Dance Group Research Articles

Творческая мастерская как современная форма повышения профессионального мастерства педагогов по русскому народному танцу и его региональным особенностям

The research objective is substantiation of the initiation of a creative workshop as a modern form of enhancing the professional skills of teachers in Russian folk dance and its regional peculiarities. The article argues for the need to ensure the process of preservation, study, and popularization of Russia's national heritage – Russian folk dance and its regional features. Russian folk dance allows forming in the younger generation a sense of love for their homeland, respect for its history, folk traditions, customs, and cultural diversity. The article emphasizes the importance of proper education on the specifics of Russian folk dance and the professional development of dance teachers. The leading forms of professional development for teachers and leaders of amateur dance groups include studying scientific and educational literature, grant activities, competitions and festivals, qualification courses, and masterclasses. The article places special emphasis on exploring the creative projects of the autonomous non-profit organization "Creative Union of Generations 'Transformation'." The modern form of enhancing the professional skills of dance teachers is presented as the cultural-educational project "All-Russian Creative Workshop on Russian Folk Dance and its Regional Features." The author provides an original definition of the essence of this new creative-pedagogical phenomenon, detailing the educational course program (from 2022 to 2024).

Analysis of the centre of pressure in bipedal stance among individuals with and without intellectual disabilities, individuals with Down syndrome and dancers with Down syndrome.

Individuals with intellectual disabilities (IDs) often present deficiencies in motor, balance and postural control. On the other hand, the practice of physical activity and dance usually reduces these deficiencies. Therefore, in this study, we aimed to compare the control of the centre of pressure (COP) in people with Down syndrome (DS) or other causes of ID in relation to people without disabilities and to observe the influence of vision and the practice of dance. This cross-sectional study analyses the COP in a static standing position with open and closed eyes in four study groups. A total of 273 people were recruited (80 adults without ID, 46adults with DS, 120 adults with other causes of ID and 27 dancers with DS). A greater area of oscillation and path of the COP was observed in the participants with ID compared with the participants without ID, especially in the sway area of the COP. The oscillation speed of the COP was also higher. When analysing the displacement of the COP, anteroposterior and mediolateral components, there were also differences, except when comparing the group of dancers with DS with respect to the group without ID. The visual condition only influenced the group of participants without disabilities. The results of our study show that there is a less efficient static postural control in people with ID, as greater displacements were observed in the COP of the participants with ID. The differences in some specific variables that analyse the displacement of the COP were smaller when comparing the group of dancers with DS and the individuals without ID.

Action Research of Critical Reflection Case Study of Soreng Warga Setuju Dance Group

This research was motivated by the need to create a model for handling folk art so that it continues to survive and be sustainable. This research aimed to examine the creative process that underlies their innovation. The Soreng Warga Setuju (SAWS) dance group in a village in Magelang Regency been the object of study. The research questions raised were: 1) what innovations have been applied to the Soreng Dance performance so that it survives until today; 2) what style they applied to their creativity responding the social, cultural and economic situation of today's society. McIntosh's action research scheme becamee a theoretical and methodological framework to analyze the creative process of folk art. This research data needed both visual and aural performances was obtained through direct observation of their performances. Meanwhile, data in the form of statements related to their socio-cultural attitudes was obtained through ethnographic interviews. This research found reflective critical responses in the form of social orientation, artistic orientation, philosophical orientation and instrumentalist orientation. Their creative innovation can be seen in visual-aural and organizational changes. Hermeneutically, old values and beliefs are still reflectively believed by rural communities and even become the basis of their existence socially, culturally and economically.

Оценочная функция эмоционально-эстетического компонента личности студента

We consider modern approaches to determining the evaluative side of the emotional and aesthetic component in a modern personality. The interrelation of the emotional and aesthetic parts as dynamic and meaningful components is revealed. The defined structure of the emotional and aesthetic component of personality is multilevel, multifaceted and multifunctional. Based on the many components of the emotional and aesthetic component of the personality, a system of criteria for evaluating the attitude of a person to people and business is eventually formed. Emotional and aesthetic development, providing a conscious, sensual perception of the surrounding reality by a person, forms the moral basis of views and beliefs, provides the opportunity for full-fledged productive interaction, cooperation, communication in collective creativity and various life situations. The level of emotional and aesthetic development of a personality is determined by objective socio-pedagogical and subjective psychological and physiological factors. To unite the team and coordinate the dance group, it is desirable to align it to a socially approved one. In most cases, the level of emotional and aesthetic development of a person is subject to correction, which is possible in the process of collective forms of education that contribute to changing the attitude of a person to creativity, the educational process, self-development and professional formation. The highlighted main components of the evaluation function of the emotional and aesthetic component of the personality can be formed during the educational process of students of the choreographic department and contribute to its effectiveness. As the most effective we consider an open discussion, implemented through the use of communicative skills in accordance with the emotional and aesthetic requirements of the culture of communication, as well as collective versatile creativity with the distribution of role functionality.

