Dance Recordings Research Articles

The Tangibilization of Indigenous Dances and the Rehearsal of a Similarity Model for Quantitative Analysis of Movement

This article explores several tools of varied affordability within the field of computer-based technologies of human movement recognition as a means of responding to the current lack of protection extended to Indigenous dances. Following a general theoretical overview of new technologies developed to process human movement, including motion capture, video visualization, and computer vision, this paper offers an investigation into the practical applications of such technology when applied to dance. The Movement Similarity Project at the University of Oslo’s RITMO Centre is explored as a case study, in which motion-capture technology has been utilized to measure and quantify the degree of similarity between different dance recordings. The possibilities, limitations, and future directions of these technologies are evaluated according to their ability to safeguard Indigenous dances.

The Folk Art Revival and Applied Ethnography in the Hungarian Heritage House

AbstractThe present study introduces the role played by the Hungarian Heritage House in applied ethnography and the folk art revival. It is the first such study to review their antecedents over the past 70 years, the evolution of the institutional background, and activities of varying emphasis (research, teaching, certification) in the fields of folk dance, folk music, and folk handicrafts. The second part of the study evaluates professional tasks in the context of the organizational framework of the Hungarian Heritage House, which was founded in 2001, highlighting the internal relationships among activities embedded within the historically developed structure. The study then goes on to describe the intermediary role of the institution in relation to the practical use/usefulness of basic ethnographic research in terms of: (a) knowledge transfer — the utilization of basic ethnographic research in trainings and courses; and (b) digitization — ensuring wide access to ethnographically authentic archive folk music and dance recordings as the socialization of basic ethnographic research; and (c) research activities within the scope of applied ethnography and existing and potential cooperation with the academic sector. By way of conclusion, the study outlines pressing tasks in the field of applied ethnographical research that are crucial to the everyday, practical work of folklorism. These tasks include delineating the image (i.e., concept) of folk art and folk tradition in the Hungarian Heritage House; clarifying the terminological issues that affect the profession as a whole; creating a professional historical archive of folklorism; organizing a regular forum for critical discussion; and rethinking the cultural context and function of the folklore revival in light of the present-day challenges.

Can you relate to a dance from the past?

This article is about the curation of youth dance programmes in museums that have been initiated and produced by the Norwegian Centre for Traditional Music and Dance (Sff). Located in Trondheim, Norway, this contains one of Northern Europe’s largest dance film archives. Through different channels of dissemination, the centre makes its old dance recordings relevant for different groups of users and potential users of various ages. This article explores how we can facilitate a dialogue amongst the youth on the relevance of the old dance recordings, and how we can influence the way young people understand their own dance expressions. The article also discusses whether conversations about dance and dance traditions combined with dance instruction make the links between the older and the younger generations’ dance expressions any easier.

A Hybrid Density Network-Based Dance Movement Generation Algorithm and Internet of Things for Young Children

The music development matching model and the quantifiable planning model have an undesirable fit between the dance produced by the model and the music self in terms of music-driven dance development age (e.g., generated dance development is lacking, and long-distance dance arrangements are lacking in perfection and discernment). The traditional methodology cannot produce new dance moves or other associated concerns. To address these concerns, we are working on a dance age estimation based on technological developments and neural networks that will eliminate the need for voice and development planning. The first stage uses the prosody elements and sound beat highlights extracted from music as music highlights, while the second stage uses the directions of essential human body issues derived from dance recordings as movement highlights. The model’s generating module acknowledges the vital planning of music and dance advancements to build a smooth dance posture in the next stage; the discriminator module acknowledges the autoencoder module agent has improved sound characteristics and the consistency of dance and music. In the third and final step, the model’s transformed form changes the dance act succession into a good diversity of dance. Finally, a reasonable rendition of the dance that matches the music has been found (e.g., trial data is gathered from online dance recordings, and the exploratory outcomes are examined from five perspectives: poor work esteem, correlation of various baselines, assessment of grouping age influence, client examination, and genuine dance recording quality assessment). The proposed dance age model has a reasonable impact on converting into actual dance recordings, according to the results.

Pragmatic Expression of Bedhaya Sukma Raras: a Reactualization of Holisticity in Life

The Bedhaya Sukma Raras dance by Hadawiyah Endah Utami, presented at a gathering of choreographers, was inspired by the journey of human life as it moves towards death. The complementary forms of verbal and nonverbal components in Bedhaya Sukma Raras implicitly offer a concept encased in the aesthetic expression of the dance about human awareness of doing good throughout the transient life in this world, in order to welcome an afterlife that is immortal and full of joy. This research uses a qualitative methodology. The data collection strategies include a library study, interviews, a visual study of dance recordings, an audio study of music recordings, documentation and study of archives of verbal transcripts of literature about songs and vocabulary of dance movements. The results show that in principle human life must seek to preserve a balance between the world and the hereafter. This means that microcosmically, in fulfilling their daily needs, human beings must work hard, prioritize virtue, and pray for God’s guidance so that macrocosmically, in the afterlife their sins will be forgiven and they will enter the heaven of the Creator.

