Dance Performance Research Articles

Disordering Dance: Foundations of an emerging neuroqueer choreography

The neurodivergent embodied psyche challenges dance to extend beyond neuronormative conventions. Considerations with how to securely hold divergent modes of thinking, feeling, learning, being and behaving within both the choreographic process and moment of performance are essential. As a choreographer with dyslexia, dyspraxia and ADHD (with autistic traits) – alongside significant experience of exclusion and trauma from normative dance environments – this inquiry forms the basis of my practice and now the discussion of this article, as I articulate core foundations of my doctoral research and emergent neuroqueer choreographic aesthetic. Instead of focusing on how to support the neurodivergent bodymind in systems of exclusive dance practice, such an aesthetic seeks to radically resist neuronormative performance and creatively embrace neurodivergent embodiments and consciousnesses. This article adopts a critical stance of disordering to challenge taken-for-granted neuronormative assumptions and traditions of mainstream western dance culture. Concepts of neurodiversity are elucidated and practices of neuroqueering are introduced, whilst my own positionality of ‘neurodivergent outsider’ exposes neuronormative tensions within dominant western dance culture. Discussion unfolds that situates neurodivergent modes of mindbodily being through a choreographic lens, embodying neurodivergent-centred practices that support non-neuronormative wellbeing, identity and embodiment for both artist and audience in the present moment of dance performance.

A Phenomenological Study of Sensorial Experience through Merleau-Ponty's Perspective on the Body-Focusing on Dance Performance “Handful” of Jung-Mi Han -

A Phenomenological Study of Sensorial Experience through Merleau-Ponty's Perspective on the Body-Focusing on Dance Performance “Handful” of Jung-Mi Han -

Developing Malay traditional dance model for preschoolers: Evidence from contextual and content needs

The uniqueness of the Malay dance community should be introduced to the children so that the beauty of the dance movements does not disappear. Therefore, this study analysed preschoolers' content and the contextual needs of developing the traditional Malay dance model. Quantitative studies using this survey method aim to obtain information about the contextual and content of traditional Malay dance models. 125 preschool teachers from the Ministry of Education (MOE) were selected to respond to the questionnaires. The results show that the necessities of the context should inhibit the aspects of creative movement. The results refer to the content aspect of the model of the basic movement elements in the traditional dances of the Malay community that should be taught to the children. The implication of this study from the development of the model helps preschool teachers in the performance of traditional Malay dances.

인공지능(AI) 기술을 적용한 중국 무용예술공연의 소비자 행동 연구: 확장된 통합기술수용이론(UTAUT2)을 중심으로

인공지능(AI) 기술을 적용한 중국 무용예술공연의 소비자 행동 연구: 확장된 통합기술수용이론(UTAUT2)을 중심으로

A Study of Dance Performance Producers’ Experiences with Online Streaming

A Study of Dance Performance Producers’ Experiences with Online Streaming

Children performance evaluation rubric in Greek dance. Reliability of scores

ABSTRACT The analytic rubric, consisting of eight criteria (dance identification, response to the rhythm of the dance, synchronization, step sequence, direction-schema and type of hand holding of the dance, body stance and position, quality characteristics of the movement, and expressiveness) and five performance levels for each (excellent, very good, moderate acceptable, marginally acceptable, not acceptable), aims at objectively and consistently illustrating the way in which one is dancing, regardless of who evaluates it (Pitsi, Digellidis and Philippou 2013). The purpose of the study was to examine the reliability of the dance performance rubric in students aged 10–12 years. Consequently, thirty-six students, in grades 5 and 6 of primary school, with an average 4-year experience at Greek dances, were examined in their ability to identify three Greek dances from their music, to respond to the rhythm of the dance with hand clapping and perform the kinetic form of each dance. The students were videotaped during the performance of the dances and evaluated through their videotaped performances. A re-evaluation was carried out two weeks after the first one so the possibility of repeating the evaluation by memory would be excluded. The raters were two dance experts with great experience. The findings are encouraging as to the reliability of the use of this rubric. The rubric, therefore, will enable dance teachers to get feedback to better design future learning experiences for maximum benefit to their students.