Garba Dance Is Effective in Parkinson's Disease Patients: A Pilot Study.

Dance as therapy is gaining attention as an adjuvant option for Parkinson's disease (PD). Assessing culturally popular dance forms is crucial for promoting the acceptance of dance therapy in a culturally sensitive context. The pilot study evaluated the efficacy of Garba dance for alleviating motor symptoms, nonmotor symptoms, cognitive functions, and mood. Furthermore, this pilot study also assessed the tolerability and safety of this dance form using fatigue severity scale and assessing falls, respectively. Eligible participants with mild-to-moderate PD (H&Y stage 1 to 2.5) were sequentially randomized into the dance therapy, physical therapy, or control groups. Motor symptoms, nonmotor symptoms, cognitive functions, and mood were assessed using standard scales at baseline, week 6, and week 12. Tolerability was measured using the Fatigue Severity Scale, and safety was assessed by monitoring falls. In the Garba dance group, significant improvements in UPDRS scores were observed at week 6 (p=0.002) and week 12 (p < 0.001) compared to baseline. At week 12, UPDRS scores were better in the Garba dance group as compared to the control and physical therapy groups. Freezing of gait significantly improved at week 6 (p < 0.001) and week 12 (p < 0.001) in the Garba dance group. Garba dance also led to significant improvements in mood and sleep. Tolerability was favorable, with significantly better fatigue severity scores in the Garba dance group at week 12 compared to controls and physical therapy. About 6 patients in Garba dance group experienced near falls. Underscoring a cautious optimism, results of the current study indicate that Garba dance may be an effective, safe, and well-tolerated intervention for Indian patients with mild-to-moderate PD (H&Y stage 1 to 2.5).

Традиционная русская пляска в исследованиях XIX–XXI вв.

Russian traditional dance has been historically transformed, the relevance of the problem of its study has been analyzed, and the main studies in which Russian traditional dance has been recorded over the past two centuries have been analyzed. Russian dance presents the results of the analysis of methodological and teaching aids, identifies the differences between Russian stage and Russian traditional dance, defines its main types, and considers in more detail the group dance «Six». The author identifies the high importance of studying the types of Russian traditional dance in modern education and defines the most important task of modern researchers in their study.

An Analysis of the "Melancholy Aesthetics" in Ge Wang's Narrative Group Dance Works

An Analysis of the "Melancholy Aesthetics" in Ge Wang's Narrative Group Dance Works

Acute Effects of 5-Minute Dance Active Break on Executive Functions, Mathematics, and Enjoyment in Elementary School Children

Active breaks (AB) are short periods of physical activity in the classroom. The purpose of this study was to compare the acute effects of 5-minute dance break with an aerobic and a sedentary group on the executive functions, math performance and enjoyment of elementary school children. A total of 67 children (10.41±.13 years) of three fifth grade classes were randomly assigned to the three groups: dance (21 children), aerobic (24 children) and control (22 children). At the beginning and at the end of the intervention, all participants completed the Flanker task, the Digit Span test, the tower of London and a math test (mental calculations). In addition, the dance and the aerobic group were evaluated on their enjoyment level and physical activity intensity. At the end of the intervention both the dance and the aerobic group showed significant improvement in inhibition compared to pre-test. Moreover, the dance group showed higher levels of enjoyment compared to the aerobic group. The findings of the study suggest that even 5-minute dance break may positively affect children’s inhibition and enjoyment. Children's enjoyment is crucial for AB participation and affects their academic performance. Therefore, children's enjoyment should also be considered in AB planning, and dance could be a suitable alternative compared to other AB physical activities (aerobic/strength activities).

