Dance Research Articles

Banyu Atirodra: Transformasi Air Dalam Wujud Tari Kekebyaran

Banyu Atirodra Dance is a dance that takes creative sources from the Siat Yeh cultural event in Banjar Teba, Jimbaran, Badung Regency. Siat Yeh can be divided into two words, siat means war and yeh means water. So Siat Yeh is a war that uses water as its weapon. In the creation of the Banyu Atirodra Dance, the creator made the use of water in this tradition as the basic capital and the trigger for choreographic ideas. Banyu means water and Atirodra means terrible, so Banyu Atirodra is the awesomeness of water that is able to provide prosperity as well as bring harm to humans. In the process of its creation, the creators collaborated with the Bumi Bajra Sandhi Foundation in the Merdeka Belajar-Kampus Merdeka program by taking the form of independent study/project learning.The creation of Banyu Atirodra Dance uses the method of creating Angripta Sasolahan (creating dances) by I Kt. Suteja in the book Catur Asrama Pendakian Spiritual Masyarakat Bali Dalam Sebuah Karya Tari. This book describes the five stages of creation, including ngarencana (planning), nuasen (prayer procession), makalin (improvisation), nelesin (formation) and ngebah (premier performance). The Banyu Atirodra dance is a subtle male dance (kekebyaran) performed in groups with the dance structure consisting of four parts that last 11 minutes. The dance music uses Gamelan Gong Kebyar components such as gong, klenong, kajar, kecek, kendang and flutes. Using minimalist (natural) make-up with white nuances, consisting of white trousers, white belt (stagen), don girang and white kancut (lelancingan). The creator hopes that the values contained in this work can be implemented in social life, especially in the use of water which is very crucial for life

Strength and conditioning in dance: A systematic review and meta-analysis.

To assess the evidence for the effect of strength and conditioning on physical qualities and aesthetic competence in dance populations, three electronic databases (PubMed, Scopus, SPORTDiscus) were searched (until September 2022) for studies that met the following criteria: (i) dancers aged >16years; (ii) structured strength and conditioning intervention; and (iii) with physical qualities and aesthetic competence as outcome measures. Methodological quality and risk of bias of the included studies were assessed through the systematic review tool "QualSyst". Meta-analyses of effect sizes (Hedges' g) with forest plots explored the effects of the strength and conditioning interventions. Thirty-six studies met the inclusion criteria and were included in this review. Meta-analysis indicated strength and conditioning significantly (p<0.05) improved lower body power (g=0.90, 95% CI: 0.53-1.27), upper body strength (g=0.98, 95% CI: 0.39-1.57), lower body strength (g=1.59, 95% CI: 0.97-2.22), and flexibility (g=0.86, 95% CI: 0.05-1.66). Strength and conditioning interventions were found to be effective at improving physical qualities in dancers, recommending their participation in additional sessions to enhance overall fitness and ultimately dance performance. It is recommended that future strength and conditioning intervention research should include sample size calculations, with participants recruited from a specific dance genre and skill level in order to evaluate how strength and conditioning influences dance performance.

Perspectives of Ballet Dancers on Causes of Their Injuries and Implementation of Injury Preventive Measures by Ballet Teachers and Masters.

Ballet dancers have a high injury risk. We aimed to gain insight into the causes for acute and overuse injuries in ballet dancers and the level of implementation of injury prevention by ballet teachers/masters, as perceived by dancers. An international cross-sectional online-survey was based on the Fit-to-Dance Questionnaire and literature. Adult amateur, pre-professional, and professional ballet dancers reported the perceived causes of their injuries sustained in the previous 2 years. Multiple answers per injury were possible. Also, dancers rated the level of implementation of measures to prevent injury by their ballet teachers and ballet masters based on 21 items using a 5-point Likert scale. Causes were analyzed per-injury as well as per-dancer. 188 ballet ensembles and 51 dance organizations were contacted, from which 192 ballet dancers (mean age 27 ±7.8 yrs, 83% females) responded. 119 dancers (62%) reported 203 acute and 164 (85%) reported 469 overuse injuries. Fatigue was the most frequently perceived cause for acute injuries in the per-injury (n=89, 43.8%) and per-dancer analysis (n=63, 32.8%). For overuse injuries, pressure from the teacher/master was most frequently perceived as cause in the per-injury analysis (n=240, 51.2%), specifically in pre-/professional dancers (n=233, 61.3%). In the per-dancer analysis, fatigue/overtraining scored highest for overuse injuries (n=107; 55.7%). Other causes were previous/repetitive injuries (acute-per-injury 26.1%, acute-per-dancer 22.4%; overuse-per-injury 46.3%, overuse-per-dancer 53.1%) or erroneous dance technique (acute-per-injury 24.6%, acute-per-dancer 21.9%; overuse-per-injury 47.8%, overuse-per-dancer 45.3%). With regard to perceived level of implementation of injury preventive measures by ballet teachers/masters to prevent musculoskeletal injuries, 2 items received high ratings, 12 moderate ratings and 6 low ratings. Fatigue and pressure accounted for the majority of perceived causes for injuries. Perceived support by ballet teachers/masters regarding injury prevention was moderate to low. Future research should focus on the awareness, attitudes, and the important role of ballet teachers/masters for injury prevention in dancers.

