Dance Performance Research Articles

Gender Stereotype Threat Undermines Dance Performance and Learning in Boys

The objective of the present study was to examine the effects of gender stereotype on the performance and learning of a classical ballet pirouette in 11-year-old boys. Participants in the stereotype threat (ST) group were informed that, in general, boys tend to show worse results when completing the pirouette task in comparison to girls. Participants in the stereotype lift (SL) group were told that girls tend to show worse results in comparison to boys. The control group did not receive stereotype instructions. The results demonstrated worse performance during practice and retention (next day) for the ST group relative to the SL and control groups; the SL and control groups did not differ. The findings indicate that gender stereotype threat can undermine motor performance and learning in boys.

The Transformation and Application of Virtual and Reality in Creative Teaching: A New Interpretation of the Triadic Ballet

Virtual imaging technology has been widely used in entertainment, medicine, engineering and other fields, and the advancement of virtual imaging has also provided new opportunities for art performances and exhibitions. This research uses live dance, screen dance and virtual dance displays to conduct the audience’s experience of watching dance performances and compares the three forms. A total of 30 students participated in this research. According to the results of this study, the content of the dance works includes route and trajectory, movements and expressions, costumes, and overall atmosphere; there is no obvious difference under the three viewing conditions, and the spatial performance of dance works is best in live performances. According to the research results, the physical stage performance still has the advantage of space performance, virtual image has the advantage of solving the distance between the audience and the stage, and the screen image is helpful for the performance of the stage color. The results of this study show that the presentation of different technologies can improve the audience’s viewing experience of dance, but how to create an impressive spatial experience using the screen image and a virtual environment for a live performance still needs technical improvement.

Development of the Online Nora Dance Training Curriculum

Development of the Online Nora Dance Curriculum is a developmental study aimed to investigate and promote an online Nora dance curriculum for youths and interested individuals. The curriculum was grounded on Hilden Taba’s concept of curricular development and coordinated in the development process by academics, local artists, experts in art and culture, and Nora dance performance. The study results suggested that the development of the online Nora Dance curriculum comprised 7 steps. The online Dance curriculum consisted of 4 underlined courses namely 1) Nora Dance Course featuring 9 lessons, 2) Nora Music Course featuring 5 lessons, 3) Nora Vocal Performance Course featuring 5 lessons, and 4) Pran Nora (a hunter figure in Nora) Course featuring 5 lessons. The curriculum puts a strong emphasis on self-paced learning to raise awareness and perception about Nora performance among youths and interested individuals. The effort shall solidify the exchange of knowledge, and establishment of cooperation and networks between the university, communities, and schools. This also serves as a process of disseminating and conserving art and culture and adjusting approaches to the promotion of art and culture in compliance with changes in the digital era.

Discussion on Teaching Method Reform Strategy of Dance Performance Major in Colleges and Universities

With the deepening of the development trend of economic globalization, people's aesthetic ability has been significantly improved, and dance performance majors in many colleges and universities have become hot majors for contemporary students to apply for examinations. In order to cultivate more high-quality dance performance talents at the national level, we are deepening our attention to the internal education of art majors in colleges and universities. Based on this background, this paper puts forward some suggestions for the reform of teaching methods of the internal dance performance specialty in contemporary colleges and universities for reference only.

EFEITOS DO TREINAMENTO ESPECIAL DE FORÇA SOBRE PRATICANTES DA DANÇA DE SALÃO

ABSTRACT Introduction: Dance sports require strength and technique, and understanding the specific strength training for its athletes is of great importance for the teaching and training by the instructor. Objective: Analyze the effects of special strength training on the dancers. Methods: The study was conducted by literature data survey, experimental test, and logical analysis. Results: Judging from the training of Chinese dancers in recent years, many coaches and athletes do not know enough about the importance of special strength training and have little knowledge of the principles and methods, in the minds of some dancers, including high-level dancers, there is not even a concept of special strength training; comparing the performance of Chinese sportsmen in international competitions of dancing, there is a gap in physical reserves, although the technical level and dance performance have progressed. Conclusion: The technical characteristics of special strength training for dance practitioners can be combined with daily training, improving the special skills and results of its practitioners. Level of evidence II; Therapeutic studies - investigation of treatment outcomes.

