Dance Work Research Articles

Appreciation of Mongolian Dance Works and Aesthetic Concept by Taking Pentium as an Example

Through the representative of Mongolian dance works pentium appreciation, establish a preliminary understanding of Mongolian dance, again through the 1978 after the history of the development of Mongolian dance creation research, combined with social development, social culture and other factors, derive this period of Mongolian dance behind the aesthetic concept, in order to Mongolian dance development in the future.

Application of Three-Dimensional Vision Technology in Dance

The development of science and technology constantly injects new vitality into dance performance and creation. Among them, three-dimensional (3D) vision technology provides novel ideas for the innovation and artistry of dance performances, expands the forms of dance performances and the way to present dance works, and brings a brand-new viewing experience to the audience. Nowadays, 3D vision technology in dance has been widely researched and applied. This review presents the background of the 3D vision technology application in the dance field, analyzes the main types of technology and working principles for realizing 3D vision, summarizes the research and application of the 3D vision technology in dance creation, perception, enhancement, and dance teaching, and finally looks forward to the development prospect of the 3D vision technology in the dance.

Creation of Adhyatsa Dance Clothing

The Adhyatsa dance is a work of choreography created by Hana Medita. The work was inspired by the art of banteng. Bantengan art is one of the traditional arts that is particularly well-known among the people of East Java. The character of Bantengan is derived from the symbol of the bull, which represents the people who are characterised by strength, courage and protection. The objective of this research is to ascertain the influence of Bantengan art on the form of the Adhyatsa dance dress. The research method employed is the Double Diamond Model Method. The method comprises four stages: discovery, definition, development, and delivery. The outcome of this dance attire is employed in the Adhyatsa dance performance, where the garments are designed to be comfortable and facilitate unrestricted movement during the dance. The clothing in this dance work is presented in a different version from the original, yet still embodies the concept of bantengan and has been adapted to suit the character of the dancers in this Adhyatsa dance work.

The Aesthetic Experience of Dance Art Under the Perspective of Body Aesthetics

Dance art, with its unique body language and aesthetic expression, has become an important part of human culture. Body aesthetics plays a key role in the art of dance. Through the movements, gestures and expressions of the dancers, the aesthetic concept is visualized, bringing both visual and psychological enjoyment. This paper will discuss the relationship between body aesthetics and dance art, analyze the multi-dimensional characteristics of dance aesthetic experience, and show the unique charm and cultural connotation of dance art through the contrast of classical dance works and different dance styles.

Penciptaan Tari Beyond Terinspirasi oleh Konflik Diri Dengan Pengidap Attention Deficit Hiperactivity Disorder

The work Tari Beyond is a work that originates from the author's empirical experience in dealing with self-conflict when dealing with a sibling who suffers from Attention Deficit Hyperactivity Disorder (ADHD). Conflicts that can give rise to awareness and acceptance that this is a gift from God Almighty. This research answering two questions, namely: (1) The form of the Beyond dance by Finka Nur Rahmania and (2) The process of creating the dance work Beyond by Finka Nur Rahmania. The theory used to identify forms is the theory of Sri Rochana W. in her book entitled Sejarah Tari Gambyong: Seni Rakyat Menuju Istana, which contains expressed forms and physical forms. Meanwhile, to describe the creation process, we use theories from Sri Rochana W. and Dwi Wahyudiarto in a book entitled Pengantar Koreografi which includes exploration, organization, unity, presentation. This research uses interpretive descriptive research methods through qualitative data. This research uses data collection techniques through observation, interviews and literature study. Data from this research was obtained from researchers as authors or participant observers. Beyond's dance work is unique in its form which is based on hip-hop and contemporary dance which expresses awareness and acceptance of situations that do not match expectations.

Prinsip Suku Betawi Sebagai Inspirasi Utama Penciptaan Karya Tari Ngasosi

A principle is something that is inherent and its truth is the basic principle for thinking and acting. The Ngasosi dance work is a new dance performance presented in pairs, which departs from the habits of Betawi people's lives. This research was carried out using qualitative methods, namely by explaining in detail the inspirational ideas and forms of presentation with a background of creativity carried out by choreographers in developing traditional Betawi dance, as well as expanding character education. This research uses primary and secondary data sources. The primary data source is interview notes, the researcher's secondary data source was obtained through literature studies in the form of books, scientific journals that support research, and photo documentation of variations in dance movements, fashion, make-up, props and musical scores. The resulting understanding is that this dance depicts a father and son who carry out the principles of life of the Betawi people, namely the Koran, prayer, silat which are applied in everyday life, where the principles of life of the Betawi people must be remembered from an early age until adulthood so that they become good habits and obligations. which has always been passed down from generation to generation.