Body checking and avoidance among dancers

Dancers are at heightened risk for eating disorders (EDs) and have job and training demands that obscure ED assessment and likely impede treatment. Two behavioral manifestations of ED psychopathology that may present uniquely in a dance environment are body checking and body avoidance. The current study sought to provide a foundational understanding of the phenomenology of body checking and avoidance among dancers by assessing the reliability (i.e., internal consistency) of existing body checking and avoidance measures and the relationships, or convergent validity, between measures of body checking and avoidance and measures of related constructs. Eighty professional and pre-professional (i.e., conservatory level) dancers (78.8 % female) from seven dance genres completed self-report measures of body checking and avoidance, ED pathology, clinical perfectionism, depression, and anxiety. Across the dancer sample, body checking and avoidance measures demonstrated adequate internal consistency. More frequent body checking and body avoidance was strongly related to higher levels of ED pathology. There were moderate to strong correlations between body checking and body avoidance and clinical perfectionism, depression, and anxiety such that higher body checking and body avoidance was related to higher clinical perfectionism, depression, and anxiety. Exploratory analyses found no significant differences between ballet dancers and dancers of other dance genres; professional dancers scored in the normative range on measures of body checking and body avoidance. Dancers' qualitative descriptions of body checking and avoidance revealed behaviors not included in existing questionnaires, such as unique mirror use behaviors, technology-assisted body checking, and the checking and avoidance of body parts relevant to the dance-specific body ideal. Results support the inclusion of body checking and avoidance interventions in ED treatments for dancers (particularly pre-professional dancers) and emphasize the need for dancer-specific ED assessment methods.

Dirty dancing: Gender, aging, and sexuality during Hong Kong’s COVID-19 pandemic

Why did certain COVID-19 infections in Hong Kong attract more media scrutiny than others during the pandemic? We systematically compare media and social media responses to different clusters of infection that emerged during Hong Kong’s COVID-19 pandemic. Drawing on Susan Sontag’s (2009) essay, Illness as Metaphor, we argue that the media preoccupation with Hong Kong’s Fourth Wave COVID-19 infections was not so much concerned with the science and epidemiology of the virus, but instead resonated with deeply held anxieties about gender, aging, and sexuality in the city. Specifically, we describe how women who attended ballroom dance studios during this outbreak were targeted by mainstream and social media for transgressing traditional gender roles: abandoning their husbands and purchasing intimacy with younger and less wealthy male dance instructors. We explore the implications of this “gendering” (and its intersections with social class and ageism) for health communication and public policy in the way that it disproportionately attributed blame for the outbreak on the women and denigrated an important recreation in the city.

How expressive ties energize competitive performance in DanceSport dyads: unraveling the role of athlete engagement in an innovatively applied actor-partner interdependence mediation model.

This study explores the significant impact of expressive ties (EI) between DanceSport couples on their competitive performance (CP). Utilizing a dyadic approach, we examined the performance achievement processes of DanceSport couples in relation to their EI. Participants comprised 67 dyads of Chinese elite dancers aged between 16 and 30 years. The dyadic analysis was carried out using a structural equation model based on the actor-partner interdependence mediation model. With regard to actor effects, both male (β = 0.292, p = 0.012) and female (β = 0.443, p < 0.001) dancers' perceived quality of EI had a positive correlation with CP. The males' athlete engagement (AE) partially mediated the impact of EI on CP [indirect effect = 0.144, SE = 0.072, 95% confidence intervals (CI) = 0.020, 0.283]. Regarding partner effects, females' perceived EI quality positively influenced the male's CP (β = 0.26, p = 0.023) and mediated this association through the male's AE [indirect effect = 0.086, SE = 0.041, 95% confidence intervals (CI) = 0.003, 0.149]. Similarly, the females' AE mediated the effect of males' perceived EI quality on the females' CP [indirect effect = 0.152, SE = 0.074, 95% confidence intervals (CI) =0.002, 0.256]. We not only validated the propositions of the self-determination theory but also provided valuable insights to further enrich it. Our findings underscore that self-determination theory must account for individual gender characteristics.