‘I’ve Wondered Why Am I Here?’ Expectations of Old Age and the Ageing Body in a Longitudinal Study of a Dance Group

Mainstream expectations of older age place pressure on individuals––both negative discourses focused upon frailty and isolation and successful ageing narratives that emphasize physical and mental exercise. This article considers whether older people can challenge damaging narratives through participating in the practice of modern dance. Over the course of 4 years, action research and ethnographic-based methods were used as the author worked with a dance company of seven members aged 69 to 89 as they created a modern dance piece. Data included fieldnotes, transcripts of individual interviews and group discussions and a video of the performance. A thematic analysis was applied. Moving away from a health perspective, the literature on ageing and lifestyle is advanced by in examining how the group’s creativity should be understood and valued. Participants went from presenting as active agers to developing a more accepting attitude towards their ageing body. The performance refashioned the space as a site of intergenerational connectivity as the dancers and audience co-produced narratives around the artistry of the older body. An original contribution to the work on embodiment is made by revealing how older men and women use dance differently to negotiate the ageing body. Findings have wider implications for research on inclusion by showing how the embodied practice of dance helps subvert expectations of older age.

Controllable Group Choreography Using Contrastive Diffusion

Music-driven group choreography poses a considerable challenge but holds significant potential for a wide range of industrial applications. The ability to generate synchronized and visually appealing group dance motions that are aligned with music opens up opportunities in many fields such as entertainment, advertising, and virtual performances. However, most of the recent works are not able to generate high-fidelity long-term motions, or fail to enable controllable experience. In this work, we aim to address the demand for high-quality and customizable group dance generation by effectively governing the consistency and diversity of group choreographies. In particular, we utilize a diffusion-based generative approach to enable the synthesis of flexible number of dancers and long-term group dances, while ensuring coherence to the input music. Ultimately, we introduce a Group Contrastive Diffusion (GCD) strategy to enhance the connection between dancers and their group, presenting the ability to control the consistency or diversity level of the synthesized group animation via the classifier-guidance sampling technique. Through intensive experiments and evaluation, we demonstrate the effectiveness of our approach in producing visually captivating and consistent group dance motions. The experimental results show the capability of our method to achieve the desired levels of consistency and diversity, while maintaining the overall quality of the generated group choreography.

Fenomén mečového tanca v Európe. Kultúrno-historické kontexty

Sword dances belong to the oldest layers of dance culture. The origin of these dances, which can be described as a phenomenal manifestation of dance culture in almost the whole of Europe, unfortunately cannot be reduced to a single genetic basis. It goes without saying that such dancing would not still exist today without its bearers. Sword dancing has been gradually modified in some countries, losing its ceremonial function or its connection to the calendar cycle, and being transformed into a theatrical form; in some countries it is now only maintained by small groups of dancers as a social occasion. The tradition of sword dancing is a unique example of Europe‘s intangible cultural heritage. The ancient chain and circle form of the dance is an element common to European countries, apart from the connection with the carnival season. The dance itself has its own specific features – dance patterns, costumes, clothing accesories, and props, which are unique components of the dance that point to its archaic character. The aim of the study is to document these dances, identifying the characteristic features and common expressions across almost all of Europe, or in the countries where they have been documented.

Archives and the Bodily Dimension of Traditional Dance Knowledge

For a dance researcher, audiovisual recordings are the most informative part of archives. For various reasons, in Estonia, re-embodiment of traditional dances has been based more on verbal descriptions and less on film and video. Nonetheless, some analysis has been done by today, and some findings on individual, local, and temporary variability of traditional dancing in different parts of Estonia exist, and some clips have been published. Despite of availability of archival video recordings, folk dance teachers usually prefer verbal descriptions, which leads to the loss of a great deal of detailed information. In the article, I explore some of the reasons for this situation, based on my own teacher practice and a case study inquiry among teachers of high school girls’ dance groups involved in the process of the 12th Youth Dance Celebration in 2017. In this project high school girls’ groups were proposed to learn Ristpulkadetants (Crossed Sticks Dance) in an unusual way – as a supplement to verbal descriptions, an archival movie clip was provided to teachers as source material. This made it possible to investigate teachers’ interest in the use of film, as well as the facilitating or hindering factors of actual use. About a fifth of the involved teachers expressed an opinion that archival recordings contain information not yet verbalized in descriptions and could help them in adding new qualities to the bodily dimension of their own and their students’ dance. As a result of the study, it can also be said that archive videos of a traditional dance are not that available to folk dance teachers as they would like them to be.

