Dance Forms Research Articles

Generative adversarial network based data augmentation and quantum based convolution neural network for the classification of Indian classical dance forms

The study addresses the challenges of human action recognition and analysis in computer vision, with a focus on classifying Indian dance forms. The complexity of these dance styles, including variations in body postures and hand gestures, makes classification difficult. Deep learning models require large datasets for good performance, so standard data augmentation techniques are used to increase model generalizability. The study proposes the Indian Classical Dance Generative Adversarial Network (ICD-GAN) for augmentation and the quantum-based Convolutional Neural Network (QCNN) for classification. The research consists of three phases: traditional augmentation, GAN-based augmentation, and a combination of both. The proposed QCNN is introduced to reduce computational time. Different GAN variants DC-GAN, CGAN, MFCGAN are employed for augmentation, while transfer learning-based CNN models VGG-16, VGG-19, MobileNet-v2, ResNet-50, and new QCNN are implemented for classification. The study demonstrates that GAN-based augmentation outperforms traditional methods, and QCNN reduces computational complexity while improving prediction accuracy. The proposed method achieves a precision rate of 98.7% as validated through qualitative and quantitative analysis. It provides a more effective and efficient approach compared to existing methods for Indian dance form classification.

Tap Dance in the Private-Sector Dance Studio

The experience of the tap dance educator in the private-sector studio was studied using a mixed methods approach that included a survey and individual interviews. Three hundred thirty-eight tap teachers responded to 25 survey questions about enrollment and hiring, training and curriculum, dance competitions and social media, and challenges and benefits. Interviews with nine tap educators collected in-depth descriptive data that expanded on the topics explored in the survey. Key findings include the following: tap enrollment is inconsistent; teachers teach the way they were taught; classroom content is focused on choreography with tap history, music theory, and improvisation listed eighth through tenth in importance; tap is fusing with other dance forms; and tap dance competitions lack qualified judges, appropriate flooring, and proper amplification. For tap dance to become more relevant in today’s dance scene, improved teacher training programs are needed.

Approaches to Teaching a Bharatanatyam Class for Adults

ABSTRACTIn the independent sector, Bharatanatyam, an Indian classical dance form, is predominantly taught to children and young adults. This article follows my journey as an educator developing a Bharatanatyam class for adults. What would a class designed specifically for adults look like? I share the teaching strategies I employed to deliver the classes effectively online. I take a participatory approach to teaching the classes and, in doing so, widen the scope of teaching Bharatanatyam within the independent sector.

The Hidden Music of a Hidden People: The Case of Amakhuwa of Northern Mozambique

Abstract Amakhuwa is an ethnic and linguistic group concentrated in the north of Mozambique. Although the largest ethnic group, it has been historically marginalized by the postcolonial Mozambican state for political reasons. This process of marginalization has also involved cultural aspects, such as music and dance. Amakhuwa musical traditions are differentiated, complex, and express common principles of a Emakhuwa epistemology. This epistemology and the performances and aesthetics it gives rise to are not fixed or timeless but have been evolving in accordance with different influences and historical periods. Influences from the ngoma competitive Swahili and Muslim musical traditions of East Africa are more visible in Emakhuwa music and dance on the coast, while in the interior territories, there is a prevalence of Bantu rhythms. Using postcolonial and decolonial writers as a base for the theoretical framework, this article highlights the epistemology involved in the different forms of Emakhuwa music and dance as well as the historical processes that led to their exclusion from Mozambican national culture.