CRITICAL REVIEW OF LITERARINESS IN CULTURAL CREATIVE DANCES PERFORMED IN THE KENYA SCHOOLS AND COLLEGES DRAMA FESTIVALS

The Kenya Schools and Colleges Drama Festival is a series of student-theatre competitions in, held from January to April annually. Students across all learning institutions take part in these festivals. The competitive nature of these festivals provides an opportunity for participants to be creative in their submissions. The festivals feature many genres, including cultural creative dances. Traditional dances, as a sub-genre of orature, play are integral to the appreciation and maintenance of traditional cultures. They tell creative or literary stories orally and in a modern context. Therefore, this article seeks to articulate how cultural creative dances performed during drama festivals tell creative or literary stories orally. The study sought to describe the literary stories told and themes addressed through the dances, analyse the dramatic and oral literary features of these stories and the literary features included during performance and adjudication of cultural creative dances. The study used descriptive and analytical methods to underline important practical, philosophical, aesthetic, and psychological considerations in determining the artistic quality of cultural dances in Kenya’s Drama Festivals. It thus relied on qualitative data obtained through textual analysis, interviews, focus group discussions and participant observation. The study employed the performance theory and theatre semiotics to examine the unique literary quality of these dances. The study found that cultural creative dances tell stories unique to the cultures from which they are composed. They also address themes of human or universal relevance out of those cultures. Moreover, cultural creative dances exhibit all features of literariness in terms of their composition. Some of these features make it to the stage performance and adjudication process. However, adjudication examines other technical aspects of production based on the themes prescribed for the festival by the government. This research underlines the place of cultural creative dance as dramatic genre and oral literary performance.

Sampan Dance in Pariaman: Between Creativity and Community Acceptance

Sampan dance was born from the Pariaman community. A dance work which is created for entertaining people. Events in Sampan dance are bound to a situation, namely fishermen who are triggered by various events. Attempts to see the human side in the dancers who play the fishermen are a real picture of the actual events. The strength of the dance creator’s/artist's imagination lies in trying to free the work from the reality that is believed by communnity. The community should be amazed when they see the Sampan dance performance, but in reality the they are not enthusiastic about it.The way creator/artists explore fishermen figure by the choreographer is different from the way that is done by the academics. Existing facts about this dance are not the main concern of the artists. The purpose of exploring the life of fishermen is to open the doors of imagination, bring the past back to life and seek their own identity to be aligned with current events. In the function of dance, imagination has an important role. The presence of imagination will change the mindset of the community towards the issues being staged. At least, society has received another choice than the existing before about the meaning of reality. It means the reality of fishermen's life so that the community is free to act towards these choices.Communication in art is related to human behavior and the fulfillement needs of human thoughts and feelings toward what they witness. The audience/community already brought a horizon of expectations when they watch the performing arts. Thoughts and feelings have formed its frame, so that when what they watch does not match the horizon of their expectations, positive and negative responses will arise. Keywords: Sampan Dance, Creativity, Community Accepttance, Society, Pariaman DOI: 10.7176/ADS/103-3 Publication date: January 31 st 2023

Танец как элемент свадебного обряда в культуре разных народов: традиции и современность

The study considers the dance in the context of the wedding ritual and wedding ceremonies in culture of different peoples: Russians, Buryats, Tuvans, Kalmyks and Altaians. The paper explores the dance that accompanied the wedding celebration itself and the dance that was performed at the pre-wedding and post-wedding ceremonies. The author managed to discover a lot of wedding dances in Russian, Buryat and Kalmyk culture. This circumstance illustrates the development of dance culture of peoples and the widespread use of dance in various spheres of life and activity of society. The paper revealed some cults (solar, animals), reflected in wedding dances and examined the images, meanings, symbols of cultures. In addition to traditional wedding dances the research presents a description of modern wedding dance performances highlighting the specifics of modern wedding dances in Russian culture. This study provides a description of a number of lexical, compositional and technical features, the nature and manner of performing popular wedding dances of different peoples. The author analyzes the common features and differences of traditional wedding dances. The regional specificity of wedding dances is considered by the example of Russian, Buryat, Kalmyk culture. The paper confirms the assumption that wedding dance in culture of different peoples acts as an important element of the wedding rite, very representatively reflecting cultural specifics of peoples. The study of traditional wedding dances also allowed the author to conclude that dances of this kind are a vivid presentation of the dialogue of cultures.

