Dance Performance Research Articles

DanceMVP: Self-Supervised Learning for Multi-Task Primitive-Based Dance Performance Assessment via Transformer Text Prompting

Dance is generally considered to be complex for most people as it requires coordination of numerous body motions and accurate responses to the musical content and rhythm. Studies on automatic dance performance assessment could help people improve their sensorimotor skills and promote research in many fields, including human motion analysis and motion generation. Recent papers on dance performance assessment usually evaluate simple dance motions with a single task - estimating final performance scores. In this paper, we propose DanceMVP: multi-task dance performance assessment via text prompting that solves three related tasks - (i) dance vocabulary recognition, (ii) dance performance scoring and (iii) dance rhythm evaluation. In the pre-training phase, we contrastively learn the primitive-based features of complex dance motion and music using the InfoNCE loss. For the downstream task, we propose a transformer-based text prompter to perform multi-task evaluations for the three proposed assessment tasks. Also, we build a multimodal dance-music dataset named ImperialDance. The novelty of our ImperialDance is that it contains dance motions for diverse expertise levels and a significant amount of repeating dance sequences for the same choreography to keep track of the dance performance progression. Qualitative results show that our pre-trained feature representation could cluster dance pieces for different dance genres, choreographies, expertise levels and primitives, which generalizes well on both ours and other dance-music datasets. The downstream experiments demonstrate the robustness and improvement of our method over several ablations and baselines across all three tasks, as well as monitoring the users' dance level progression.

The Crossover: Integrating Indian Sign Language with the Mudras in an Indian Classical Dance Performance Creation

Indian classical dance uses a variety of non-verbal communication devices, with gestures called hasta or mudra being one of the most ancient sign languages powerful to transmit the meaning of the lyrics through dance. The classical dance forms of Kerala have an elaborate scheme of gestures drawn from the ancient text on aesthetic sign language, called Hastalakṣanadīpika, inspired by the Vedic, Nāṭya and Tantric traditions. The following is an attempt to document a performance-oriented, socially inclusive effort that makes Indian traditional dance performance discernible to the Deaf and Hard of Hearing (DHH) community, a disparate group that is hardly considered as a spectator during performance creation by mainstream Indian classical dancers. The Indian Sign Language (ISL) of individuals with hearing impairments is elaborate, yet is rarely used as a gestural language along with other aesthetic gestural sign languages to disseminate a narrative in a work of art. In her role as both creator and performer, Methil Devika creates work in Mohiniyāṭṭam, a graceful dance form of Kerala, integrating the sign language of those with hearing impairments along with the gestural language prescribed in the ancient treatise Hastalakṣanadīpika. She applies it strategically in her work of art, as an interlinking tool between the art and the audience. In the first few moments, “all walls came crumbling down,” something the performer quotes in the visual documentation of the work. Any separation between the hearing impaired and the artiste, as well as the spectators, become inconsequential. The performance and the presentation have been video documented in a film called The Crossover, and the following is an attempt to describe the creative process.

Rammens udkrængning

In his analysis of German choreographer Sasha Waltz’ dance performance Insideout, Mads Thygesen explores the relations between the intentions of the work and its actual, performative »doing«, specifically the way this performance draws attention to its own use of framing devices in the interaction with the audience.

Chronic Pain Performance and Knowledge: Toward a Process With Ecological Pain

I have lived with chronic back pain for over 20 years. My experience has shown me that my relationship to pain can resonate with what it means to relate with wider ecological pain. I reflect on Pain and I—my autobiographical dance performance that explores the rich complexities of chronic pain and asks “what can pain teach us”? I explore what chronic pain experience can reveal about having a process with pain and staying “with the trouble” of our “wounded Earth.” I draw on autoethnographic poetry, performance text, pain theory, and ecological philosophy.

Digitizing traditional dances under extreme clothing: The case study of Eyo

This work studies the challenges associated with capturing the movement of dance performers wearing traditional African masquerade garments, specifically focusing on the Eyo masquerade dance, a cultural heritage creation from Lagos, Nigeria, and discusses the crucial role the costume has in enhancing the overall performance. The work particularly investigates the capabilities and limitations of current motion capture technology in effectively capturing the movements of both the dancer and the costume, especially when the performer wears what we refer to as “extreme clothing”, such as full body costumes or heavy garments. To overcome these challenges, we employ a combination of motion capture technologies to precisely capture the movements of the performer both with and without the costume, while assessing their respective advantages and limitations. Furthermore, we analyze the disparities in motion quality between these two scenarios to comprehend the influence of the costume on the overall performance. This research has led to the development of an efficient pipeline for digitizing and visualizing folk dances featuring intricate and bulky costumes. The findings of this study offer invaluable insights into the application of motion capture technology for acquiring the movements of performers, including the deformation of their costumes, in cultural heritage dances. As a final outcome of this work, we present a visually captivating animation showcasing an Eyo masquerade dance performance, underscoring the potential of motion capture technology as a tool for preserving and promoting cultural heritage dances.