Koreografi Tari Talam Sapinggan Di Sanggar Lindang Urek Kecamatan Payakumbuh Timur

This study aims to explain and describe the Choreography of Talam Sapinggan Dance at Sanggar Lindang Urek, East Payakumbuh District, Payakumbuh City. This research is qualitative research with descriptive method. The instrument of this study is the researcher himself. Data were collected using literature studies, observations, interviews and documentation. The steps of analyzing data are data reduction, data presentation, and conclusion drawing. Sanggar Lindang Urek creates Talam Sapinggan dance to function as a performance art and entertainment. Aspects of Talam Sapinggan dance form are movement, floor design, top design, group composition, dancers, dance accompaniment and costumes. The content aspect is the idea and atmosphere. Talam Sapinggan dance has 32 types of movements. Floor Design consists of 4 designs including: Triangle, Pentagon, Circle, and Trapezoid. Top Design consists of flat, deep, vertical, horizontal, medium, high, low, curved, contrast, low and angular. The design form of large composition groups is as follows: (1) unison or synchronous, (2) alternate or alternating intervals, (3) broken or split, (4) balanced, (5) canon or alternate. The number of dancers in the Talam Sapinggan dance consists of 7 people. The musical accompaniment uses Minang tradition music created, including: gandang tasa, talempong, gandang tambua, saluang, bansi, thamburin, and assisted by vocal dendang. Costumes already use a form of creation.

Effects of pole dance on mental wellbeing and the sexual self-concept—a pilot randomized-controlled trial

BackgroundPrior studies on beneficial effects of dance have primarily focused on traditional and expressionistic dance forms, neglecting newer dance styles like pole dance, which employ distinct techniques. The present pilot randomized controlled trial examined psychological and psychosexual effects of pole dancing.MethodsFifty women were randomized to an eight-weeks pole dancing program or waitlist. The primary outcome was global mental wellbeing. Secondary outcomes included several dimensions of the sexual self-concept, as well as body appreciation and global self-esteem.ResultsCompared to waitlist, the pole dance group showed an increase in mental wellbeing and improvements in sexual self-efficacy, sexual anxiety, sexual self-esteem, and body appreciation.ConclusionsPole dancing may have broad psychological effects on both overall mental wellbeing and important domains of the sexual self-concept.

Bharatanatyam and Art activism in the Networked Digital Space

All over the world, traditional models of art activism through dance involved performances that reached a limited audience, while the advent of networked digital spaces has vastly expanded the scope of art activism to a global level. Offering a qualitative netnographic exploration of how Bharatanatyam has been employed for such art activism in the digital space, this article examines the implications for this prominent traditional South Indian dance form in terms of stylistic changes as well as viewer reactions. Through content analysis of the viewer responses to ten popular renditions uploaded on YouTube over five years (2016–2020), we trace how the art form is evolving and how activist goals are reciprocated by the audience. Our findings confirm that Bharatanatyam has great potential to evolve by adapting novel social themes. However, while such contemporary renditions may elicit viewer responses that critically appraise specific social issues and pave the way for social change, the resulting innovations continue to co-exist with old conflicts and tensions about ‘traditional’ art and its uses.

Modern Dance and the Latest Technologies: Facets of Interaction

The purpose of the article is to study the peculiarities of the influence of the latest technologies on the development of contemporary dance. The research methodology is based on the integration of art historical and technological approaches, as well as the use of general scientific methods – analysis, comparison, and generalisation. The scientific novelty lies in a comprehensive analysis of the main trends in the introduction of innovative technologies in contemporary choreographic art, the identification of the latest approaches to contemporary dance under the influence of digital technologies. Conclusions. The latest technologies have a significant impact on the development of contemporary choreography as an art form. On the one hand, openness to innovative interaction with various forms of other arts – music, vocal, theatre and drama, and on the other hand, integration with innovative technologies "such an unusual synthesis turns contemporary dance into one of the most effective means not only choreographic, but also artistic and ideological expressiveness” [7, 107]. As an art form, contemporary dance, thanks to the active development of screen, information, and virtual technologies, also influences changes in the art itself, improving it. The organic combination of different dance forms, media, styles, and digital technologies, results in innovations that have a decisive influence on the development of the entire world choreography. Key words: modern dance, modern choreography, latest technologies, innovative technologies, digital technologies.

