Dance Studio Research Articles

Organizational Culture in Cultural Organizations in East Java

Purpose: To study and analyze cultural values, interaction, communication, and factors that influence the formation of a strong organizational culture in dance studios in East Java. The objectives of this study also include providing a better understanding of the cultural dynamics of dance studios, contributing to the development of policies and management strategies for cultural organizations, as well as providing input and recommendations to the government, communities, and cultural actors in East Java.
 Design: This research uses a qualitative approach by involving data collection through interviews, observations, and documentation studies. The collected data is analyzed in depth with a qualitative approach, through data coding, pattern identification, key findings, and emerging themes. The validity and reliability of the study are guaranteed through data triangulation, peer examination, and discussion with cultural experts or related experts.
 Findings: The results of this study reveal various cultural values embraced by dance studios in East Java, such as gotong royong, local wisdom, the spirit of collaboration, and respect for traditions and customs. These values become a strong foundation for carrying out cultural activities and provide a strong identity for dance studios in East Java. The study also observed that interactions between dance studio members in East Java were characterized by mutual respect, support, and cooperation. Effective and open communication is an important factor in maintaining harmony and smooth cooperation in the dance studio. The success of dance studios in East Java in carrying out cultural tasks and functions depends heavily on the ability of members to interact, communicate, and work together synergistically. In addition, this study identifies several factors that influence the formation of a strong organizational culture, such as inspiring leadership, organizational commitment to culture, recognition of individual contributions, and culture-oriented human resource development practices. These factors play a role in creating an organizational environment that nurtures and encourages a positive and strong culture.
 Practical implications: This research is expected to provide a deep understanding of organizational culture in dance studios in East Java, as well as contribute to the development of policies and management practices of cultural organizations in the region. The research results will be presented in a structured research report and disseminated to the government, society, cultural actors, and other related parties.
 Paper type: Research paper

Media Learning About the Structure of Movement in the Gunungsari Mask Dance of Tumpang District

This study examines the structure of the Gunungsari mask dance movement at the Setyo Utomo dance dtudio in Glagahdowo hamlet, which in its development is rarely in demand by the younger generation because of the rare material and rarely exposed. This research can be used as a new insight in traditional dance vocational studies. The Gunungsari mask dance has a characteristic in every movement that must be introduced to the wider community, especially to students. The authors aim to describe the structure of the Gunungsari mask dance movement which can be used as an introduction to the arts of the Tumpang area for SMPN 1 Tumpang. The research method was used in the form of a descriptive qualitative approach. The research data was obtained through observation to determine the structure of movement in the dance, while interviews were conducted with four different speakers. The documentation technique was carried out using previous documents regarding the structure of the Gunungsari mask dance movement at the Setyo Utomo dance studio in Glagahdowo hamlet. The results of this study show that the motion structure of the dance is divided into three parts, namely the opening motion (which begins with the Mentang Gendewa movement), the core motion (starting with the Singget Mundur Kebyok Ghelap movement), and the closing motion (starting with the Backward Singget movement). It is hoped that this research can be used as one of the learning materials, as well as a reference to add insight to the vocational dances of the Malang area.
 Keywords: motion structure, Gunungsari mask dance, learning media

The Performative Power of Architecture. Anna’s Halprin’s Dance Deck as the Source of her “Transformational Dance”


 
 
 This paper aims at investigating the intertwining between dance and architecture by taking as a case study the dance of Anna Halprin (1920-2021), whose character of rupture with modern dance contributes to the questioning of dance codes and conventions that essentially informs western contemporary dance. After a presentation of Anna’s intention to strengthen dance’s function of transforming people’s lives by restoring the original link between dance and nature, we will show how this intention leverages the ritual, essentially performative dimension of dancing. After underlining, with Alberto Pérez-Gómez, the original link between architecture and ritual understood as an action of displaying – rather than imposing – a pre-existing meaning and opening up to its unfolding, we will emphasise how the outdoor dance studio built for Anna by her husband, the urban architect and landscape planner Lawrence Halprin (1916-2009), invites to take up this action. The notion of lived corporeity developed by Hermann Schmitz in his “New Phenomenology” (1965), and that of “atmospheric affordances” (Griffero 2013), will allow us to show that dancing on this studio triggers an “exploratory” attitude of unprecedented ways of moving and interacting with one’s own surroundings by virtue of the everchanging interaction between architectural, meteorological and natural elements provided by this space. Finally, the conception of “material performativity” (Dalmasso 2020) will bring out that the transformative capacity of dance derives precisely from its ability to grasp and differentially decline the performative process of mutual constitution and influence between human and non-human entities.
 