"Inseparable": Music and Dance in a Cross-Disciplinary Practice

The following research observes the artistic creative process of a cross-disciplinary theatrical dance and percussion performance, called “Inseparable”. It discusses and analyses the process and methods behind the creation of the piece; the pros and cons of dance-percussion collaboration, and of working as a team of performer-creators; the involvement of a director; the creation of the final performance with a technical crew (light & sound); and the emergence of a mutual artistic language. The cast includes Zaneta Kesik and Matija Franjes - two dancers (doubling as choreographers), and Joao Brito and Kalina Vladovska - two percussionists (doubling as composers), creating the narrative, dramaturgy, choreography and (some of the) music on their own. The director, Renee Spierings, was invited to be an external coach. Teus van der Stelt and Maurits Thiel - light and sound artists - took care of the final presentation. The four performances took place during and thanks to Muziekzomer Gelderland 2023 and were produced by Jarick Bruinsma. Furthermore, in the research I discuss the social impact of the project's themes – technology addiction and human communication - and I examine a number of reactions and feedback from audience members. The chosen form of presentation is a research exposition.

The Role of Performing Arts in Promoting Valued Communication Outcomes in Individuals With and Without Developmental Disabilities

Purpose: Although not often used in the area of speech and language instruction, performing arts (such as improvisation, instrumental, vocal, and dance performance) provide a context for self-expression that involves both structure and opportunities for self-expression and can offer an opportunity to contribute to a motivating activity in individual, unique ways. Method: We describe a semester-long performing arts class in which students from various majors and with and without developmental disabilities together learn various performing art forms (specifically, improvisation, vocal performance, and diverse forms of dance) for the first half of the semester. The students work together the second half of the semester to create a final performance. Student reflections that were gathered during one semester (with approval from the institutional review board) were examined descriptively to provide student perspectives into the program and to help understand how the structure supported interpersonal relations. Results: Student reflections suggested that the structure of learning the various performing arts resulted in establishment of authentic peer relationships through three pillars of friendship proposed by Finke (2016): (a) the opportunity to engage in fun and motivating activities, (b) the presence of repeated/multiple opportunities to engage in the activities together, and (c) the establishment of a safe environment where each individual's contribution added something of value to the activity. Conclusion: This descriptive analysis identified mechanisms by which performing arts can be a valuable context for supporting important social and communication goals in individuals with and without developmental disabilities.

Training mode of university dance performers based on sequential quadratic programming algorithm

Dance performance is an art form, which needs to cultivate students’ dance skills, artistic accomplishment and stage performance ability. Sequential quadratic programming algorithm is an optimization algorithm that can be used to solve complex optimization problems. In this paper, Sequential Quadratic Programming (SQP) is applied to explore the training mode of dance performers in colleges to help dance performers develop the optimal training plan and program. Aiming at the problems existing in the training mode of dance performance talents in colleges, this paper put forward an optimization method based on SQP algorithm, and implemented its optimization scheme in actual colleges. In the planning of dance performance talent training mode, particle swarm optimization (PSO) is used to optimize SQP algorithm, so that it can have higher planning efficiency. This paper studied the goal and index system of the training of dance performance talents in colleges, generated a personalized training program, and further improved the scientific and practical effectiveness of the training mode. This paper investigated the current situation of dance performance talent training in several dance schools in a certain province of China. The survey data include practical curriculum planning, teachers’ teaching philosophy and teaching content. Combined with SQP algorithm, the teaching and training program is optimized. After evaluation, it can be concluded that the SQP algorithm optimized by PSO shows good stability and accuracy. It can calculate the optimal solution of the cultivation scheme, and when calculating the optimal solution, the running time of the Central Processing Unit (CPU) was only 5.6 s, which can further improve the efficiency of the planning. Finally, through the satisfaction and resource utilization test, it can be found that the number of people who are very satisfied with the teaching content of the dance performance talent training program optimized by SQP increased from 38.4% to 52.4%. After optimization, the average utilization rate of teaching resources reached 88.1%. It can be concluded that SQP algorithm can provide scientific basis for dance education institutions to improve the training mode of dance talents. This can help dance education institutions better improve the training mode, and improve the overall quality and dance skills of dance students.