Exploring Dance Theory: Philosophical Foundations, Aesthetic Principles, and Critical Perspectives

This paper explores the complex realm of dance theory and explores its philosophical, aesthetic, and critical viewpoints. First, we consider the philosophical foundation of dance ontologically and strive for an ontological problem of action, expression and avatar. Dance semiotics and symbols are studied as basic tools for deciphering the meaning and understanding complex language of movement. Furthermore, the theory of body cognition reveals a complex relationship between mind, body and environment in the background of dance. Then we deeply study the principles of Dance Aesthetics, and emphasize the importance of the work of form and composition, labor force and choreography of expression. We also study the criticism and criticism of dance works using analytical techniques, interpretations, and comparative analysis, and provide a knowledge of the complex discourse of dance as an art form.

Different Creative Needs Corresponding to Choreography Technology (one)

The existence of choreography technology plays a very important role in the development of traditional dance movements, the contrast and connection of dance sentences and segments, the innovation of dance expression forms and dance visual pictures. In the creation of dance works, techniques may not be able to replace the idea and creativity of dance, but to some extent, they have enhanced the inner demand for visual aesthetics, produced new changes from the external dance form, and enriched the artistic expression of dance.

Panji Asmorobangun Mask Dance as Local Culture and Its Relevance to Character Educational Values

Instilling cultural values can be done early on through learning that utilizes teaching materials available in the surrounding environment. It is considered that the learning process can run effectively and efficiently and in accordance with the potential of local wisdom. One of the alternative teaching materials can be taken by utilizing the circumstances surrounding the students’ environment which are used as additional teaching materials. In addition, the teaching materials contain local wisdom so that the given knowledge is wider. The introduction of the wealth of local wisdom in the form of traditions in East Java, especially Malang, has an orientation towards developing the national character based on local wisdom and unique culture in Indonesia. This research aimed to describe and analyze character educational values that could be found in the Panji Asmorobangun mask dance as a local culture of Malang. The research method used was descriptive qualitative research method, with data collection techniques of observation, interviews, and documentation. The research result found that character educational values in dance material are based on local wisdom obtained through the learning process of the Panji Asmorobangun mask dance. Character education values that emerged include religious, nationalist, loving the environment, mutual help, independence, excellence, empathy, mutual cooperation, responsibility, and integrity. This value was reflected in the idea of the dance work, and the structure of the work which consists of movements, musical accompaniment, costumes, and mask properties in dance. This research was a form of preserving local culture by introducing traditional dance at schools, by instilling educational values embedded in a curriculum filled with local cultural values so that the next generations kept interest and sustained their national identity. Keywords: local wisdom, character, mask dance

Melody Analysis of Jepin Selendang Dance Music accompaniment

Musical accompaniment in a dance performance has an important role. Accompaniment music serves to clarify the accent of the movement in the dance, so that the message of a dance work can be conveyed. The aim is to describe, note and analyze the melody that is found in the accompaniment of the Jepin Selendnang dance music. The method used is descriptive analysis method and uses a musicological approach. Data collection was carried out by conducting observations and interviews with the researcher's data collection tool as the main instrument and using auxiliary instruments in the form of observation sheets and interview guidelines. Checking the validity of the data is done by using the method of triagulation and persistence of observation. The results of this study found that the melody has several forms that are played with repetition. Played on a Bb=Do basic note with the original G minor scale, 4/4 measure and with the Moderato tampon. there are two cadres, namely Authentic cadres and Plagal cadres. This research is expected to increase interest in preserving traditional arts, especially the Jepin Selendang dance music in Siantan Hilir, North Pontianak District.

Analysis of the Dance Work "Horse Map" from the Perspective of Inheritance and Innovation

The Chinese civilization has a long history of five thousand years. China has a broad and profound history and culture, and a large number of excellent traditional Chinese culture still exists today. The key lies in cultural inheritance. Art, as a sub-body of culture, can also peek into cultural inheritance. But with the evolution of the trend of The Times and the change of aesthetics, art also innovates on the basis of inheriting the tradition. With the emergence of "double creation" and other ideas, the creative idea of inheritance as the "foundation" and innovation as the "main" is increasingly strengthened. This paper mainly analyzes the classical dance work "Steed" from the perspective of inheritance and innovation.