Karya Tari Dewaruci Sebagai Tari Sesaji Dalam Rangka Dies Natalis Isi Surakarta

The dance work Dewaruci is a new work inspired by Bima's attitude and character in wayang so that it is danced in the dashing male dance of the Surakarta style. The make-up and fashion design refer to the wayang orang characters in the Surakarta style. The purpose of the research entitled Dewaruci Dance Work is to describe the dashing Surakarta style dance used as offering dance at the Surakarta Indonesian Institute of the Arts (ISI) Anniversary ceremony in 2015. The research method of the Surakarta Style Dewaruci Dance Work is a type of qualitative research. Narrative data sources. Data analysis techniques use form and content. Data obtained from observation studies, interviews and documentation. The results of the research, the Dewaruci Dance Work is a themed group dance danced by seven dashing male dancers, as a symbol of the attitude and behavior of the academic community who have reached the age of 51. The gallant movements reflect valor, perseverance, honesty, firmness in studying and practice knowledge so that it is beneficial to society. The movement begins with offerings accompanied by Yogyan Pelog Nem Sieve.Keywords: dashing, dance, offerings, anniversary

Kreativitas Eka Rosy dalam Penciptaan Karya Tari Jejak

The Jejak dance work is a new choreography that has a background from the spirit of the Jathil Ponorogo dance. The value contained in the Jejak dance work is the value of the spirit of never giving up. The Jejak dance work is presented in the form of a group dance danced by six female dancers. This dance work isdivided into four parts, namely the intro, the first scene shows anxiety about goals and what you want to achieve, the second scene is conflict within the personal sphere, the third scene is self-confidence, which shows an atmosphere of enthusiasm or fighting spirit values. This study used a qualitative research method with a choreographic approach, to dissect the form of the choreography of the Jejak danceusing Y. Sumandiyo Hadi's theory. Meanwhile, to describe the creative process of creating Jejak dance works, it uses the theory of Rhodes, 4P (person, press, process, product). The stages in the process of creating a Jejak dance work go through several stages, namely the stage of determining ideas which are refined through several phases including the phase of selecting themes, maturation ofconcepts, observation, then the process of exploration, improvisation, and composition.This is very fundamental to creating a work that can be accounted for scientificallyacademically. The results of this research show: Eka Rosy's creativity in creating Jejak dance works is influenced by several factors (internal and external), Eka Rosy's creativity is reflected in Eka Rosy's ability to actualize ideas that are compiled through a process of exploration, improvisation, and composition then implemented in the form of works Jejak dance.Keywords: Jejak, dance work, creation process, choreography.

Randai Arts Extracurricular Management (Case Study at Padang 6 State High School)

This research is motivated by the uniqueness of the phenomena that exist in the randai arts extracurricular at N 6 Senior High School, namely this extracurricular has not too many devotees or the participants from this extracurricular are very few compared to the extracurricular active in the N 6 Padang High School, but the achievement What this extracurricular gets is a lot. The purpose of this study is to find out how the management of randai extracurriculars at the N 6 Padang High School. This research uses a qualitative approach, with a case study research method. The data sources in this study were the Randai extracurricular builder, the head of the extracurricular team and several members of this extracurricular. The data collection techniques used in this study were observation, interviews, and documentation. The data analysis technique used is data reduction, data presentation, and drawing conclusions. The data validity technique is by using method triangulation, source triangulation, and theoretical triangulation. The results showed that (1) in this extracurricular planning component, they conduct a briefing before starting the activity (2) the form of organization in this extracurricular is by grouping in each field, namely the music group, movement group, and dance group (3) on the components This extracurricular activity is predominantly carried out by the coach and team leader (4) the supervision carried out by the coach at this time is only via whatsapp because of the busyness that is being faced by the coach. Overall, the management of the randai extracurricular at SMA N 6 is very good, because it has followed the components of good management, which has made the randai extracurricular has many achievements.

Multicultural Dance/Movement Therapy to address Adolescent Depression and Anxiety

Depression and anxiety in the United States are becoming more prevalent in the youth population in recent decades and have been exacerbated by COVID-19 pandemic. Rates of poor mental health outcomes are also more prevalent within gender and racial minorities. Current effective interventions to improve adolescent mental health is limited to individual CBT Therapy and some arts programs. Dance Therapy is a well known alternative arts program that has shown to have physiological, mental, and social benefits. However, traditional group dance therapy programs based on Western culture and ideals neither include the unique experiences of the diversifying student population nor do they wholly address students’ mental and social needs. Cultural dances, in the context of the Western world, are traditional dance practices that serve different functions within the local culture. Many are ancient practices that have shown to have deep psychological and social benefits. Our paper proposes a new school-based multicultural dance therapy program that incorporates international cultural dances to improve physical, mental, and social health. Further research is needed to prove that physical, mental, and social health issues may be resolved through the therapeutic effects of multicultural dance therapy.