Penataan Karya Tari Kipas Chandani Sebagai Materi Tari Kreasi Baru Di Universitas PGRI Palembang

This study aimed to determine how the arrangement of the Kipas Chandani dance worked. The problem was focused on the arrangement of the dance through the construction method I and construction method II. To approach this problem, the theoretical reference from Jacqueline Smith 1985 in Ben Suharto's translation book entitled Dance Composition: A Practical Guide for Teachers was used. The data were collected through the creative process of practical dance arrangement and recording of dance scripts all through the process of construction methods I and II and qualitatively been analyzed. This study concluded that the arrangement of the Chandani Fan dance worked as a new creation dance material at the University of PGRI Palembang through the construction method I and construction method II with the result that the concept contained in the Chandani Fan dance was A visualization of today’s woman figure with all their life activities. The display was packaged in the form of masculine and feminine movements. In certain parts the movement pattern was made wider in order to create a masculine impression, while for the feminine movement pattern is manifested in soft, light, continuous and regular movements.

The Dance Company Film

The Dance Company Film

MAPPING THE VARIOUS FORMS OF THE DANCE “SOUSTA” ON THE ISLAND OF RHODES

A thorough look into the dance tradition in Greece leads to the observation a single dance can appear in various forms from one region to another or even among municipalities. Focusing on the island of Rhodes in Dodecanese it may be observed that one specific dance, called “Sousta”, is danced in different forms among various communities. The aim of this paper is to map “Sousta” dance through its recording, in order to showcase the variety of forms of this dance on the island of Rhodes. Through this mapping, eventual similarities but also differences among those dance forms will arise. Collection and processing of data is based on the principles of bibliographic research. Analysis, description, and interpretation of the forms of “Sousta” dance was carried out according to the Labanotation dance recording system. From the ethnographic data and the comparative presentation of the forms of “Sousta” dance it is observed a variety when it comes to the dance execution. There are common patterns of the “Sousta” dance, which are repeated, modified and transformed and that leads to such a great variety of forms that this dance presents.

A CRNN-based attention-seq2seq model with fusion feature for automatic Labanotation generation

Labanotation is a widely-used notation system for dance recording. Numerous methods for automatic Labanotation generation from motion capture data have been proposed to save time and human labor. However, dance performance variations, data noises, and difficulties in recognizing long continuous motion sequences limit the performance of existed methods. In this paper, we propose a CRNN-based attention-seq2seq model with fusion features for a robust and effective Labanotation generation.First, we fuse bone feature and Lie group feature to extract not only the information of bones between adjacent joints but also the relative geometry relationships between connected bones. Then, in the proposed seq2seq model, we employ the Convolutional Recurrent Neural Networks (CRNN) to learn the spatial–temporal representation of motion capture data and the attention mechanism to learn good alignments between input motion feature sequences and output symbol sequences. Extensive experiments on real-world datasets show that the proposed method obtains considerable recognition accuracy (90.65% on the LabanSeq16 dataset and 93.29% on the LabanSeq48 dataset), which outperforms state-of-the-art approaches on the task of automatic Labanotation generation.

The Method of Dance Movement Segmentation and Labanotation Generation Based on Rhythm

Labanotation is a widely used dance recording system, which plays an important role in inheriting and protecting folk dances. However, manual drawing of dance notation is time-consuming and labor-intensive. Therefore, research on the automatic generation of Labanotation has received extensive attention. In this article, a method to automatically generate Labanotation based on motion capture data is proposed. Firstly, in order to facilitate the calculation of the bending angle and motion feature sequences, the BVH-formatted Euler angle data is converted into a sequence of the 3D Cartesian world coordinates according to the analysis of human bones. Secondly, a motion segmentation method based on kinematics features and rhythms is proposed, which can segment different styles of motion into fragments for further identification. Finally, we generate the Labanotation with the platform we developed. Experiments show that our segmentation method has good accuracy in segmenting action sequences, which makes the generated Labanotation more reliable.

Tele-Media-Art:Feasibility Tests of Web-Based Dance Education for the Blind Using Kinect and Sound Synthesis of Motion

Tele-media-art is a web-based asynchronous e-learning platform, enabling blind students to have dance and theatre classes remotely, using low-cost motion tracking technology feasible for home use. Teachers and students submit dance recordings augmented with sound synthesis of their motions. Sound synthesis is generated by processing Kinect motion capture data, enabling blind students to compare the audio feedback of their motions with the audio generated by the teacher's motions. To study the feasibility of this approach, the authors present data on early testing of the prototype, performed with blindfolded users.