Discussion on the Manifestation and Continuation of Cultural Inheritance in Dance Art Works

The Chinese civilization has a long history of five thousand years. China has a broad and profound history and culture, and a large number of excellent traditional Chinese culture still exists today. The key lies in cultural inheritance. Art, as a sub-body of culture, can also peek into cultural inheritance. This article mainly takes Sun Ying's classical dance work "Tap Song" as the starting point to explore the manifestation and continuation of cultural inheritance in dance art works.

Analysis of The Choreography of Kenes Ghandes Dance At Kinanti Sekar Art Studio

This study aims to read and recognize the 'Kenes Gandhes' dance work, a dance that depicts the agility and grace of Javanese women. It is developed from various dances found in several regions of the Special Region of Yogyakarta, choosing creative dance movements as its form. Kenes Gandhes dance, accompanied by vibrant music, is neatly packaged by its choreographer by combining elements and movements of Tradition and developing them into a new creative dance work. The choreographer and creator of Kenes Gandhes, Kinanti Sekar Rahina, categorizes Kenes Gandhes as a dance for children aged 13 to 21 years, after observing children at Kinanti Sekar Art Studio (SSKS) who show sufficient agility and energy in this age range. This dance can be performed by either a solo female dancer or a group, wearing yellow brocade costumes with short sleeves and batik skirts with the wahyu tumurun motif. This study uses a choreography approach proposed by Y. Sumandiyo Hadi, covering aspects of form, technique, and content, with basic elements consisting of movement, space, and time. The design of floor patterns, motion motifs, musical accompaniment, and choreography elements are structured into the choreographic form of Kenes Ghandes. This dance is expected to become one of the dance works that can develop in the general community to encourage ongoing love for culture. Additionally, this study seeks to explore the cultural values contained in the Kenes Gandhes dance to enrich the repertoire of dance art in Indonesia. This work is also expected to enhance public appreciation of local cultural richness and encourage the younger generation to preserve the nation's cultural heritage.

Representasi Laki-laki Ladyboy dalam Karya Tari SHEMALE: Satu Anomali dalam Prilaku Laki-laki Minangkabau

This article aims to reveal the problem of deviant behavior in Minangkabau men. According to tradition and culture, Minangkabau men are men who are based on traditional behavior coded as syarak and syarak coded as khitabullah, meaning that Minangkabau men are men who behave according to Islamic customs and norms. In the dance work entitled "SHEMALE" Minangkabau men are represented as ladyboys, which in the current era are often found in urban areas, but do not apply in rural areas, because of the strong confines of village customs and norms, this behavioral anomaly cannot grow and develop. The creation method in the dance work "SHEMALE" is divided into 3 (three), namely the concept of creation, the process of creation, and the composition of the work (form structure). In the dance work "SHEMALE" it can be seen that every standard and deeply rooted social system, if maintained collectively, will be able to resist various external interventions. Apart from that, another message is that information technology can make people poisoned logically and intuitively, so that they deviate from their actual behavior. The third message is that there is no human being who cannot change, as long as the human being himself is willing to change.

The Integration of Lingnan Water Culture in Red Dance Art in the Context of Big Data

Abstract This paper realizes the digital analysis, display, and sharing of urban culture by constructing a digital platform of cultural resources in Lingnan and collecting and indexing its cultural resources. Through collaborative filtering, a recommendation algorithm is used to focus on dance resources and analyze Lingnan water culture through the red dance function. The realization process takes the user information recommendation function as an example, and its overall process is resource loading and data acquisition, user relevance calculation, user information recommendation calculation, data collection, and writing into the database. The results show that among the 14 red dance works, such as “The Golden Hairpin”, “Brothers,” and “The Yellow River”, 10 works and 11 works have incorporated the elements of the water culture of Lingnan Province into their music and costumes, respectively. From 9 times used in the first edition of the competition to 24 times in the fourth edition, it shows that the red dances pay more and more attention to the integration of the water culture elements of Lingnan. The number of South Anhui water culture elements used in the first session (P=0.038) was significantly smaller than that in the fourth session (P=0.03). Gradually, the utilization of both outstanding works (from 0.658 to 0.902) and rookie works increased from the first to the fourth session. The content of the integration of Lingnan water culture into red dance should be expanded in the future, and only about 35% of the students had a supportive attitude, which should be continued in the future.