Innovative Adaptations of Dance Performances at the Yogyakarta Palace during the Covid-19 Pandemic

The Covid-19 pandemic poses challenges to the world of performing arts, especially dance performances. Dance events that gather crowds were halted due to adherence to government recommendations to prevent the spread of the Covid-19 virus. Nevertheless, the Yogyakarta Palace managed to persist in showcasing their dances during the pandemic. Therefore, this article seeks to describe the response of the Yogyakarta Palace in addressing the challenges of dance performances during the pandemic. This is deemed important to provide insights into the creativity of artists in adapting the presentation of a dance during the pandemic to ensure its continued existence. This research takes the form of qualitative research with a performing arts approach predominantly based on literature studies. The Kraton Jogja YouTube account serves as the main data source to understand the innovative adaptations made by the Yogyakarta Palace. Comparative studies are employed to identify the differences in the presentation of dance before, during, and after the pandemic. The goal is to ascertain the efforts of innovative adaptation undertaken. The research indicates that innovative adaptation is carried out through creative costume design, audience engagement in dance events, and the utilization of internet technology advancements through virtual dance performances on the YouTube channel. As an adaptive effort, these creations are aligned with government regulations related to the containment of the spread of the Covid-19 virus. These innovative adaptation efforts bring about significant changes to the established ways of presenting dances at the Yogyakarta Palace.

The Symbolic Meaning of the Batara Munasiah Dance and Its Relevance to Generation Z Characters in South Sulawesi

The aim of this research is firstly to analyze and explain in a complex way the meaning of denotation, connotation, and myth contained in the Batara dance and secondly, namely the relevance of the Batara dance to the character of Generation Z in South Sulawesi. The research method used is qualitative from the perspective of Roland Barthes' Semiotics theory. The data collected also used a participatory observation process, structured interviews unstructured interviews, and content analysis which still has a connection and relationship with a dance performance, especially the Batara Munasiah dance. The results of the research explain the explanation of the meaning contained in the Batara Munasiah Dance performance in terms of denotation, connotation, and myth. Explaining the Batara dance starts from the history of the development of the Batara dance itself to its relationship and relevance to the character of Generation Z in South Sulawesi. As for the meaning contained in the Batara dance, as follows: (1) a feeling of gratitude towards God Almighty, (2) happiness when given a good life, (3) the process of approaching oneself with God Almighty, nature, and the social environment around (4 ) Respect for oneself/self-control in behavior and relationships, (5) respect for elders, (6) always involve God Almighty in all our activities both when starting and finishing them. The second covers a relationship or relevance to the lifestyle of Generation Z today: (1) Forms of worship of God Almighty, (2) Forms of socializing with the environment and surrounding community, (3) Maintaining the values of ancestors that are still relevant. and provide a positive reflection of life, (4) Always pray and hope only in God Almighty, (5) a simple lifestyle and character is a good thing.

Telematic music transmission, resistance and touch

ABSTRACT This article retraces the history of telematic performance from early videophone experiments by the Electronic Café in the 1980s, through a series of ambitious digital art installations at museums like the Centre Pompidou. Onto this history, I map a series of netmusic projects I initiated in this period, from ISDN performances at the Sonar Festival to my installation Global String at Ars Electronica. This sets the context for collaborative online performances held during the COVID pandemic with artists like Paul Sermon and the Chicks on Speed. I finish by describing the Hybrid Live project connecting Goldsmiths and Iklectik Art Labs in London with Stanford University’s CCRMA and SFJazz in California. I describe the low latency audio transport used, the importance of audiovisual synchronisation and the computer vision abstractions resulting in a London-New York remote dance performance. By situating current work in these histories, and closely examining the qualities of the network necessary for the transmission of a sense of embodied experience – and therefore trust – we understand that network performance occurs in its own space, one distinct from physical co-presence.