From social bonds to cultural identity. Changing meanings of Na dances in tourism context and heritage-making

This paper examines a situation of tourism development and heritage narratives in southwest China as it unfolds among the Na people, known for their matrilineal and matrilocal system. To investigate sociocultural changes, I compare festivities and dance performances of two villages, one visited by tourists and the other not. I ask to what extent the dynamics of tourism have reshaped the meanings and values underlying dance gatherings and what heritage processes suggest about these transformations. By outlining the contradictory understandings of tradition and culture by locals with heritage narratives, the article emphasises the agency of Na inhabitants. Largely left out of the processes of heritagisation but negotiating ethnic representations and new livelihood opportunities through tourism, the Na attempt to carve out a place for themselves in the state’s modernist agenda by showcasing dances.

EARLY CHILDHOOD PERSONALITY DEVELOPMENT THROUGH BEBEK PUTIH JAMBUL DANCE

The Bebek Putih Jambul dance is a new performance for young children based on local Balinese philosophy and accompanied by the Bebek Putih Jambul composition by Sekar Rare . This routine was devised in response to findings from the field indicating that most young children in Bali were exposed to age-inappropriate adult performing arts material during the learning process. The research problems are 1) What is the dance form of the Bebek Putih Jambul ?; 2) What is the function of the Bebek Putih Jambul ? This study used qualitative methods. The sources of data for this study included the Bebek Putih Jambul Dance performance, children, art instructors, parents, and the local population. Using symbol theory and practice theory, all data gathered through observation, interviews, and literature studies are qualitatively analyzed. The research results include 1) The Bebek Putih Jambul Dance, which is founded on indigenous Balinese knowledge, is performed as a free-form dance. This is evident in the variety of the show’s movements, performance structure, fashion cosmetics, and music. While dancing and singing, the Bebek Putih Jambul Dance teaches children about togetherness, mutual cooperation, discipline, responsibility, and the grandeur of God Almighty. Keywords: National Character, Bebek Putih Jambul Dance, Early Childhood DOI： https://doi.org/10.35741/issn.0258-2724.58.3.54

Intercultural Aesthetics in Traditional Chinese Dance Performance

Intercultural Aesthetics in Traditional Chinese Dance Performance

The effect of tourism village development project on economic sustainability through tourism villages based on natural and cultural potentials

Tourism village development projects have become attractive to the community during the Covid 19 Pandemic and after. This condition is caused by many people in urban areas who wish to travel to natural and indigenous cultural destinations. Tourism village development is a process that emphasizes ways to develop or advance tourist villages. Village green tourism development projects through natural and cultural destinations are expected to provide sustainable village economic sustainability. The distribution of questionnaires to obtain the potential for village tourism development was determined by the project team that will develop in identifying, assigned consultants and key people from local villages, including leaders with a total of 46 respondents. Data processing looks at the relationship between village economic sustainability and village economic sustainability through natural and cultural tourism potential using partial least squares. The data processing results show that the village tourism development project has a positive effect on nature tourism potential, cultural tourism potential, and village economic sustainability by increasing the welfare of local communities. The nature tourism potential of the village, which has attractive mountains and a reliable source of agricultural products, is capable of impacting the local community's interest. Cultural tourism potential owned by the village with attractive tourist performances on a regular and well-scheduled basis and the ability of the village to show dance performances that reveal their identity can impact the village's economic sustainability. The village green tourism development project is set in the finalization stage of project planning by considering the project completion time.

2세대 아이돌의 순응적 몸 연구

The aim of this paper is to explore the bodies of second-generation K-pop idols, who have internalized power relationships in the forms of regulated bodies, disciplined bodies and represented bodies. The sexual discourses enacted by second-generation idols’ agency present a wide spectrum of body possibilities. This spectrum has been created by systematic institutional actions that have made the bodies of the second-generation idols into docile bodies. In the power relationship, docile bodies represent synchronized performance enacted through the media. This paper examines how power is internalized in the bodies of the second-generation idols to create docile bodies and how docile bodies are represented in dance performance. To explore the power relationship of docile bodies, this paper applies Michel Foucault’s theory of power to analyze the reality program of Girls’ Generation.