 

Perceptions and Attitudes Toward the Use of Wearable Technology in the Dance Studio Environment.

Introduction: Wearable technology (WT) has become common place in sport. Increased affordability has allowed WT to reach the wrists and bodies of grassroots and community athletes. While WT is commonly used by sport populations to monitor training load, the use of WT among dancers and dance teachers is unknown. Therefore, the purpose of this study is to explore the perspectives of dancers, dance teachers, and dance parents on using WT in the dance studio environment. Methods: Dancers (aged 14+), dance teachers (aged 18+), and dance parents (with a child <18 years registered in a dance program) were recruited from local dance studios (including those offering vocational programs and/or professional training opportunities), and dance retail stores. Participants provided informed consent/assent and completed a one-time online survey about their attitudes, self-efficacy, motivations, barriers, and current practices of using WT in the studio. Results: Sixty-seven participants (19 dancers, 32 dance teachers, and 16 dance parents) completed the survey. Attitudes toward using WT were similar across all groups (mean score range = 34-38/45). Thirteen dancers (68%), 29 teachers (91%), and 7 dance parents reporting on behalf of their children (47%) were permitted to use WT in the studio. Smartwatches were the most common WT used in the studio by dancers (7/9) and teachers (13/17), while dance parents reported that their children primarily used wristband activity trackers (3/4). Among all groups, the primary reason for using WT was to track personalized training data, with calories, total duration, and heart rate being the most important perceived metrics for improving dancing. Conclusion: Across all groups, attitudes toward WT were modest. Prevalence of WT use in the dance studio varied, with wrist-based gadgets being the most common. As WT research continues in dance populations, it will be important for future studies to consider studio permissions as well as participants' existing WT use practices.

Negotiating Cancer and Masculinities in Dance Education: Narratives of Discovery from Recovery

ABSTRACT This collaborative duoethnography explores autobiographical accounts of two male-identifying dance educators living with/through cancer. The authors generate and analyze two dominant themes—of cancer-specific recovery and life-centered discovery—in relation to their embodied and discursive constructions of masculinity and their shifting identities as male dance educators confronting and resisting societal gender norms. These shifts include the recovery of health and the recovery of perspective in which the authors also elucidate the discovery of previously unacknowledged and unknown aspects of self, the discovery of new avenues of professional fulfillment, and the adaptation of working practices. The article reveals that male dance educators engage in a range of complex negotiations with their masculinity, which is variously shown to be, at times, diminished, fragile, reproductive, recuperative, and subverted, as well as contextually contingent. Calls are made for greater support for dance educators living with/through cancer from formal institutional assistance provided by conservatories, universities, dance studios, and organizations, as well as informal networks of well-being support from the dance education profession itself.

Visual Identity for Gong Production Malang

Amidst of nowadays hustle and bustle society, organizing and managing an event is such a tiresome work. Not everyone are able to organize and manage their own events. Then there comes an event organizer service. But the event organizer services are also increasingly widespread, so there must be a identity as differentiator in order to be known in the public. An example is a visual Identity. Gong Production Malang as agency that recently established an event organizer service from traditional dance studio requires visual identity. These visual identities are logo, stationery kits, publication media in the such as banner, x-banner and Instagram feeds, uniform t-shirts and key chain accessories. Aside from being a differentiator, the existence of a visual identity also makes Gong production Malang looks professional and considerable by most people.. It was proven by validation results that shows percentage of 82,58%, which means it was quite successful.

