement error results only between 0.25-2.21, the movement trajectory and the Kinect standard movement trajectory curve is highly fitted, and the dance amplitude, dance strength, dance consistency, dance standardization degree of performance is excellent.

DANCE TRADITIONS IN THE SCIENTIFIC DISCOURSE OF YOUTH CULTURE

We consider dance traditions in the scientific discourse of youth culture in the field of choreographic activity (culture, education, leisure) as a means of youth culture. Dance traditions require attention from the scientific discourse of cultural studies. Therefore, we consider traditions as an integral component of Ukrainian culture, education, and recreational institutions. An overview of publications is presented, in which traditions and choreographic activity are analyzed directly in the scientific discourse. The role of dance in promoting the optimization of cultural communication, the acquisition of knowledge, the study and assimilation of samples of national culture, and the education of young people through the means of culture is analyzed. In particular, the role of educational institutions and institutions of culture and arts as centers for providing cultural requests of youth is sporadically highlighted. It was revealed that the culture process directs the youth to the European integration vector with its orientation to the future, the transmission of traditions in the plastic manifestations of folk art to future generations, the assimilation of values and priorities of cultural ideals. The implementation of traditions in choreography involves factors of a complex nature: training of professional dance disciplines in the cultural context of humanitarian sciences : philosophy, aesthetics, ethnocultural studies, art history. The complex character solves the leading tasks of art education, in which culture plays a leading role, so young people focus on the formation of special knowledge, practical skills and skills for improving special techniques and performing skills.

Timing in Lower Limb Complex Movement Tests for DanceSport Athletes: Relation between FitLight Trainer and IMU Measurements.

We examine the relation between two devices used in measuring the timing in lower limb complex movement tests for DanceSport athletes, an inertial measurement unit (IMU) and a FitLight Trainer device, with the latter regarded as the gold standard method in the field. Four tests are selected to cover the lower limb movements. The research sample comprises 21 experienced dancers from different dance disciplines, performing the four tests with each of their lower limbs. Compared using concurrent validity, the two devices used show great agreement for estimating the total tests' run times, with interclass correlation coefficients between 0.967 and 0.994 for all tests. This agreement is additionally confirmed by Bland-Altman plots. As an alternative to other devices, the IMU sensor has proven to be a precise and suitable device for measuring timing and testing in sports. Its mobility, light weight, and size are advantages of this device in addition to measurement accuracy.

Touching across: Performing new dance ecologies through dialogical choreographies

Postmodern dance and somatics have foregrounded the sense of touch via the skin as a subject of inquiry and a catalyst for change, nowhere more so than in Paxton’s Contact Improvisation (CI). Touch continues to be explored choreographically, beyond CI, in contemporary dance to increasingly stage more daring, excessive sensuality and erotics between performers and performers/audience for mainstream theatre. Such tactile strategies and displays, I suggest, raise timely questions about the politics of touch and what touch constitutes. This article is the second instalment of a wider research project that attempts to unsettle Global North and the dance discipline’s presuppositions about physical contact. Here, I build upon one of Paxton’s lesser-known theoretical influences that spurred the development of CI, namely his research into mother–child touch communication and ask: how might a feminist reassessment of maternal relationality – its haptics – generate new knowledge about touch and neo-liberal economy? How might such reconception move us towards different bodily practices and ethics grounded in the twenty-first century in dance and beyond?

The Application of Video Technology in Dance Courses

Photography and audiovisual products are used in many ways as a technological means of recording coherent things. The art of dance as both visual and aural art is a good match for the nature of photographic technology. This has led to the use of photography in dance training and dance documentation as a means of giving visual feedback to dancers. However, due to the reproducibility and high distribution of photography, there are still many challenges regarding copyright and user choice of photography. This article explores the challenges and applications of photographic technology in the art of dance from a variety of perspectives. It also discusses the development of photographic technology as a means of promoting the discipline of dance at a time when virtual teaching is widely used in all disciplines. Using the example of the covid-19 online dance course, it explores the advantages and disadvantages of its use in practice.