Digitization and Visualization of Folk Dances in Cultural Heritage: A Review

According to UNESCO, cultural heritage does not only include monuments and collections of objects, but also contains traditions or living expressions inherited from our ancestors and passed to our descendants. Folk dances represent part of cultural heritage and their preservation for the next generations appears of major importance. Digitization and visualization of folk dances form an increasingly active research area in computer science. In parallel to the rapidly advancing technologies, new ways for learning folk dances are explored, making the digitization and visualization of assorted folk dances for learning purposes using different equipment possible. Along with challenges and limitations, solutions that can assist the learning process and provide the user with meaningful feedback are proposed. In this paper, an overview of the techniques used for the recording of dance moves is presented. The different ways of visualization and giving the feedback to the user are reviewed as well as ways of performance evaluation. This paper reviews advances in digitization and visualization of folk dances from 2000 to 2018.

Korean Traditional Dance Recording Method

Korean Traditional Dance Recording Method

Choreography Sketches as a Representational System of Dance Recording: From M. Petipa to M. Fokine

The author of the article considers one of the most important early stages in the creative process in the work of a choreographer regarding choreographic work associated with iconic detent dance. Through analysis of sketchy graphics created by famous masters such as M. Petipa and M. Fokine, creativity, which evolves from one track to another, is analyzed and an attempt is made to identify and articulate those installations that are suitable for staging work of choreographers. Here the main issues dealt with are the typologies and the common features of visual forms and key scheme and the dance records sign system specific to each of the masters are identified. The essence and associated nodal concepts concerning ways to draw in the act of creating choreographic image and the creative vision for Ballet are traced.

Folding the moment - writing dance: A few sketches on recording dance through time

Abstract The beginnings of ballet as theatrical dance coincide with the beginnings of recording movement, at first in the form of notational systems, which reach their peak at the turn of the nineteenth and twentieth centuries, when it is becoming increasingly evident that dance notation systematization is a utopian task. Each recording of movement proves to be a unique analytical system allowing insights both in movement representations of a certain time and at the same time in the problematic of movement as such. The recording of contemporary dance outside the ballet institution is thus defined primarily with the particularity of own (auto)biographical writing and with education and the establishment of dance schools that see to the preservation of dance languages. Both these moments are important for the development of Slovene contemporary dance; whereas the present recording of dance is entirely subjected to particular patterns of seeing and intellectualisation of the seen.

Book Review: Go-Go Live: The Musical Life and Death of a Chocolate City

Chuck Brown, longtime leader of the Soul Searchers and the widely acknowledged �godfather of go-go�, liked to proclaim: �I created this sound so I could eat. And everyone who plays in this band can eat� (p. 51). Musical innovation is often born out of material necessity, and go-go, a fusion of funk and hip-hop music peculiar to the Washington, DC area, has occupied a significant position in the economic life of black communities within and surrounding the US capital city. Natalie Hopkinson�s Go-Go Live explores the segregated local economy that supports the go-go scene as well as the music�s deep cultural importance to a black urban population living (at least until recently) in the shadow of the White House. For Hopkinson, the largely black-owned infrastructure of go-go � the dance clubs, recordings shops and T-shirt businesses as well as the music�s distinctive aesthetic of live performance � constitutes a uniquely local public sphere that has sustained the city�s black community through bad times and slightly better ones. Scholars from a range of disciplinary backgrounds have examined with growing nuance and insight the relationship between cities, musical practices and community identities. African American and Latin musical traditions have been an especially rewarding site for urban exploration in the USA (see, among many other studies, Campbell, 2004; Forman, 2002; Glasser, 1995; Grazian, 2003; Lewis, 2008; Macias, 2008). Researchers have examined such issues as how racial, ethnic and class divisions within cities have shaped musical production and reception; how the social meanings attributed to music are influenced by urban marketplaces, cultural hierarchies and political projects; and how particular communal or local identities may be enacted through musical �

Sustaining Australia's Indigenous Music and Dance Traditions: The Role of the National Recording Project for Indigenous Performance in Australia

This article examines the National Recording Project for Indigenous Performance in Australia as a dedicated network of Indigenous performers, and allied scholars and curators, to protect and sustain Australia's highly endangered traditions of Indigenous music, dance and ceremonies. The paper examines how the National Recording Project has developed into a community of practice for the making and archiving of Indigenous Australian music and dance recordings in response to Indigenous community agency and concerns, and how its annual Symposium on Indigenous Music and Dance has developed into a unique forum for intercultural exchange. Strategies for this initiative's future growth are identified and explored.