Preservation of Cultural Heritage in Goa through Bhakti Literature and Artistic Expressions

Goa is home to a diverse collection of Bhakti literature and artistic works essential in safeguarding the area's cultural legacy. The cultural scene in Goa, characterised by elaborate temples with detailed carvings and moving music and dance performances, reflects the lasting influence of Bhakti traditions.

Meningkatkan Literasi pada Siswa Siswi SD Negeri Grogol Utara 09 melalui Kegiatan Festival

Literacy is a vital aspect of education to ensure students' abilities in comprehending, interpreting, and interacting with various forms of texts. This study aims to evaluate the effectiveness of festival activities as a strategy to enhance students' literacy at SD Negeri Grogol Utara 09. A case study method was utilized to analyze the impact of festival activities on literacy skills, with 50 students from grades IV and V participating. Festival activities included film screenings, poetry readings, and dance performances, with data collection conducted through observation, interviews, and questionnaires before and after the events. Data analysis revealed a significant improvement in students' reading, writing, and speaking skills after engaging in festival activities. Additionally, students' interest in literacy and creative expression also increased positively. These findings affirm that festival activities can serve as an effective means to expand students' literacy beyond conventional curricula, providing a meaningful contribution to holistic education.

Dancing the Crisis and Its Transformative Potential: A Cooperative and Performative Research With an Italian Disability Service System During the Coronavirus Pandemic

This study draws on research that investigated transformative learning with reference to complexity theories. It describes the use of dance-informed performative autoethnography employed to analyze and interpret participants’ experience of crisis in research conducted within a disability service system in Italy during COVID-19 pandemic. Firstly, the use of this method of inquiry after the initial data collection was useful in deepening the crisis experience. Secondly, the representation of the data through dance performance fostered new interpretations of the crisis situation that further validated the presentation of the data and had the secondary advantage of reinterpreting the entire experience.

Geometric Patterns in Jaipong Dance: An Ethnomathematics Study

Jaipong dance is a traditional dance deeply rooted in the culture of West Java. However, not everyone is aware that Jaipong dance incorporates mathematical elements into its performance. Therefore, the aim of this research is to analyze mathematical concepts, particularly geometric patterns, within Jaipong dance. The research approach employed is ethnography, with data analysis including domain analysis, taxonomic analysis, and ethnographic analysis. Data was collected through three main methods: interviews, observations, and documentation. The research findings reveal the utilization of mathematical concepts in Jaipong dance. This includes counting from 1 to 8 to maintain the dance's rhythm and the use of geometric shapes in floor patterns. The floor patterns in Jaipong dance reflect the spatial arrangement used in the dance performance. Some of the floor patterns used in Jaipong dance encompass straight lines, diagonals, triangles, quadrilaterals, and pentagons. Thus, Jaipong dance not only blends artistic movements but also integrates mathematical and geometric concepts within its floor patterns. Geometry plays a significant role in creating visual aesthetics and regulating interactions among the dancers during Jaipong dance performances.

Transition of Saba Dance Performance from Traditional to Modern

Transition of Saba Dance Performance from Traditional to Modern

Exploring The Tourism Potential of the Odun Oba Festival Using Printmaking

The Odun Oba festival is a major cultural celebration in Ondo, Nigeria, which annually serves to showcase the rich cultural heritage and traditions of the Ondo people. This study examines the festival’s socio-cultural viability as it relates to improving the kingdom’s tourism potential. This study deployed printmaking as a medium to capture and depict the Odun Oba festival, using printmaking’s diverse techniques and expressive capabilities to provide a distinctive platform to document the multifaceted nature of the Odun Oba Festival. The researcher has also tried to portray the lively attires, intricate and dynamic dance performances that are integral components of the festival through relief, intaglio and planographic print media respectively. The finished prints were exhibited physically and virtually, after which a survey (using Google form) was conducted to evaluate public perception of the works. The researcher recommends that the prints be displayed in galleries, cultural hubs, and public arenas, allowing people of diverse backgrounds access to connect with the festival's cultural legacy. It further suggests that the socio-cultural presentation of the Odun Oba Festival through the printmaking medium would not only encourage the flow of artistic expression but also act as a vehicle for preserving and passing down knowledge of the kingdom’s cultural heritage. Thus, promoting intergenerational discussions, and the nurturing of indigenous cultural identity and pride.