Integrating traditional ritual dance and minority culture of Western Hunan into dance instruction: Utilizing information technology to preserve China’s intangible heritage

Abstract The goals of this study were to design an online platform devoted to preserving and studying China’s intangible cultural heritage (ICH) within the limits of ritual and minority dances of western Hunan, obtain experimental data on the usefulness of the developed platform in the preservation and study of Chinese ritual and folk dances, assess dance instructors’ participation in ICH preservation through information technology (IT), and identify IT means able to preserve China’s ICH within the framework of higher education dance instruction in China. For these aims to be achieved, the layout and structure of the platform with audio/video/photo materials, animations, and 3D models were developed, and a number of educators teaching various dance disciplines at universities of China were surveyed. Overall, the study sample comprised 114 people. The platform’s database was compiled by Art History postgraduates from the National Center for the Performing Arts, while its backbone was created by Beijing IT specialists. According to the carried-out assessment, photo/video materials were identified as the most popular IT means capable of preserving China’s ICH as a part of dance instruction in higher education (68.4%). 3D technology was preferred by 19.3% of respondents, textual documents—by 9.6%, and virtual reality technology—by 2.7%. The practical significance of the collected data lies in the possibility of their usage in the process of creating university dance instruction curricula, modernizing instruction materials, developing online webinars, and improving the process of teaching traditional Chinese and world culture.

Living Archive. Nyota Inyoka’s Archive: Traces of the Ephemeral and Ancient Dances Reenactment

The French National Library keeps since 1983 the personal archive of the dancer and choreographer Nyota Inyoka (Fonds Nyota Inyoka). This archive comprises twenty-eight boxes of documents, besides costumes belonging to the dancer, which are constitutive as material of enormous value for the necessary recovery of this figure that has fallen into oblivion in the history of dance. This article aims at providing a first approach to the Nyota Inyoka Archive by ramifying the study in two directions. On the one hand, it allows us to articulate some keys to her choreographic proposal and her theoretical conception of dance. On the other hand, it enables us to broaden the reflection towards the relationship between the archive and the dancing body. Nyota Inyoka's repertoire revolves around ancient cultures that refer mainly to traditions from ancient Egypt and South and Southeast Asia. Thus, the archive takes on an important presence linked to the discipline of dance in a double sense. Firstly, the ephemeral nature of this art favors the archive to become an essential element for dance research. Whilst if we take into consideration the choreographic process of the dancer based on visual sources from Egyptian and Asian art, her body is constituted as a living archive. In this sense, I will offer a reading of Nyota Inyoka’s work as a kind of avant la lettre reenactment of ancient dances.

(Low) Energy Availability and Its Association with Injury Occurrence in Competitive Dance: Cross-Sectional Analysis in Female Dancers.

Background and objectives: The risk of low energy availability is related to various health problems in sports. This cross-sectional study aimed to identify a possible association between various dance factors, anthropometrics/body build, and energy availability with injury occurrence in contemporary dancers. Materials and Methods: The participants were 50 female competitive dancers (19.8 ± 4.1 years of age). The independent variables included age, dance factors (amount of training and competitions per week–exposure time, experience in dance), anthropometrics/body composition (body height, mass, BMI, body fat percentage (BF%), and fat-free mass (FFM)), and energy availability score (EAS; evaluated by accelerometer-based measurement of energy expenditure and Dance Energy Availability Questionnaires). The dependent variables were the occurrence of (i) soft-tissue injuries and (ii) bone injuries. The measurements were obtained by experienced technicians during the pre-competition period for each specific dance discipline. Univariate and multivariate logistic regressions were calculated to identify the associations between independent variables and injury prevalence. Results: The results showed that EAS (OR = 0.81, 95% CI:0.65–0.91), age (OR = 1.65, 95% CI: 1.1–2.46), higher BF% (OR = 1.23, 95% CI: 1.04–1.46) and BMI (OR = 1.61, 95% CI: 1.05–2.47) were correlated with soft-tissue injuries. Dancers who suffered from bone injuries reported higher exposure time (OR = 1.21, 95% CI: 1.05–1.37) and had lower values of FFM (OR = 0.73, 95% CI: 0.56–0.98). Multivariate regression analyses evidenced a higher likelihood of soft-tissue injuries in older dancers (OR = 1.75, 95% CI: 1.21–2.95) and the ones who had lower EAS (OR = 0.84, 95% CI: 0.71–0.95) while the exposure time was associated with a higher likelihood of bone injuries (OR = 1.21, 95% CI: 1.05–1.39). Conclusions: In order to decrease the injury prevalence among dancers, special attention should be paid to maintaining adequate nutrition that will provide optimal available energy for the demands of training and performing. Additionally, the control of training volume should be considered in order to reduce traumatic bone injuries.