Uni- and Multisensory Brain Areas are Synchronised across Spectators When Watching Unedited Dance Recordings

The superior temporal sulcus (STS) and gyrus (STG) are commonly identified to be functionally relevant for multisensory integration of audiovisual (AV) stimuli. However, most neuroimaging studies on AV integration used stimuli of short duration in explicit evaluative tasks. Importantly though, many of our AV experiences are of a long duration and ambiguous. It is unclear if the enhanced activity in audio, visual, and AV brain areas would also be synchronised over time across subjects when they are exposed to such multisensory stimuli. We used intersubject correlation to investigate which brain areas are synchronised across novices for uni- and multisensory versions of a 6-min 26-s recording of an unfamiliar, unedited Indian dance recording (Bharatanatyam). In Bharatanatyam, music and dance are choreographed together in a highly intermodal-dependent manner. Activity in the middle and posterior STG was significantly correlated between subjects and showed also significant enhancement for AV integration when the functional magnetic resonance signals were contrasted against each other using a general linear model conjunction analysis. These results extend previous studies by showing an intermediate step of synchronisation for novices: while there was a consensus across subjects' brain activity in areas relevant for unisensory processing and AV integration of related audio and visual stimuli, we found no evidence for synchronisation of higher level cognitive processes, suggesting these were idiosyncratic.

Hold on to your dreams: Arthur Russell and the downtown music scene, 1973-1992

Hold On to Your Dreams is the first biography of the musician and composer Arthur Russell, one of the most important but least known contributors to New York’s downtown music scene during the 1970s and 1980s. With the exception of a few dance recordings, including “Is It All Over My Face?” and “Go Bang! #5,” Russell’s pioneering music was largely forgotten until 2004, when the posthumous release of two albums brought new attention to the artist. This revival of interest gained momentum with the issue of additional albums and the documentary film Wild Combination . Based on interviews with more than seventy of his collaborators, family members, and friends, Hold On to Your Dreams provides vital new information about this singular, eccentric musician and his role in the boundary-breaking downtown music scene. Tim Lawrence traces Russell’s odyssey from his hometown of Oskaloosa, Iowa, to countercultural San Francisco, and eventually to New York, where he lived from 1973 until his death from AIDS-related complications in 1992. Resisting definition while dreaming of commercial success, Russell wrote and performed new wave and disco as well as quirky rock, twisted folk, voice-cello dub, and hip-hop-inflected pop. “He was way ahead of other people in understanding that the walls between concert music and popular music and avant-garde music were illusory,” comments the composer Philip Glass. “He lived in a world in which those walls weren’t there.” Lawrence follows Russell across musical genres and through such vital downtown music spaces as the Kitchen, the Loft, the Gallery, the Paradise Garage, and the Experimental Intermedia Foundation. Along the way, he captures Russell’s openness to sound, his commitment to collaboration, and his uncompromising idealism.

The Dances of Doris Humphrey – Creating a Contemporary Perspective through Directorial Interpretation

It has been widely acknowledged that Doris Humphrey and Martha Graham were the two most influential exponents of American modern dance. Graham's work has been the more prominent, in part because she outlived Humphrey by thirty-two years and performed for a much longer period. This does not, however, diminish the influence that Humphrey's work has had on modern dance since her death in 1958. More significant, perhaps, is the influence it can have in the future. Humphrey's legacy includes a certain amount of documentary literature, including her seminal book on the craft of choreography, The Art of Making Dances (1959); photographs and film footage of her dancing and of her dances; and a codified dance technique which is taught on a wider scale now than ever before. The dances, however, need to be performed in the theatre; if they remain as an archive, they may be regarded as such, and the purpose of my work is to illuminate these dances for a contemporary audience. This article will discuss strategies undertaken to develop a perspective on modern dance production, including the significance of style; the search for a living past' drawing on the ideas of R. G. Collingwood; the identification, viewing and interpretation of evidence, including the use of a Labanotation score. The production processes employed by a range of artists involved in reconstruction will be considered, and my own practice positioned in relation to this. The notion of co-authorship will be examined within the contexts of these respective practices, illustrated by examples from recent Humphrey productions. Other performing arts have survived to a large extent through text-based evidence, but there is no immediate parallel existing in dance. A number of notation systems are utilised, including Benesh, Eshkol-Wachman and Labanotation, with the latter serving regularly for the recording of modern dance during the past fifty years. I would suggest that this, or any symbol-based system is not wholly comparable with those existing in music and drama, in part because the score is written by someone other than the choreographer. Despite the developments in Labananalysis, crucial aspects of movement quality and style, which are integral aspects of interpreting a work, are not in evidence within the Humphrey scores I have encountered. This is not a criticism of Labanotation, or other systems, rather a critical observation of notation.