Computational kinematics of dance: distinguishing hip hop genres.

Dance plays a vital role in human societies across time and culture, with different communities having invented different systems for artistic expression through movement (genres). Differences between genres can be described by experts in words and movements, but these descriptions can only be appreciated by people with certain background abilities. Existing dance notation schemes could be applied to describe genre-differences, however they fall substantially short of being able to capture the important details of movement across a wide spectrum of genres. Our knowledge and practice around dance would benefit from a general, quantitative and human-understandable method of characterizing meaningful differences between aspects of any dance style; a computational kinematics of dance. Here we introduce and apply a novel system for encoding bodily movement as 17 macroscopic, interpretable features, such as expandedness of the body or the frequency of sharp movements. We use this encoding to analyze Hip Hop Dance genres, in part by building a low-cost machine-learning classifier that distinguishes genre with high accuracy. Our study relies on an open dataset (AIST++) of pose-sequences from dancers instructed to perform one of ten Hip Hop genres, such as Breakdance, Popping, or Krump. For comparison we evaluate moderately experienced human observers at discerning these sequence's genres from movements alone (38% where chance = 10%). The performance of a baseline, Ridge classifier model was fair (48%) and that of the model resulting from our automated machine learning pipeline was strong (76%). This indicates that the selected features represent important dimensions of movement for the expression of the attitudes, stories, and aesthetic values manifested in these dance forms. Our study offers a new window into significant relations of similarity and difference between the genres studied. Given the rich, complex, and culturally shaped nature of these genres, the interpretability of our features, and the lightweight techniques used, our approach has significant potential for generalization to other movement domains and movement-related applications.

Biomechanical Comparison of Pediatric Female Ballet Dancers With and Without Pain

BACKGROUND: Across all genres of dance, studies have reported musculoskeletal injury in 20-84% of dancers with 95% reporting a history of musculoskeletal pain. Compared to other dance styles, ballet dancers specifically are most affected by musculoskeletal injuries. The purpose of this study is to compare movement patterns and muscle activity in pediatric female pre-professional dancers with and without self- reported pain, using the Patient-Reported Outcomes Measurement Information System pediatric numeric rating scale. We hypothesize dancers reporting pain will exhibit compensatory strategies, such as asymmetrical movement patterns and muscle activity, across a series of ballet movements. METHODS: A total of 55 female ballet dancers who train en pointe were seen for testing (age 14.4±1.9 years), with 34 dancers (62%) self-reported pain in the 7 days preceding testing. Biomechanical testing, performed in pointe shoes, included performance of static (5 classical ballet positions) and dynamic ballet movements (développé, arabesqué and grand jeté) while instrumented with surface electromyography (EMG) to capture muscle activity and inertial measurement (IMU) dual sensors on the trunk and lower extremities to capture movement patterns. The experimental setup allowed for measurement of trunk and lower extremity muscle activity, as well as trunk, hip, knee, and ankle joint angles in the sagittal, coronal, and transverse planes. Student’s t-test was used to compare the pain and no pain groups across all variables with statistical significance set to α=0.05. RESULTS: Movement patterns and EMG differences were seen between groups. During first and third positions, the right (non-barre sided) leg demonstrated less external knee rotation in the pain group (p≤0.05). In fifth position, the left (barre-sided) leg exhibited increased ankle flexion (p=0.048), reduced hip abduction (p=0.027), and reduced knee adduction (p=0.026) in the pain group. The pain group exhibited decreased trunk flexion/extension range-of-motion during the grand jeté (p=0.004), and increased trunk rotation range-of-motion when performing the arabesqué en pointe (p=0.034). Rectus femoris activation was reduced for the pain group on the left leg in fifth position (p&lt;0.03). The up leg in the pain group during the développé (flat) showed increased hamstring activation (p=0.04). CONCLUSION: Ballet dancers with pain exhibited differences in movement patterns while performing certain ballet movements, notably during fifth position, grand jeté, and arabesqué (en pointe). Additionally, dancers with pain exhibited reduced rectus femoris activation in fifth position and increased hamstring activation on the working leg during the développé (flat). Future work should investigate how movement patterns and muscle activation in ballet dancers vary by location and severity of reported pain.