Teatr tańca Brama Chmur w poszukiwaniu chińskiej i tajwańskiej tożsamości kulturowej

CLOUD GATE DANCE THEATRE IN SEARCH OF CHINESE AND TAIWANESE CULTURAL IDENTITYThis paper shows the dynamics of topical, aesthetical and political changes in the world-known contemporary dance group – Cloud Gate Dance Theatre of Taiwan (Yunmen Wuji), created by Lin Hwai-min in 1973. Those metamorphoses are observed in a broad socio political and cultural context, in the rapidly changing reality of Taiwan, Mainland China and the whole world at the turn of the 20th and 21st century. Short analyses of the most iconic dance compositions by Lin Hwai-min make it possible to trace the direction of the changes, starting from search for Chinese cultural identity, through the quest for definition of Taiwanese cultural and national identity, gaining the feeling of being rooted in traditional Chinese aesthetics and finally confirming the importance of local Taiwanese tradition as an equally meaningful source of creative inspiration.

Analyzing and Discussing the Evolution of Arabesque Movement According to Dance Elements and Aesthetics

The present paper examines the different types and variations of arabesque dance movement from ancient times until today. The study analyzes and discusses the elements of arabesque dance, its common cultural elements as visualized through a chronological lens, its choreography, and its aesthetics in order to explore its development in terms of needs that arose from period-specific trends and dance stereotypes. The meaning of the term “arabesque” has changed from simply “a group of dancers,” now representing a delicate and highly masterful art. The gradual refinement of arabesque by dancers and instructors evolved an adept dancing system that positions the body in equilibrium by distributing its weight equally. The physical coordination, posture, and grace inculcated through arabesque movement benefit individuals' strength, posture, focus, and performance. Specific dance teaching styles, methods and strategies are also discussed based on outdoor and indoor modern setting, to create innovative education patterns for dancers, schools, academies or companies. Stakeholders, teachers, and instructors in performing arts should ensure the widespread distribution of these methods and their benefits to share their positive impacts with the world. &#x0D; &#x0D; Received: 08 August 2023 / Accepted: 20 October 2023 / Published: 5 November 2023

Pemberdayaan Kelompok Seni di Dusun Nitiprayan Bantul

Purpose: Service activities aim to help empower art groups through innovation and artistic creation. The target audience for the program is unproductive people, namely the Niti Budaya arts group in Nitiprayan hamlet, Ngestiharjo Village, Kasihan District, and Bantul Regency, which has 40 members. The problem experienced by partners is the lack of innovation and creativity in art groups, especially in dance, and the partners of these art groups are not yet well known to the wider community. Methodology: The partner's solution to the problem is to help the art studio conduct classical dance training in Sari Tunggal and Lambangsari and assist with digital marketing training. Apart from being attended by art groups, the training activities were also attended by local people who had an interest in the arts. Results: The results of the training program showed that the Niti Budaya arts group understood and mastered the classical dances, Sari Tunggal and Lambangsari, which were organized by the service team. The arts group's understanding of digital marketing has been demonstrated by promotional activities via social media and directly in the target market. With these activities, the arts groups increased in terms of understanding and well-being. Contribution: This activity will continue to be conducted to correct deficiencies and evaluate all activities. Limitations: This activity is beneficial for the community, especially the dance group in Nitiprayan.

Dance after stroke improves motor recovery in the subacute phase: A randomized controlled trial

PurposeThe objective of this study was to investigate the effects of a dance program, combined with conventional treatments, on the motor recovery and quality of life of stroke survivors in comparison with conventional treatments alone. Materials and methodsA total of 16 subacute stroke survivors were randomized into two groups: a dance group (DG) and a conventional treatments group (CG). Stroke severity, cognitive abilities, and motor capacities were assessed at baseline. For six weeks, all participants underwent standard rehabilitation. However, in the DG, participants attended an additional weekly dance class. In both groups, the Mini-BESTest, Functional Independence Measure (FIM), ABC-Scale, Lower Extremity Motor Coordination Test (LEMOCOT), quadriceps strength, and Stroke-Specific Quality of Life Scale (SS-QOL) were measured at weeks 4 and 6. Nonparametric statistical tests were applied. ResultsCompared to the CG, the DG significantly improved recovery of balance, coordination, and FIM after four or six weeks. No differences were observed for quadriceps strength, SS-QOL, or cognition. Participants were completely satisfied with the dance class, and no adverse effects were observed. ConclusionsThis study was discontinued following the COVID-19 health crisis. However, the analysis revealed numerous beneficial effects of dance practice for subacute stroke survivors. The results contribute significantly to the advancement of artistic practices in stroke rehabilitation.