Who’s better? Adaptive comparative judgment of dance performances

Introduction
 Adaptive Comparative Judgment (ACJ) is a promising digital assessment method that allows measurement of performance or competencies by repeated comparisons of two items. Whereas ACJ is becoming a popular assessment method in educational measurement there are no such studies or published use cases in the context of sport or physical education-related teacher education (Bartholomew & Jones, 2022). To address this research gap, an explorative and comparative study was conducted to investigate whether ACJ offers an advantage over the traditional form of criteria-oriented scoring (TA) in the evaluation of students' dance performances.
 Methods
 In four face-to-face examinations the dance performances of 61 student teachers (82% female) were assessed by two lecturers in each case (n = 5; Age M = 50, 3 women, 2 men). Each lecturer scored independently on an 18-point scale on five different evaluation categories (e.g., technical quality). In addition, the dance performances were videotaped, and the same five lecturers assessed the dance performances again using the ACJ tool Comproved. To analyze interrater agreement and reliability, intraclass correlation (ICC) was calculated for the traditional assessment (Sato, 2022). The reliability of the ACJ was analyzed by calculating scale separation reliability (SSR; Verhavert et al., 2019). A Spearman’s rank correlation analysis was conducted to analyze whether there is a correlation between the ranked results of the two assessment methods. To assess the validity of the assessment methods, a focus group interview was conducted with the lecturers involved in the study.
 Results and Discussion
 Both assessment methods are characterized by very high and high reliability values (TA: ICC = 0.974, 95% confidence interval (CI): 0.955-0.985 p < .001; ACJ: SSR: 0.83, Ability [-5.97, 4.99], Misfit [-1.68, 1.34]). In particular, the ICC of the TA is higher than comparable results in dance research (Sato, 2022). There are doubts as to whether the lecturers really scored independently of each other at the face-to-face examinations. The ranked results of both methods correlate with a very strong effect (Spearman’s-Rho: rs -.818, p < 0.001). However, detailed analyses show some differences. The answer to the question of who delivered the best dance performance differs depending on the assessment method. In addition, in the traditional assessment, many scores fall on a value at which the dance examination is just passed (10 points). The results of the focus group interview are still being analyzed and will be presented at the conference.
 References
 Bartholomew, S. R., & Jones, M. D. (2022). A systematized review of research with adaptive comparative judgment (ACJ) in higher education. International Journal of Technology and Design Education, 32(2), 1159-1190. https://doi.org/10.1007/s10798-020-09642-6
 Sato, N. (2022). Improving reliability and validity in hip-hop dance assessment: Judging standards that elevate the sport and competition. Frontiers in Psychology, 13, Article 934158. https://doi.org/10.3389/fpsyg.2022.934158
 Verhavert, S., Bouwer, R., Donche, V., & De Maeyer, S. (2019). A meta-analysis on the reliability of comparative judgement. Assessment in Education: Principles, Policy & Practice, 26(5), 541-562. https://doi.org/10.1080/0969594X.2019.1602027

Impact of Attentional Focus on Dance Performance: A Critically Appraised Topic.

Dancing is a demanding esthetic activity with dancers having an 85% annual injury incident rate when performing complex dance motor skills. Teachers and clinicians use a combination of external and internal attentional cues when teaching dancers motor skills and when working on rehabilitation programs with injured dancers, respectively. External attentional focus (ie,focusing on movement outcome) reportedly results in superior performance than internal attentional focus (ie,focus on body movements). Interestingly, dancers reportedly often adopt an internal focus when dancing. Still, limited literature exists examining the effects of attentional focus on dancers' performance. How does attentional focus (external or internal) impact performance in dancers? Four original quasi-experimental studies met inclusion criteria. In the current examination, we found mixed results about the impact of attentional focus in dancers. Specifically, using an external attentional focus resulted in better performance in 2 studies, but these findings were limited to lesser experienced dancers. Experienced dancers did not have any physical performance differences when using external or internal focus. Internal focus also did not negatively affect dancers' performance in 2 studies. Some authors noted positive motivational effects (eg,increased perceived competence) when dancers used external focus. Low-quality evidence exists supporting the notion that in less experienced dance students, external focus improves performance. In experienced dancers, the type of attentional focus did not impact performance. External focus provides positive mental effects. Thus, clinicians working with dancers can integrate individualized feedback according to dancer level, with a preference toward external focus due to positive mental effects, to design optimal training and rehabilitation programs. Grade B evidence exists supporting the notion that an external attentional focus improves performance in less experienced dance students and also has positive mental effects. Internal attentional focus does not impede experienced dancers' performance.