Genesis of Poetry and Heroic Epic

The article conducts a scientific analysis of the origin of poetry. On this issue, scientific examinations of opinions were carried out in works published at different times, and general patterns of the emergence of art as a whole were analyzed. Based on the research of scientists, an analysis is carried out of the manifestation of everyday needs and fantasies of man in the early era, which were prerequisites for the birth and formation of arts, including poetry. It is scientifically postulated that collective labor actions during primitive community construction, superstitions committed during the departure of hunters as a result of strong fear from the mysterious forces of nature, actions during the period of expulsion of harmful dark forces caused the rhythm of dance and melody. It is concluded that over time, these rhythms and melodies gave rise to initial samples of poetry. The genesis of the Kazakh heroic epic is associated with the emergence of poems. Poems of praise to hunters, forms of poetry reflecting heroic campaigns, served as the basis for the birth of epic. An analysis of works related to personalities who created early poetic samples and a heroic epic was carried out. In Kazakh folklore, conclusions related to the history of the emergence and formation of types of shaman (bucks) and storyteller (zhyrau) are differentiated. The attitude of bucks and zhyrau to the formation and development of the heroic epic is comprehensively analyzed and generalized scientifically.

PEMANFAATAN ESTIMASI POSE GERAK PADA PENARI TRANCE DALAM RITUAL ADAT NGALAKSA

This research aims detected the motions poses of trance dancers as a computer vision model in the trance dancers performing arts. The annual ceremonies of the Ngalaksa ritual and the Tarawangsa art as cultural traditions in Rancakalong Tourism Village, located in Sumedang, West Java. This ritual serves as a reverent to the Rice Goddess, with the farmers engaging in ceremonial processions and traditional Ngalaksa rites. Accompanied by the melodic strains of Tarawangsa music, participants dancing in rhythmic dance, some even entering trance states. On the other hand, the advancement of artificial intelligence technology is rapid. This research used machine learning for detecting the motion poses of dancers experiencing trance. The research endeavors to discern motion poses within trance dancers during Ngalaksa rituals for understanding the dynamics motion of traditional Ngalaksa rituals. Machine learning methods applied particularly computer vision utilizing GluonCV model. The study analyzes a dataset comprising motion poses of dancers in Rancakalong Village. Data gathering involves firsthand observation, field participation, and in-depth interviews with informans, including Saehu, dancers and Arak-Arakan participants. The research findings show the accuracy of pose estimation within the Ngalaksa ritual, though refinement of detection models for both trance and non-trance dancers warrants further research.

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.

Single-Leg Heel Raise Capacity is Lower, and Perceived Ankle Instability is Greater, in Dancers and Athletes With Posterior Ankle Impingement Syndrome.

To compare clinical assessment findings between elite athletic populations with and without a clinical diagnosis of posterior ankle impingement syndrome (PAIS). Cross-sectional case-control study. Elite ballet and sport. Ten male and female professional ballet dancers and athletes with a clinical diagnosis of PAIS and were matched for age, sex, and activity to 10 professional ballet dancers and athletes without PAIS. Posterior ankle pain on body chart and a positive ankle plantarflexion pain provocation test. Single-leg heel raise (SLHR) endurance test, range of motion testing for weight-bearing ankle dorsiflexion, passive ankle plantarflexion, and first metatarsophalangeal joint dorsiflexion, and Beighton score for generalized joint hypermobility. Participants also completed the Cumberland Ankle Instability Tool (CAIT) questionnaire. The group with PAIS achieved significantly fewer repetitions on SLHR capacity testing ( P = 0.02) and were more symptomatic for perceived ankle instability according to CAIT scores ( P = 0.004). Single-leg heel raise endurance capacity was lower, and perceived ankle instability was greater in participants with PAIS. The management of this presentation in elite dancers and athletes should include the assessment and management of functional deficits.

An Exploration of Low Back Beliefs of Male Pre-Professional and Professional Dancers.