A feasibility study on establishing a dance studio “emotion dance studio’’ in San Jose, Occidental Mindoro

A feasibility study on establishing a dance studio “emotion dance studio’’ in San Jose, Occidental Mindoro

Investigating the implementation of Panji culture-based cultural entrepreneurship

Purpose — This study aims to explore the implementation of Panji culture-based cultural entrepreneurship.Method — This study used a qualitative method, gathering primary data through interviews with Panji mask dance artists and experts at Sanggar Tari Asmorobangun, Panji museum in Malang, and Gubug Wayang Museum in Mojokerto. Secondary data was obtained from relevant literature.Result — The implementation of Panji cultural entrepreneurship involves various aspects such as museums showcasing Panji masks and artifacts, the integration of Panji performances in dance studios and art galleries, and the promotion of Panji culture through handicrafts. These initiatives aim to preserve and promote Panji culture, educate younger generations, attract tourists, and contribute to the creative economy in Indonesia.Contribution — This study contributes by discussing the implementation of Panji culture-based cultural entrepreneurship, filling a research gap in the literature and providing insights into the strategies and initiatives employed in preserving and promoting Panji culture.

Dance Participation during the COVID-19 Pandemic: Experiences of Older Adult Dance Studio Members

This phenomenological study explored the effects of COVID-19’s stay-at-home order on dance participation. Nine dance studio members, 60+ age, shared their lived experiences through semi-structured interviews. Interviews were transcribed and thematic analysis was conducted. Four themes emerged: Occupational disruption resulted from the loss of routine with sudden adaptation; virtual dance contributed positively to physical and emotional well-being; expanded virtual community addressed feelings of isolation and loneliness; and a positive outlook and hopefulness for future in-person dance. Themes underscore the importance of dance for older adults and the need to address physical, emotional, and social factors associated with un-predicted future pandemics.

Identification of Motivation and Self-Actualization Dance Studio Students

Student’s motivation in participating in dance lessons in a dance studio can determine the success of the learning process. This study aims to identify the motivation and self-actualization of dance studio students. Research respondents are 220 dance studio students from Denpasar and Buleleng Bali. The research was conducted using a questionnaire distributed through the google form application. The questionnaire consists of 8 question items with predetermined answer choices. The results of the study indicate that hobbies are the main reason for students to choose dance. The self-actualization of students is shown to be sufficient for them to be involved in dance performances.

Dance and the Violated Body: Trauma-Informed Frameworks for Dance in Non-Clinical Settings

ABSTRACT Little is known about how individuals with histories of sexual trauma experience dance in non-clinical settings. Dance educators outside of the clinical sphere, such as in dance studios and higher education dance programs, may lack knowledge surrounding how the experience(s) of sexual trauma can alter one’s movement and involvement in the dance space. Although a growing body of research exists, specific guidelines for developing a trauma-informed curriculum are needed. This study utilized 21 qualitative interviews with dancers who had experienced sexual violence to explore how various Western dance styles intersect with their sense of mind-body connection, agency, and bodily autonomy. We explore how these dancers describe their understanding of empowerment, relationship to space, bodily disconnect, and kinesthetic perceptions, both pre- and post-trauma. Results indicate a distinct discomfort and pulling away from the body for dancers, followed by a regained sense of safety in movement when accompanied by trauma-informed atmospheres and curricula. Guidelines for establishing a trauma-informed curriculum are provided.

Dancing on the inside: A qualitative study on online dance learning with teacher-AI cooperation.

Recent technologies have extended opportunities for online dance learning by overcoming the limitations of space and time. However, dance teachers report that student-teacher interaction is more likely to be challenging in a distant and asynchronous learning environment than in a conventional dance class, such as a dance studio. To address this issue, we introduce DancingInside, an online dance learning system that encourages a beginner to learn dance by providing timely and sufficient feedback based on Teacher-AI cooperation. The proposed system incorporates an AI-based tutor agent(AI tutor, in short) that uses a 2D pose estimation approach to quantitatively estimate the similarity between a learner's and teacher's performance. We conducted a two-week user study with 11 students and 4 teachers. Our qualitative study results highlight that the AI tutor in DancingInside could support the reflection on a learner's practice and helpthe performance improvement withmultimodal feedback resources. The interview results also revealthat the human teacher's role isessential in complementing the AI feedback. We discuss our design and suggest potential implications for future AI-supported cooperative dance learning systems.