An Analysis of the "Melancholy Aesthetics" in Ge Wang's Narrative Group Dance Works

An Analysis of the "Melancholy Aesthetics" in Ge Wang's Narrative Group Dance Works

A Case Study on the Application of Criteria for the Effective Use of Visual Media in Creative Dance Works

A Case Study on the Application of Criteria for the Effective Use of Visual Media in Creative Dance Works

AGROLANCE: REPRESENTATION OF GROWTH BALANCE OF TOMATO PLANTS IN DRY LAND IN THE CONTEXT OF A DANCE WORK

Agrolance dance work is representation of research results entitled " Combination of Bio-Organo- Minirel Fertilizers on Optimizing the Growth and Production of Tomatoes (Salanum Lycopersicum) In Dryland Environment " (2023) by Alfassabiq Khairi in the journal Agricultural Sciences which is research and concept ideas from this work. Through this creative study, the analogy that appears in each part of Agrolance's work is described to show the growth balance of tomato plants and fertilizer on dry land on the bodies of beginner dancers which is answered based on the experiences of the dancers' bodies through several weeks of experimentation to see the results of their bodies. This research also provides insight into interdisciplinary research in dance and science agriculture . These findings have important implications in today's arts and agriculture context, which faces challenges in creating inclusive spaces, scientific collaboration, and discovering experimental results. This research uses a case study method with a choreographic approach. Using a qualitative descriptive research method means getting data qualitatively, then writing it descriptively. The author, as the main instrument in this research, collected data by means of participant observation, unstructured interviews, and through dance work documents. In this work, the dancer is analogous to dry land, the movements produced by the dancer are the results of the tomato plant, organic fertilizer is consumption and daily activities carried out, and inorganic fertilizer is body exercise, taste exercise, bodily experience given by the choreographer to the dancer. The creation method in this work uses the exploration method as the initial part in developing the creativity of the creation process, improvisation to find movements by chance or spontaneously, composition to arrange the movements that have been obtained, as well as periodic corrective evaluation of the process.

Modern Demands and Strategies of Dance Choreography

With the vigorous development of China's dance industry and the expansion of the dance market, the demand for choreographers continues to increase. Many choreographers work in areas such as dance education, dance companies, and stage theatre companies. At present, choreographers in China are facing multiple challenges and opportunities. On the one hand, they need to constantly expand their creative field and create works that are well received and recognized by the audience. On the other hand, they also need to work closely with other artists such as dancers, musicians, and stage teams to achieve artistic synergy in the dance works. The purpose of this study is to provide some effective strategies and requirements for modern choreographers to improve the choreographing ability of choreographers and teachers. With the prosperity of the domestic dance market, some choreographers have also actively participated in international exchanges and cooperation to promote Chinese dance culture and artistic image. However, more and more people are learning dance, and students who enter universities in the form of art examinations have low understanding and choreography ability of dance, and the research results show that there are many differences in the teaching of university teachers from non-professional backgrounds (the non-majors here are teachers who have begun to learn dance and engage in dance education in high school), in this regard, we put forward some strategies and requirements, how to improve teachers' choreography ability, and evaluate teachers' current choreography ability according to the current domestic teachers' test results in modern dance choreography, The significance of this study is to provide information about teachers' choreography bottlenecks and some strategies and requirements, hoping that leaders and teachers engaged in choreographic education can provide useful reference value, and finally this study is expected to help improve the creativity and bottlenecks of choreographers. Bring better better teaching and value to students.

ANKAI SITELU: KOREOGRAFI TERINSPIRASI DARI SISTEM KEKERABATAN PADA MASYARAKAT KARO

Ankai sitelu is taken from the Batak Karo language, the word ankai means understanding and sitelu which means sitiga. If these three words are interpreted, they mean a dance that originates from understanding rakut sitelu. " ankai sitelu" is a dance work inspired by the Batak Karo kinship system, namely rakut sitelu. Rakut sitelu consists of sukut, kalimbubu, and anak beru. Sukut is the party who is the host in a traditional or ritual ceremony, kalimbubu is the party who is highly respected because he is considered to be the representative of dibata (god) on earth who gives tendi and blood, while anak beru is the party who does the sukut work in traditional ceremonies and rituals. This work takes the essence of balance in the rakut sitelu system with traditional karo dance movement patterns which are developed according to broader teba movement intensity, volume, level and time.
 Ankai Sitelu's work is a group choreography consisting of three female dancers, a total of three dancers who will be composed in a large group and small group composition by paying attention to the composition of the parts. The number of three dancers is analogous to three social positions in the Rakut Sitelu kinship system. This work uses the exploration method as an initial part in developing the creativity of the creation process, improvisation to find movements by chance or spontaneously, composition to arrange the movements that have been obtained, as well as periodic corrective evaluation of the process. This work is expected to provide information about the meaning and values contained in Rakut Sitelu.
 Keywords: Rakut sitelu, balance, Karo Batak tradition