Globally, male dancers are affected by low back pain (LBP) up to 2.5 times more than female dancers. While female dancers' beliefs around LBP and dance-specific low back movements exist, no research has explored male dancers' beliefs. This study aimed to (1) examine the low back beliefs of Australian male professional and pre-professional dancers, and (2) determine if beliefs toward common low back movements and lifting differed when current LBP or history of disabling LBP (DLBP) were considered. 40 male dancers (mean age [SD] 26.9 years [7.9]) from a range of dance backgrounds (all participating in ballet) were recruited to complete a cross-sectional survey comprising a beliefs questionnaire considering dance-specific movement and lifting tasks, the Back Pain Attitudes Questionnaire (Back-PAQ) and the Athletic Fear Avoidance Questionnaire (AFAQ). Primary analysis included initial descriptives, a repeated measures ANOVA for movement-specific beliefs and visual thematic analysis for written responses within the belief's questionnaire. Secondary subgroup analysis included independent T-tests for those with/without current LBP and those with/without a history of DLBP. Fourteen dancers reported current LBP and 30 reported a history of DLBP. Dancers held generally negative beliefs toward the low back (Back-PAQ mean 123.1 ± 9.7) with neither subgroup demonstrating significant between-group difference (P < .05). Dance-specific flexion movements were seen as safer than extension movements (P < .05), and more extended-spine lifting was seen as safer than more flexed-spine lifting (P < .05). Dancers experiencing current LBP held less positive beliefs surrounding some dance-specific movements. Dancers hold negative general beliefs toward the low back irrespective of current or historical DLBP, however their beliefs surrounding dance-specific movements were relatively positive. Dancers' beliefs surrounding some movements were affected by the presence of current LBP, in particular an arabesque and a fish dive.

Translation, cross-cultural adaptation, reliability and validity of the Brazilian Portuguese version of the ‘Fit to Dance?’ survey

BackgroundThe ‘Fit to Dance?’ survey has been used in a number of studies to understand the health and wellbeing of dancers. These data have not been collected in Brazil as there is no validated questionnaire available in Brazilian Portuguese, culturally validated in Brazil with a scope as broad and comprehensive as that of ‘Fit to Dance?‘. ObjectiveTranslate into Brazilian Portuguese and culturally validate the questionnaire ‘Fit to Dance?’ in Brazil. MethodsThis was a validity and reliability study of the Brazilian Portuguese version of the ‘Fit to Dance?’ Survey. The stages of the research were: translation into the target language (Brazilian Portuguese), translation synthesis, translation validation and cross-cultural adaptation by a committee of experts in Dance Medicine and Science (DMS), reverse translation into English, pilot study (test/retest), and final version of the questionnaire. ResultsThe questionnaire was applied to 21 dancers of different dance genres, with an age average of 25 ± 7.0 years. Cronbach's alpha (0.705), ICC (0.984) and Kappa (0.794) results reached adequate values. ConclusionThe Brazilian Portuguese version of the questionnaire ‘Fit to Dance?’ is effective, has adequate levels of validity and reliability, and can be used to report injuries and aspects of health and well-being of Brazilian dancers.

POEM IN MOTION: A UNIQUE BLEND OF EAST AND WEST IN SANDHYA RAJU’S PERFORMANCE POETRY OF MAYA ANGELOU’S POEM ‘PHENOMENAL WOMAN’

Dance is an ancient, universal art form that stirs the souls of the performer as well as the admirers. Dance has the power to heal, nourish, teach, and spread joy and peace. In India, a multicultural and multilingual country, innumerable folk, and classical dance forms have flourished and continue to be practised across villages, towns, and cities. Religious festivals, cultural gatherings, social movements, and youth programmes are incomplete without the rhythm and beauty of music and dance. On Feb 2, 2022, the eminent Kuchipudi danseuse Sandhya Raju launched a terpsichorean rendition of the famous poem ‘Phenomenal Woman’ written by the American poet and activist Maya Angelou and published in 1978, as a tribute to the former’s mother on her birthday. Raju, with her co-dancers from the Aayana Dance Company, made a creative interpretation of the poet’s powerful words, while adding a verse of her own which in turn emphasised the concepts of inner strength of a woman and the depth of mother-daughter bonding. The choreography largely borrows from Kuchipudi, a dance form with its origin in an eponymous village in Andhra Pradesh and founded in the classical Sanskrit treatise Natya Sastra. Angelou’s emphatic paean to the confidence and inner beauty of the woman fuses with the Indian performance art form to weave a mesmerising visual-aural experience to the viewer, bringing in an East-West blend that surpasses the boundaries of language, culture, and race.