Breathing Room: Working Principles of Independent Art Spaces in African Cities

Breathing Room: Working Principles of Independent Art Spaces in African Cities

PELATIHAN KEWIRAUSAHAAN BAGI GENERASI MUDA DAN IBU-IBU DESA WIDANG KABUPATEN TUBAN DALAM UPAYA PENGUATAN POTENSI DESA

The majority of people in Banjar, Tuban, have a lifelihood as farmers. The daily lives of residents depend on their husband’s income. The younger generation is not interested in the agricultural sector, while mothers only act as housewives, so there is no improvement in the community’s economy. Banjar village has the potential for productive human resources between the housewive and younger generation. Based on these conditions, the purpose of implementing this community service is to motivate and increase the entrepreneur spirit that can lift the village’s potential through the mothers and younger generation who are members of the Pembinaan Kesejahteraan Keluarga (PKK) and Karang Taruna. Through the training, community service acitivites are carried out by providing sewing training for a group of mothers, while dance training for children is managed by one of the dance studio in the village. Both activities received a good enthusiasm based on the results of the evaluation through questionnaires and direct observation. Creative innovation in sewing and dancing can increase the people’s economy. The sustainability of this acitivity is the use of social media as a part of technology to market the innovative of residents.

Pendidikan Multikultural: Membangun Harmonisasi dan Kerukunan Melalui Penguatan Nilai Toleransi Di Desa Mojorejo Kota Batu Jawa Timur

Religious tolerance is evidenced by the unification of society through togetherness. This indicates that the religious phenomenon that exists as a reality in the midst of society gets a positive response so it is interesting to study. Meanwhile, on the other hand, the discourse of strengthening the harmonization of plural society which is manifested in the attitude of religious tolerance, was born and proclaimed by various parties. Mojorejo Village, Batu City managed to get appreciation from the Batu City government in the form of giving an award as "Village of Awareness of Religious Community Harmony and Village of Peace". This success is a proud achievement, considering that the heterogeneous typology of the people in Mojorejo village is quite high. Methodologically, this research uses a qualitative approach with the type of case study. Data collection techniques in this study include: interviews. observation and documentation through the media, archival records. Data Validity Test Extended observations, Increases persistence, and Triangulation The results and conclusions are the ideological dimensions, the values ​​of Islamic religious teachings, Taswasut, Tasamuh, Ta'adul, the values ​​of Buddhist teachings, love of metta, sympathy mudita, balanced mind upekkha, values ​​of Christian teachings, love, patience, responsibility. ideological dimensions: the value of Islamic religious teachings taswasut, tasamuh, ta'adul, the value of Buddhist teachings of love metta, sympathy mudita, balanced mind upekkha, Christian religious values ​​of love, patience, responsibility, dimensions of knowledge, tolerance, awareness, togetherness, mutual cooperation. dimensions of experience, interfaith prayer together, village salvation, village clean, dance studio. dimensions of consequences/effects, agro-agricultural economics which accommodates and buys and sells farmers' income, social work together to build villages, clean villages, religious friendship between communities, takziah, interfaith prayer together, village salvation. politics (honest, fair, clean and transparent. dance studio culture

Pendidikan &amp; Manajemen Sanggar Tari Tradisional

The implementation of dance studios in the community has a function as a forum for non-formal education whose existence is currently growing and developing in the community. Today, there are many dance studios in the community whose orientation is not only in the scope of social activities but has become part of business activities for their implementation. This article aims to provide an overview of the management of traditional dance studios in the Bandung-West Java area, Indonesia, whose management concept has a business orientation. This research was conducted through a qualitative research paradigm using descriptive analysis method. Research data obtained from interviews and documentation. Interviews were conducted with studio managers and dance trainers who teach at the Jaipongan and Classical Dance Studios in Bandung City, West Java, Indonesia. The results of the study indicate that in an effort to realize quality dance studio learning, a dance studio management system is needed that has good management functions based on aspects of planning, organizing, mobilizing, and supervising, so that the implementation of dance education in the studio is able to produce human resources who have reliable expertise in the field of dance. dance and can be used in their daily activities. In addition, good management of art studios has been able to become an economic support for the actors who manage the studios in it. The conclusion of the research results can be a source of reference for prospective new studio developers whose concept will be directed at business management.