Psychological Aspects of Dance

The purpose of this article was to review a range of psychology-related topics in dance including anxiety and dance performance, body image, eating disorders, and injury. While most of those were already present in the extant sport and exercise psychology literature, this article tried to discuss those as they specifically relate to dance and the psychology of it. Many findings showed overlaps with sports domains. For example, ballet dancers and other aesthetic athletes may frequently present body image and eating disorders issues. Psychological interventions can be very beneficial for group cohesion, self-confidence, and anxiety management. Educational interventions providing information on nutrition, exercise, and disordered eating are critical to decreasing depression, drive for thinness, body dissatisfaction, and maturity in dancers. Future research needs to examine the differences between dance styles, and further scientific research on psychological aspects of dance is required.

벨리댄스 공연무용수 셀프리더십이 신체관리행동 및 공연자신감에 미치는 영향

This study would empirically analyze the impacts of self-leadership of belly dance performers on body management behaviors and performance confidence. In addition, this study would verify if the belly dance performers on body management behaviors would have a mediating effect on there the rself-leadership and performance confidence. Concerning this, this study complleted an effective sampling of 210 belly dance performers of the Belly Dance Professional Association was completed. The following specific analysis results are presented, using SPSS 25 statistical analysis software based on the collected data.BRBR First, the self-leadership of the belly dance performers had a statistically significant positive (+) impact on the body management behaviors. Second, the self-leadership of the belly dance performers had a statistically significant positive (+) impact on the performance confidence. Third, the body management behavior of the belly dance performers had a statistically significant positive (+) impact on the performance confidence. Fourth, in the path from the belly dance performers self-leadership through their performance confidence to, body management behavior had a mediating effect. In other words, the self-leadership of the belly dance performer increases their body management behavior and the performance confidence intention as well.

한국춤 공연관람의 경험적가치가 감정반응과 관람행동에 미치는 영향

연구목적 이 연구의 목적은 한국춤 공연관람의 경험적가치가 감정반응과 관람행동에 미치는 영향을 규명하는 것이다. 연구방법 연구목적을 달성하기 위하여 폐쇄형 설문지를 활용하여 측정도구로 사용된 변인 간의 영향관계를 규명하고자 하였다. 이에 빈도분석, 요인분석, 신뢰도분석, 회귀분석을 실시하였다. 결과 첫째, 공연관람의 경험적가치는 감정반응의 하위 변인에 부분적으로 유의한 영향을 미치는 것으로 나타났다. 둘째, 공연관람의 경험적가치는 관람행동에 유의한 영향을 미치는 것으로 나타났다. 결론 연구결과에 따르면 한국춤 공연이 관람객의 만족을 향상 시키고 공연 서비스의 지속 가능성을 높이기 기위해서는 다양한 스토리를 지닌 창작 한국춤 공연 제작이 더욱 활성화 되어야 한다. 창작 한국춤 공연의 활성화는 글로벌 한류 유행과 함께 한국춤의 발전에 크게 기여 할 것이다.

Sapta Cipta Rasa Tunggal Offering Dance at the 51st Dies Natalis of ISI Surakarta

This research is a case study of the performance of the offering dance at the ISI Surakarta 51st Dies Natalis Ceremony (held on July 15th, 2015) by seven dancers. The seven dancers previously acted as leaders of the Senate procession, after the members of the senate sat in their seats, they danced to express the character of Bima so that it could be said that the dance was part of the ceremonial event. The sesaji dance is an expression of Bima's character, which in Javanese collective knowledge is a complex system of symbols. This phenomenon is approached through the constructivism paradigm, especially from the point of view of interpretivism where the methodological mission is to elaborate a reflective events. The research question posed is what constitutes a gift or alms in the Sapta Cipta Rasa Tunggal – title of that dance — as offering dance considering that offerings lexico-etymologically means giving alms or charity. Triangulative data as objects of observation are videos of dance performances via the YouTube platform, interviews with source persons, and library data. The conclusions drawn are: 1) this sesaji dance is a form of mnemonic (kinetic mnemonic) in the form of motion as a tool for reflective memory; 2) offering dance and imitation of the imaginary character in the kind of the Bima containing doxa – knowledge that does not need to be verified – that the ethical attitudes that humans should have are teteg, tatag, teguh, tanggon, and tanggap.