ANALYSIS ON THE STRUCTURE OF TRADITIONAL DANCE MAENGKET

This research aims to explore the musical structure of Maengket Art, a performing arts tradition in Kaweng village, Kakas sub-district, Minahasa district. Maengket art is typically performed in harvest ceremonies as a form of expression of gratitude and joy towards God for the harvest obtained by the local community. Maengket art performances generally involve many dancers and involve both male and female dancers dancing in pairs. Maengket art is divided into three main parts, namely Maowey Kamberu, Marambak, and Lalayaan. The choice of the title of this research was based on the researcher's interest in the musical structure of Maengket Art songs, especially those that take place in Kaweng village, Kakas sub-district. The research method used is descriptive qualitative with data collection techniques through observation, interviews and documentation. The validity of the data is checked carefully, then the data is analyzed through reduction, presentation and verification processes. The results of the research show that in Kaweng village, Kakas subdistrict, Minahasa district, there is a Maengket Art group which has been established since 1968. This Maengket Art adopts Toulour literature as an integral part of their performances. Chapters of Maengket Art in Kaweng village, such as Maowey Kamberu, Marambak, and Lalayaan, depict various aspects of local community life. Maowey Kamberu expressed his gratitude for the abundant harvest, Marambak highlighted the spirit of mutual cooperation in the housewarming ceremony, while Lalayaan described the interactions between Minahasan youth in looking for a soul mate or social relationships in the past.

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.

Iranian classical dance as a subject for empirical research: Anelusive genre.

Dance has entered mainstream empirical research: dance as an experimental stimulus, and dancers as movement experts. Informed by several sources, including primary sources (original, historical documents, and oral reports, such as interviews with practitioners and academic scholars of Iranian dance genres) and secondary sources (research literature), we describe what we label "Iranian classical dance" within this paper as an important resource for empirical research, not only in humanities scholarship but also, and importantly, for empirical aesthetics, emotion psychology, cross-cultural psychology, and affective neuroscience. For this purpose, we (1) describe the aesthetics, characteristics, and history of Iranian classical dance; (2) outline issues of definition and systematization; and (3) give an overview of the cultural complexities and sociopolitical issues regarding Iranian classical dance in the past 40 years, which have shaped its current form. After the political revolution of 1979 (Iranian solar calendar year: 1358), dance in Iran-both as everyday practice and as a cultural heritage-was first forbidden, and now remains heavily restricted. International, interdisciplinary research teams can contribute to safeguarding Iranian classical dance in the future by firmly enshrining it into empirical research on human dance. We outline empirical research perspectives on Iranian classical dance, dataset resources, and expert communities.

Evaluating Body Rhythm Elements as Applied in Classical Dance Teaching Topic for Thesis

Focusing on the application of rhythm in Chinese classical dance, this article deeply explores the importance of rhythm in Chinese classical dance by analyzing its expressive forms and artistic effects. The article first analyzes the characteristics of rhythm in Chinese classical dance, including diversity, hierarchy, and close integration with music. Furthermore, this article elaborates on the role of rhythm in shaping dance images, expressing themes, and guiding audience emotions, revealing how rhythm enhances dance expression through change and control. In addition, the article also explores how dancers can enhance their dance skills and artistic appeal by accurately grasping and applying rhythm.

DYNAMICS OF RHYTHM – THE TĀLA DAŚA PRĀṆA-S IN BHARATA NATYAM

Rhythm has been very closely associated with mankind ever since primitive times. Man felt the need for rhythmic impulses in order to co-ordinate his emotional movements. The simple sounds created naturally and consciously with the help of his body were man’s first attempts at the manifestation of rhythm – his first attempts to create pre-instrumental music. Rhythm is innate in nature. Universe will cease to function if the activities become arrhythmic. All activities- visible and non-visible adhere to the principle of rhythm. Rhythm is governed by the concept of speed or tempo. This is visible in both ordinary life as well as in the arts. Both plastic as well as performing arts are governed by rhythm. Especially in music and dance, rhythm becomes its very soul and reason for existence. Rhythm in dance is also governed by the body movements. This concept of rhythm has been deeply and minutely explored in music, which has given rise to the concept of the ten elements of musical time or tāladaśaprāṇa-s. The present paper is a study of the concept of ‘tāla’ in relation to its ten vital aspects. Each element is defined and explored from the perspective of Indian classical dance, namely, Bharata Natyam. Particular emphasis is given to the element- ‘yati’ by studying it from the practical aspect of Bharata Natyam.