Decoding community engagement in dance with systems thinking

ABSTRACT Private dance studios exist outside the scope of K-12 institutions in the United States and serve students within their local communities. Many of them strive to benefit underrepresented groups fthrough community engagement initiatives. This mixed-method study scrutinizes the various community engagement practices of private dance studios through a grounded theory approach to investigate the following research questions: 1) What are the different ways private studios engage with community engagement practices? 2) How are the concepts of ‘community’ and ‘engagement’ perceived and manifested within dance studio practices? 3) How do community contexts and external environments influence the management of community engagement practices of dance studios? By engaging systems thinking and existing literature on arts-based civic engagement, we propose a three-level community engagement conceptual framework for dance programs and studios to better understand their communities and apply systems thinking to leverage resources and constraints within and beyond programs and organizations.

Implementasi Computational Thinking Unplugged dalam Pembelajaran Seni Tari di Sekolah Indonesia Luar Negeri Davao, Filipina

This service is based on an analysis of situations and problems, that until now dance learning at SILN Davao, Philippines is still using the dance studio education pattern. The orientation is that students memorize certain dance movements with imitates the teacher, without being given space to creatively. This has an impact on the closure of various intelligences possessed by students. SILN Davao, also often appears at state events to present the face of Indonesia to the public, but this is hampered by the lack of variety in dance learning in schools, which makes Indonesia seem to have minimal traditional arts. To hack this, this community service seeks to implement the concept of dance learning by applying unplugged computational thinking. The goal is that dance learning is not just a matter of memorizing motion, but students can creative ideas in the form of dance according to their level of development. To achieve this, methods used are community situation analysis, problem identification, setting goals, problem solving plans, social approaches, implementing activities, and evaluating. The results of this implementation show that the concept of dance learning at SILN Davao, Philippines that applies computational thinking unplugged can be applied to other SILNs.

Concentration Investigating The Impact of Covid-19 On The Operation and Management of a Dance Studio

The Coronavirus Disease 2019 (Covid-19) entered Indonesia around March 2020. Covid-19 has been impacting in various fields, including the running of different companies. The current study will take IDOLAB dance studio from Indonesia as an example to understand the operation and management practices after the epidemic. By literature analysis and interviewing with the boss and manager from IDOLAB dance studio, several findings are shown as followings. The major impacts of Covid-19 on IDOLAB include not running dance classes, workshops and other activities, losing most students, and the lack of studio rentals. The operation and management changes in IDOLAB are: (1) The learning process during the pandemic was carried out online. (2) Teachers will teach through an app that can also be accessed by the participant. (3) The company has to solve online classes problems: the network is not smooth, students cannot interpret dance movements, trainers have difficulty evaluating student movements, hampering the process of delivering material, and students are less flexible in performing dance moves. (4) More promoting and marketing through social media such as sharing on Instagram, and WhatsApp is needed. (5) When the pandemic conditions are getting controlled, IDOLAB has some face-to-face classes, but with the condition that it follows the 3M progress, namely washing hands, maintaining distance, and wearing masks. Under the unstable epidemic situation, online classes are still necessary. How to improve the quality of online classes, emphasize the importance of exercises to customers, and promote to find mental support through dance during the epidemic could be the direction that IDOLAB dance studio can do in the future.

Concentration Investigating The Impact of Covid-19 On The Operation and Management of a Dance Studio

The Coronavirus Disease 2019 (Covid-19) entered Indonesia around March 2020. Covid-19 has been impacting in various fields, including the running of different companies. The current study will take IDOLAB dance studio from Indonesia as an example to understand the operation and management practices after the epidemic. By literature analysis and interviewing with the boss and manager from IDOLAB dance studio, several findings are shown as followings. The major impacts of Covid-19 on IDOLAB include not running dance classes, workshops and other activities, losing most students, and the lack of studio rentals. The operation and management changes in IDOLAB are: (1) The learning process during the pandemic was carried out online. (2) Teachers will teach through an app that can also be accessed by the participant. (3) The company has to solve online classes problems: the network is not smooth, students cannot interpret dance movements, trainers have difficulty evaluating student movements, hampering the process of delivering material, and students are less flexible in performing dance moves. (4) More promoting and marketing through social media such as sharing on Instagram, and WhatsApp is needed. (5) When the pandemic conditions are getting controlled, IDOLAB has some face-to-face classes, but with the condition that it follows the 3M progress, namely washing hands, maintaining distance, and wearing masks. Under the unstable epidemic situation, online classes are still necessary. How to improve the quality of online classes, emphasize the importance of exercises to customers, and promote to find mental support through dance during the epidemic could be the direction that IDOLAB dance studio can do in the future.