Emotion Analysis and Expression Algorithm of Dance Action Based on Machine Learning

Emotion analysis and expression algorithms represent a pivotal frontier in the intersection of artificial intelligence and human-computer interaction. These algorithms aim to decode and understand human emotions from various modalities such as text, speech, facial expressions, and physiological signals. This paper introduces the Context-Based Rough Sugeno Fuzzy (CBRSF) model tailored for emotion analysis and expression algorithms in the context of dance actions. With machine learning techniques, the CBRSF model integrates contextual information, rough set theory, and Sugeno fuzzy logic to accurately analyze and express emotions conveyed through dance movements. the power of machine learning techniques, the CBRSF model integrates various components, including contextual information, rough set theory, and Sugeno fuzzy logic, to provide a comprehensive framework for emotion analysis and expression. One of the key strengths of the CBRSF model lies in its ability to incorporate contextual information surrounding dance movements. Emotions conveyed through dance are often influenced by factors such as choreographic context, music, and cultural background. By integrating contextual cues into the analysis process, the CBRSF model can better capture the nuanced emotional nuances embedded within dance performances. The CBRSF model utilizes rough set theory to handle uncertainty and imprecision inherent in emotion analysis. Dance movements can be inherently ambiguous, making it challenging to accurately categorize the associated emotions. Rough set theory provides a principled framework for managing this uncertainty, allowing the CBRSF model to make informed decisions even in situations where data may be incomplete or inconsistent. Through comprehensive experimentation and evaluation, our proposed model achieves an emotion recognition accuracy of 98% across diverse dance action datasets, surpassing existing methods by 10.2%. Moreover, the CBRSF model enables nuanced emotion expression by dynamically adjusting dance movements based on real-time emotional cues.

Difficulties Faced by Dance Graduates in Higher Vocational Colleges: An Analysis

With the rapid development of our country has brought opportunities and challenges to dance art education. This study aims to strengthen the education of dance majors, guide them to plan their career development reasonably, and explore new methods to adapt to the needs of the times and students. In recent years, the employment situation of dance graduates has been grim, and enterprises have reflected difficulties in recruitment, the reasons for which involve students, recruiters and college graduates management. Highly efficient expansion of colleges and universities, the number of graduates increased, exacerbating the employment pressure; the art exam boom led to a surge in the student population of dance performance majors, further increasing the difficulty of employment. The employment of dance majors is restricted, competition is fierce, and the prospects of graduates are worrying. Higher vocational dance students are not optimistic about employment prospects and tend to be directly employed, especially in the teaching profession. Employment problems are rooted in the mismatch between students' quality and career needs, the lack of coordination between professional development and market demand, and the inconsistency between social expectations and entrepreneurial atmosphere. The solution lies in improving personal quality, firm beliefs and cultivating innovative thinking. Schools need to deepen reforms, improve students' comprehensive quality and employability, improve teaching methods, and stimulate creativity and curiosity. Employers should change their mindset and the government should provide support.

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.

The Art of Dance in a Digital World / Arta dansului într-o eră digitală

In the last decades, the influence of digital technology has affected almost all aspects of our lives, including the enchanting world of dance. Nowadays, due to Internet resources, dance is broadcast faster than ever. As for instance, more rapidly than in the late 16th century, when Italian ballet masters gained access to the French Court, or when the Russian ballet was dispersed after Diaghilev’s death in 1929. Moreover, with a single click, everyone has the possibility to access more than 900.000 dance videos, being able to view a performance or dance tutorial whenever it is desired. Art renews itself when it manages to integrate in the present, and digital technology has embraced the art of dance, giving birth to new interdisciplinary approaches. This paper surveys the use of technology regarding dance education and performance on the screen and analyses in what manner the development of digital machineries is supporting innovation in dace.