Characteristics of Gending Jula-Juli Laras Slendro Pathet Wolu in The Bapang Dance Jombang Jatiduwur Mask Puppet

The development of performing arts in Indonesia has proven that there are many variants of the Jula-July gending scattered in several places in the East Java region. Jula-Juli gending is a gending that can stand alone or as a partner for other arts, of course with different characteristics in each distribution. One of them is in Jatiduwur village, Kesamben sub-district, Jombang district, East Java through the performing art of the Jatiduwur Jombang Mask Puppet in the Bapang dance performance. This makes this paper aim to find the characteristics of the Jula-Juli Laras Slendro Pathet Wolu gending in the Bapang Wayang Topeng Jatiduwur dance by trying to represent or explore the characteristics of the gending in it. This study uses qualitative research methods, the analysis of which is more qualitative and descriptive. Action analysis uses three stages, namely the description stage, the reduction stage, and the selection stage. The research shows that the characteristics of the Jula-Juli rendition of Laras Slendro Pathet Wolu in the Bapang Wayang Topeng Jatiduwur dance are a piece that has the distinctive feel of the traditional Javanese wasp Jatiduwur, Jombang. Characteristics can be found through the identification of gending forms (dynamics, tempo, and expressions of the beat), the organology of the gamelan instruments that present them, the symbols of the Bapang dance movements, the tuning system of the gamelan instruments that present them, the artists involved, the social conditions of the people who support the arts, and the nuances of tradition. presentation results.

PROSES KREATIF WAHYU JATMIKO PADA PENCIPTAAN TARI SIMA SWATANTRA ANJUK LADANG

This study describes the creative process of Wahyu Jatmiko and the form of Sima Swatantra Anjuk Ladang Dance. The problems in this study include : (1) What is the form of Sima Swatantra Anjuk Ladang Dance?and (2) How is the creative process carried out by Wahyu Jatmiko in the creation of Sima Swatantra Anjuk Ladang Dance?. This study uses qualitative research method with a choreographic approach. To dissect the problem of the form of the Sima Swatantra Anjuk Ladang Dance performance and the creative process of Wahyu Jatmiko the author uses the theory 4P Four P’s of Creativity : Person, Process, Press, Product. For dissecting the problem of the form of the Sima Swatantra Anjuk Ladang Dance, the author uses groups choreography elements namely, (1) dance moves, (2) dance room, (3) dance accompaniment, (4) dance title, (5) dance theme, (6 ) type/type of dance (7) mode or method of presentation, (8) number of dancers and gender, (9) makeup and dance costumes, (10) lighting, (11) property.The results of this study indicate that the Sima Swatantra Anjuk Ladang dance is a work created by Wahyu Jatmiko through a creative process that includes stages, namely exploration, improvisation, and composition. The form of this dance is a group choreography with a representational nature.

REDUCING LUPUS PATIENTS' HOPELESSNESS THROUGH BEAUTY CLASS IN MALANG CITY IN HONOR OF WORLD LUPUS DAY

Lupus is a systemic autoimmune rheumatic disease with mild to severe clinical features and can lead to hopelessness if not treated properly. The purpose of this activity is to give a beauty class and see how it affects the hopelessness of lupus patients in honor of World Lupus Day. Methods: Organizing World Lupus Day activities such as experts seminars on lupus at a glance, being friendly with lupus, and staying beautiful with lupus; a musical drama and dance performance by a lupus support group with the theme “You Are Beautiful”; and a lupus beauty class. The activity was completed in one day in May 2018 by collecting pre-test and post-test data on the incidence of hopelessness in lupus patients using the Beck Hopelessness Scale (BHS). A total of 100 lupus patients participated in the activity, and all of them underwent pre- and post-testing. The Wilcoxon Signed Rank Test with α=0.05 was used to analyze the collected data. Results: All participants expressed delight and satisfaction with their participation in this activity. The mean BHS scores before and after the beauty class were 8.62+2.68 and 6.36+1.59, respectively, with a significant difference (p=0.000). Conclusion: Beauty class is a fun way for lupus patients to feel less hopeless about their illness. Every year, an activity to commemorate World Lupus Day is required, which is beneficial for lupus patients.