Body Asymmetries in Dancers of Different Dance Disciplines

Dance is an attractive sport discipline in which participation is increasing every year, unfortunately, the prevalence of injuries is also increasing. Various dance disciplines and dance techniques require body control, often in extreme anatomical positions that place a heavy strain on the musculoskeletal system. The aim of this research was to analyze body asymmetries of four different dance disciplines (standard and Latin American dance - STLA, acrobatic rock and roll - RNR, breakdance - BD and hip hop - HH), by using anthropometric (InBody 720; Biospace Co., Ltd) and 3D body measurements (NX-16; TC2) to establish possible later discomforts and injuries. T-test was performed to find differences between left and right extremities in all four dance disciplines. Results of the study showed that asymmetries are present in all of the studied dance disciplines. When comparing dance disciplines, we found out that STLA dancers are the most prone to develop body asymmetries (six out of nine paired variables), mainly because of the closed position. The position itself is the asymmetry and in which dancers remain for a very long time while training the technique of each dance. As dance is known for its asymmetrical movement of the body and it is expected that some of the asymmetries will appear after a few years of training. For a better understanding of possible consequences of asymmetries in dancers’ bodies, further and more detailed analysis within each dance discipline is required.

Reconnecting Dance and Physical Education through Dance Science

This article traces the development of dance as an academic discipline from its infancy in physical education programs to its present state, noting the significance of the burgeoning field of dance science and how it is a catalyst for the reconnecting of dance to physical education. The academic discipline of dance originated in the early 20th century in American academe, particularly in women’s physical education programs. By the 1920s, dance emerged as a discrete discipline with Margaret H’Doubler’s founding of the first baccalaureate degree in dance at the University of Wisconsin. By the 1960s, the academic discipline of dance had shifted from its original mission of movement education for everyone to focus more on professional dance training for highly skilled performers. This philosophical shift saw many dance programs move from homes in physical education to the fine arts. During this time, dance also saw an increasing disciplinary emphasis on choreographic and performance projects, a trend still evident today. Dance science began to develop as an academic field in the early 1980s, and shortly after publications and conferences in the area were born. The professional association the International Association for Dance Medicine and Science was founded in 1990. With dance science’s emergence, dance and physical education began to realign, albeit often in departments of kinesiology. Today, with the development of dance science as a burgeoning field, dance and kinesiology are coming full circle, rejoining through their historical roots.

El surgimiento del contact improvisation en el laboratorio estético-político de los años 60 y 70

ABSTRACT This text reflects on the emergence of contact improvisation and the changes generated by postmodern dance in the American aesthetic-political context of the 60s and 70s. New modes of dance production developed by the New York neo-avant-garde of that period are addressed; the experimental attitude of the artists; and their interest in collaborative forms, among others. Based on the research results of my doctoral thesis, the literature on an emblematic discipline of postmodern dance, about which there are few publications in Spanish, is expanded. Further study may open imaginative horizons for new laboratory practices.

Perceptions and Utilization of Strength Training and Conditioning in Collegiate Contemporary and Ballet Dancers: A Qualitative Approach.

Research demonstrates that dancers benefit from reduced injury risk and improved health by engaging in strength training and conditioning (STC). Historic bias within the discipline of dance, however, establishes a long-standing stigma that gains in muscle mass and strength lessen a dancer's aesthetic appearance, and thus many dancers rebuff STC as a supplement to dance training. However, there is growing evidence that dancers and dance educators are beginning to under¬stand the importance of additional resistance training and cardiovascular conditioning. This study explored dancers' perceptions and utilization of STC using a general qualitative approach. Twenty-three female collegiate dancers (13 contemporary dancers, 10 ballet dancers, mean age 19.95 ± 0.97 yrs) volunteered to participate in this study. The principal investigator conducted individual, semi-structured interviews. Inductive analysis revealed three major themes: 1) evolving body image, 2) motivation, and 3) education. Trustworthiness was established using member checks, peer debriefing, and journaling. This study concluded collegiate dancers utilized STC as a means to enhance the individual's body image. This was driven by a continuum of motivating factors. Although collegiate dancers are utilizing STC, education on STC techniques and practices was minimal. While further research is needed, results from this study suggest STC could be initiated and promoted in the discipline of dance to further enhance physical fitness and general well-being. Dancers and dance instructors should receive education about the importance of STC within dance training as well as how to safely implement STC exercise into training regimens.

Ballet and Dance (Care of the Young Athlete)

Patient Education| 2021 Ballet and Dance (Care of the Young Athlete) Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Share Icon Share Facebook Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Ballet and Dance (Care of the Young Athlete). Pediatric Patient Education 2021; 10.1542/peo_document562 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search nav search search input Search input auto suggest search filter All AAP SitesAll PublicationsPediatric Patient Education Search Advanced Search Subjects: Care of the Young Athlete Topics: ankle, athlete, ballet, dancing, hip joint, hip region, leg, toes, weight reduction, sprains and strains Dance is an artistic, athletic, expressive, and social form of physical activity that appeals to a wide variety of individuals. The physical aspects of dance can be both a valuable source of exercise as well as a cause of injury. For young people who take dance classes, have formal training in dance, or perform as dancers, they typically do so in one of the following dance disciplines: ballet, jazz, modern, tap, hip hop, Irish, or lyrical. There are many forms of dance that have unique physical demands and specific injury risks. There are also some physical demands that are common to a wide variety of dance forms. For example, many types of dance involve jumping, turning, toe pointing, back arching, and lifting. These activities can produce tendinosis, stress fractures, ankle sprains, ankle impingement, or low back pain. The following is information from... Copyright © 20122012American Academy of Pediatrics You do not currently have access to this content.