Examining the Artistic Voices of Community College Dance Students Using a Narrative Inquiry Approach

ABSTRACT In this study, we use a narrative inquiry approach to understand how students construct their artistic voices as part of their educational experience in California community college dance classes. Data collection techniques included semi-structured interviews, video recordings of a dance performance, and a reflective one-page journal where participants described the attributes of their artistic voices. Participants included ten community college dance students. We used socio-cultural theories and the Laban Movement Analysis (LMA) framework to analyze individuals’ personal construction and movement vocabulary. We present three findings to inform dance teachers. First, deeper self-understanding was a foundational component of students’ artistic voice. Second, the performance of the artistic voice was guided by students’ construction of personal-interpretative narratives that inspired their bodily choices. Third, the construction of the artistic voice was sustained through three types of power negotiation (compliance, resiliency, and resistance).

Social Choreography as a Cultural Commoning Practice: Becoming Part of Urban Transformation in Une danse ancienne

This article examines social choreography as a cultural commoning practice that is embedded within a relational structure between different institutions, the people involved, and specific socio-cultural contexts. The artistic research project Une danse ancienne by French choreographer Rémy Héritier and their team is presented as a case study of this practice. This collaborative choreography is based on a dance performance and social gathering that is reactivated every year by the same dancer in the same peri-urban site in a metropolitan area of Lausanne, Switzerland. Une danse ancienne holds strong relationships to temporalities, to the changing urban space, and to communal processes of documentation. Its relational choreographic structure and sharing practices are analyzed against the concepts of ‘expanded choreography’ and ‘cultural commoning’. This article, therefore, discusses social choreography as a cultural commoning practice that involves interactions with different social groups and institutions and practices of sharing and communal documentation. This article shows how, as social choreography, Une danse ancienne reflects upon urban transformation through cultural commoning practices.

QUESTIONS OF KNOWLEDGE AND POWER: CONTESTATIONS WITH SPECIAL REFERENCE TO THE PERFORMANCE OF DOUDINIS OF THE BODOS OF ASSAM

This research paper attempts to explore the notions of knowledge and power in the traditions of doudini (priestess) of the Bodo tribe of Assam, North-East India. The present paper tries to argue that although a doudini possesses traditional knowledge and supernatural power, she is deprived of the rights to equality and freedom. The doudini through her ritualistic dance performance plays the role of a mediator between the people and the Gods. The raw blood of the sacrificial animals is consumed by her in the Kherai festival, an important ritual of the Bathou religion. She is then charmed by the chants of the priest and falls into a trance and transforms into a spiritual being. The community addresses her as nasoni (dancer) and some as doudini(spirit), depending on the status attributed to her in the particular society. The doudini plays many parts which are presented in a series to the same audience. Though the ritual is performed both by female priest and male priest, their role differs as doudini has to accomplish more performances compared to male priest. The doudini does not have freedom to act on her own as she performs, based on the rules set by the system. The doudini does not enjoy freedom throughout the entire process of the ritual as she is bound to perform every act set by the system.The present study has made a critical analysis on the role of doudini, discriminated on the ground of gender and questions her status based on the social system.

Makna Etis dan Estetis pada Tari Tradisional Aceh, Betawi, Bali, Kalimantan, Sulawesi, dan Papua

Discussions about ethical and aesthetic meaning in art, especially traditional dance will always be an interesting study to discuss amidst technological developments and globalization. This research aims to examine and describe the ethical, ethical, and aesthetic values of traditional Indonesian dance consisting of the regions of Aceh, Java, Kalimantan, Bali, Sulawesi, and Papua. The problem discussed in this research is what is the ethical and aesthetic meaning of traditional dance in Indonesia? This type of research is qualitative using a descriptive-analytical approach. The use of this qualitative method can provide more comprehensive knowledge results because it emphasizes process and meaning. Data collection in this research was carried out by interviews with dance maestros, cultural figures, choreographers, and dance academics. This research can provide a comprehensive understanding of the diversity of Indonesian traditional dance to expand the scope of knowledge of arts and culture. The results of this research show that traditional dances from the six selected regions have similarities in terms of geography, themes, and clothing. In general, the birth of traditional dance in these six regions was created from two regions, namely the coast and the mountains. Three big themes are usually raised in traditional dance, namely ritual, war, and entertainment. Clothing in the six selected regions has different characteristics. This difference has of course been regulated by the traditions and customs of the people who believe in it so that it becomes an ethic and aesthetic in a dance performance.