벨리댄스 전문 공연이 이미지 및 재관람 의사에 미치는 영향

The purpose of this study is to analyze the impact of professional belly dance performances on the belly dance image perceived by visitors and their intention to watch it again. Accordingly, a research study was conducted with 173 viewers of the performance of Ahlan Wa sahlan, a belly dance original work commissioned as part of the event commemorating the 70th anniversary of Egypt's national holiday hosted by the Egyptian Embassy in Korea, as a valid sampling group. SPSS 25 was used as an analysis tool, and the results are as follows. First, professional belly dance performances have a significant positive impact on the belly dance image. Second, professional belly dance performances have a significant positive effect on visitors’ intention to re-watch. Third, the belly dance image has a significant positive effect on viewers' intention to watch again. Fourth, professional belly dance performances show a mediating effect in the influence relationship between image and re-viewing intention factors.

Implementasi Pembelajaran Berdiferensiasi Berbasis Gaya Belajar Peserta Didik Kelas 7 pada Mata Pelajaran Seni Budaya

This study aimed to describe the implementation of differentiated learning based on learning styles in the Seni Budaya subject for 7th-grade students at SMP Negeri 14 Malang and its impact on student learning outcomes and motivation. Employing a qualitative method with a descriptive approach, the research found that differentiated learning can effectively be applied in 7th-grade classes, positively influencing student outcomes and motivation. The implementation spanned a semester, focusing on artistic creation through a project involving traditional dance performances. Students were grouped based on their kinesthetic, auditory, and visual learning styles, allowing tailored engagement with the material. Kinesthetic learners engaged in hands-on activities, auditory learners in listening exercises and discussions, and visual learners in visual aids utilization. Following the traditional dance performances, comprehensive evaluations were conducted, encompassing both formative and summative assessments. This feedback-oriented evaluation aimed at enhancing student skills and understanding. The differentiated learning approach resulted in increased motivation, improved learning outcomes, and the cultivation of character traits consistent with the Pancasila student profile. In conclusion, this study highlights the efficacy of differentiated learning in enhancing academic performance, motivation, and character development. It offers valuable insights for educators seeking to implement student-centered learning strategies effectively.

Legal Protection of Bambu Gila Dance as a Traditional Cultural Expression

This study aims to examine the bambu gila dance as a potential intellectual property for traditional cultural expressions in Maluku which should receive legal protection as part of efforts to defend cultural heritage from claims of ownership by other parties or other countries. Bambu Gila Dance is one of the famous traditional arts from Maluku. The traditional cultural expression in the form of the Bambu Gila dance is expressly protected by the Indonesian intellectual property rights system. However, protection for Bambu Gila Dance as a traditional cultural expression cannot be realized so that it can only be used by other parties illegally. This research is a normative juridical research supported by primary legal materials and secondary legal materials with a conceptual approach and statutory approach. Legal protection for the traditional Bambu Gila dance from Maluku Province has not been effectively implemented, both based on Article 38 of Law Number 28 of 2014 Concerning Copyright, as well as in terms of the actions of government officials who have not been able to inventory traditional dance performance artworks as an expression traditional culture in Maluku including the Bambu Gila Dance. The role of the Provincial and Regency Governments in Maluku is crucial in realizing legal protection for traditional dances, including the Bambu Gila Dance, as intangible cultural heritage through the establishment of regional regulations. These regulations serve as legal basic to provide legal certainty as part of efforts for preventive legal protection for the Bambu Gila Dance.

Experiencing Cambodia’s Living Arts through Tourism

Summary Experience Cambodian Living Arts (CLA) was a nightly program showcasing traditional Cambodian arts to tourists while providing employment opportunities to artists. Produced by the Cambodia-based non-profit organization CLA for nearly a decade, this program used tourism as a platform for sharing traditional arts while also earning revenue to support other arts initiatives and providing employment to several of its arts students. This case study offers a glimpse into the arts-based programming of CLA, an organization based in Cambodia that has worked to revitalize traditional arts and inspire younger generations to engage with the arts over the past 25 years. ‘Experience CLA’ was one of the organization’s programs that offered nightly performances of traditional dance, music and performing arts between 2011 and 2020. These performances stood at the heart of CLA’s efforts in sharing traditional arts with international visitors through tourism, providing a platform for employment to young Cambodian artists, as well as helping the organization to earn revenue. However, due to the impact of COVID-19 on tourism as well as CLA adopting a new mission and vision that positioned it as more of an arts catalyst, rather than as an arts provider, the ‘Experience CLA’ program came to an end in 2020 as the organization began to shift its role in the Cambodian arts community. Information © The Authors 2024