The ethos of the periphery

In the scholarly world where disembodied language and intellectualism reign, Kaustavi Sarkar, a dancing archive, performs embodied epistemologies. Even in her native Odissi dance discipline, Sarkar works from the margin as a questioner and an experimenter in a codified practice that values obedience and tradition. It is from this periphery that Sarkar develops a unique ethos of traditional dance that turns the conservatism of classical forms to open-layered intracultural and intercultural dance dialogues through dance.

Motivational structure of female and male dancers of different dance disciplines

Background: Success in the sport of dance is determined not only by physical and aesthetics factors but also with psychological preparation, where motivation is one of the most important dimensions. In motivated dance performances, athletes try harder than usual, put more attention on their sport and everything connected with it, choose to have longer trainings and compete better. Objective: The aim of our study was to explore the motivation structure of female and male dancers from four different dance disciplines (Latin American and ballroom, acrobatic rock'n'roll, modern-jazz, ballet) to determine the role of efficiency-oriented and competitive motivation on practice and results. Methods: A questionnaire of competitive motives was used to determine the motivational scale of motives of individual subjects. A total of 110 top female and male dancers were compared by gender and dance discipline with a two-way analysis of variance according to their motivation. Factor analysis was used to determine the latent factors of their motivation so as to more precisely explain what drives a dancer, since a large number of explicit variables is more clearly presented through its latent structure. Results: Females pay more attention to the motives of self-control, emotional relaxation, self-awareness, and to socially-oriented motives. Male dancers have significantly less negative competitive motivation. Sport dancers (Latin American and ballroom, rock'n'roll) have a bigger need for self-respect. Social needs are the most important for the Latin American and ballroom dancers, the motive for self-actualization is a priority of both modern-jazz dancers and sport dancers, the possibilities of self-control are very important for modern-jazz and ballet dancers. Conclusions: We found that male dancers tend to be dominating and leading with a strong power motive, while female dancers are more focused on motives like emotional relaxation, self-control and social understanding.

Traditional White Spaces

ABSTRACT Why haven’t students been expected and required to study curricula beyond the Eurocentric perspective? This paper argues for equitable inclusion and representation in curricula and pedagogical practices for the discipline of dance in higher education and explicates why it matters to the discipline’s collective identity. Subsequently, this argument suggests that the racial formation in the history of America’s education system, including dance education, from the early 1900s through the mid-1930s, is a direct result of its ongoing monocultural and ethnocentric paradigm. Understanding how race has contributed to dance’s history and development as a discipline in the academy could offer a resolute path toward a paradigm shift away from its historically ethnocentric model. Faced with debates about essentialist nationalism versus broader enterculturalism, my historiography of dance in higher education intends to offer a critical approach to revisioning strategies necessitating more culturally relevant pedagogy.

Proposta metodológica para o ensino das danças populares na Escola do Teatro Bolshoi No Brasil

A formação do bailarino clássico e contemporâneo na Escola do Teatro Bolshoi no Brasil localizado em Joinville (SC) é baseado na disciplina rígida e metodologia da escola russa. Em minha tese de doutorado em Motricidade Humana na especialidade Dança, realizado na Faculdade de Motricidade Humana em Lisboa Portugal, busco entender qual o papel da disciplina danças populares na matriz curricular desta escola. Após as análises realizadas, apresento uma proposta metodológica para o ensino da dança popular que se chama “Dança popular, espaço coletivo de saberes”. Acreditamos que enquanto componente curricular, a dança popular pode oportunizar aos professores o uso de novas estratégias pedagógicas favorecendo o reconhecimento da cultura brasileira, de novos processos criativos, e em dar “voz” aos alunos, aumentando a autonomia nas decisões tomadas. Isso resulta que o processo de formação de bailarino anda paralelo ao processo educacional, com foco na formação cidadã, e ainda oportunizando um processo de interdisciplinaridade. Esta reflexão realizada em torno das estruturas do vivido na Escola do Teatro Bolshoi no Brasil fez surgir a proposta baseada em princípios da arte e educação, gerando novas possibilidades de trabalhar o corpo sob a perspectiva de dança popular de matriz tradicional.