Design an Exercise Training to Enhance the Ability of Flat Turn Performance in Latin Dance

Background and Aim: The purpose of this research is to study muscle strength using the Flat Turn program and to use the experimental results of the Flat Turn program in teaching a sample group of students at Bampu Senior High School Jiangsu Province China Number 40 people divided into A control group of 20 people and an experimental group of 20 people trained with the Fla program. Turn, while the control group trained with normal dance moves for 8 weeks. Summary of the results of the research. Materials and Methods. 1. Bringing books to ask for the country of Experts, 2 Site preparation and control group appointment to explain the data collection method, 3. Starting The experiment with the exercise and the control group practicing the normal exercises, 4. Collecting exercise test data of both groups of abdominal muscles before training, 5. Both groups began Training for 8 weeks, 6. A data acquisition test was performed in the second week of, and 7. Data acquisition tests were performed, in the second week, the fourth week, the sixth week, and the eighth week. Results: 1. The next research must increase the sample size. 2. The next research will be to find a program that is suitable for dancing. Dance more than this. 3. The next research must have a method for selecting a sample group that is balanced and has more quality than this. Conclusion: The results of the research found that using the Program flat turn for teaching dance with a total of 6 skills. When doing the research, it was possible to use all 6 skills. skills to teach dancing activities because from research it was found that each skill developed sequentially from before the test until the experiment and was measured and evaluated in week 2, week 4, and week 8. The results showed that there was a sequential development of each skill can be concluded that the research results in using the program. Flat turn has a total of 6 skills through research and once the experiment is complete, it can be used to teach Latin dance activities in the future.

Transforming spectator into collaborator during a digitalised dance performance

The traditional construct of dance performances has predominantly positioned the audience as passive observers with little to no interaction with the unfolding narrative on stage. However, the advent of digital technology has paved the way for a more immersive and interactive performative experience. This paper elucidates the transformation of this dynamic through the lens of an interactive dance performance piece, “Moving Photon”, which endeavors to blur the entrenched demarcations between performers and spectators. By melding choreographic improvisation, interactive installations, and physiological sensing, “Moving Photon” cultivates a co-constitutive interaction, challenging conventional performative frameworks. Through two distinct configurations, performance and installation setting, the piece endeavors to transition spectators from passive observers to active collaborators in the narrative. The performance setting leverages real-time electroencephalogram (EEG) data from audience members to influence the kinetic dynamics of the installation, thus directly impacting the dancer's improvisational choreography. Conversely, the setup of the interactive installation invites participants to influence the musical score and the installation's robotic movements through motion-sensing devices, fostering a tangible feedback loop. The reflections gathered from initial exhibitions reveal a heightened sense of connectivity and shared authorship of the performance among both the performer and audience members. This innovative exploration signifies a step forward towards fostering more collaborative and multimodal engagements in digital art performances.

Dhuli Danda Nata– Representation of Socio-religious and Agricultural Life of the People of Western Odisha

Danda Nata is a widely known as a folk theatrical performance like a religious festival by the rural agricultural communities of the Western and Southern part of Odisha. It takes place once in a year at the beginning of April (Chaitra) and continues for a period of 13 or 21 days that culminates on Maha Visubha Sankranti. In this folk theatre not only dance, music and drama, but also an elaborate range of rituals are performed. It is a festival that dates back to the 8th-9th century AD during the reign of the Somavansi of Subarnapur and the Bhanjas of Boudh. It is thus a religious-theatrical festival participated by the tribal and non-tribal people without any caste discrimination. A day of performance comprises five different phases of Danda or punishment or penance namely, Dhuli Danda, Pani Danda, Agni Danda, Bana Danda and Suanga Danda. Dhuli Danda is performed on the ground in the afternoon under the hot sun of April. It consists of short sequences that represent a mixture of rituals, sports, military drill, exercise, yoga, fertility rites, sacred drama, divine possession, dance and other cultural performances. Physical exercises, pranks and ritualized sequences are combined with one another to form a fluid, though sometimes prove ambiguous, a perfectly dynamic structure. Danda Nata, thus, has played a vital role in the development of folk literature in western Odisha.