Social regulation of androgenic hormones and gestural display behavior in a tropical frog

Many animals use forms of gesture and dance to communicate with conspecifics in the breeding season, though the mechanisms of this behavior are rarely studied. Here, we investigate the hormone basis of such visual signal behavior in Bornean rocks frogs (Staurois parvus). Our results show that males aggregating at breeding waterfalls have higher testosterone (T) levels, and we speculate that this hormone increase is caused by social cues associated with sexual competition. To this end, we find that T levels in frogs at the waterfall positively predict the number waving gestures—or “foot flags”—that males perform while competing with rivals. By contrast, T does not predict differences in male calling behavior. In these frogs, vocal displays are used largely as an alert signal to direct a rival's attention to the foot flag; thus, our results are consistent with the view that factors related to reproductive context drive up T levels to mediate displays most closely linked to male-male combat, which in this case is the frog's elaborate gestural routine.

The Devadasi System and Intersectional Feminism

The devadasi system, originating in medieval India, began to serve the temple in the form of dance and rituals. Eventually, they served as sacred sex workers for the diety's sexual needs. The Devadasi were typically Dalits (the lowest caste), and thereby face a unique struggle as both Dalits and women in a religiously rooted system. Due to the lack of published works detailing the implications of overlapping identities and feminism on the Indian reform movement legislation, this paper aimed to examine the extent to which the introduction of intersectional feminism influenced South Indian postcolonial legislation regarding the devadasi system. It found the hypothesis to be supported. Thematic analysis was conducted as part of the initial research. Then, the results were quantified, through individual connotation scores that considered separate thematic elements and an overall score. The overall intersectionality score, a weighted average of the elements, for all prohibition legislation was significantly different from the control Panel Code, based on error bar analysis. Therefore, it can be concluded that the influence of intersectional feminism on the acts quantitatively supports the conclusion that the development of intersectional feminism in post-colonial South India influenced Devadasi legislation significantly.

Kafka’s Ape Meets the Natyashastra

To the Academy is a multi-media performance work that makes poignant and humorous commentary about education, common paradigms of diversity, and the oppressive nature of institutional labor. Created through a dialogue between myself, an Indian American with training in various forms of physical theatre and Indian dance, and Guyanese-Canadian actor Marc Gomes, it has been performed at several universities and arts centers since 2015. In this essay, I will interrogate the ways in which we place select elements of “Indian tradition” at the service of the piece’s overarching theme of histories of European domination, asking whether making these cultural materials subservient to our political agenda constitutes a form of appropriation. I examine three components of the work: the character of the classical Indian dancer who appears in the first section of the show, the explicit references to the ancient Sanskrit treatise on performance, the Natyashastra, and the framing of both these elements within our adaptation of Franz Kafka’s story, “Report to an Academy,” about an ape who learns to impersonate humans. In so doing, I explore the ethical responsibilities artists of color have in working with intercultural aesthetics. Furthermore, I assert the inevitably ambivalent nature of activist performance, even if artists aim to resist hegemonic structures.

Novel Video Benchmark Dataset Generation and Real-Time Recognition of Symbolic Hand Gestures in Indian Dance Applying Deep Learning Techniques

A computational approach towards promoting, preservation, and dissemination of knowledge in the domain of cultural heritage, is one of the research areas that has a wide scope. There has been a seismic shift in the way many sectors in society have adapted themselves to the pandemic situation, be it healthcare, food, education, diplomacy, and performing arts. Virtual learning and performing have become the need of the hour in the field of performing arts as well. The objective of this work is threefold; first, this creates benchmark datasets to be shared to make a beneficial impact and for a meaningful engagement by capturing, recognising, and classifying the multimedia content for hastamudras (hand poses) in Bharatanatyam, an Indian classical dance form, which plays a significant role in the conservation of intangible cultural heritage, second, as tutoring system to aspiring learners and third, to build video recommendation systems to promote art as a tool for building an international relationship and further elevate the significance of soft-power through performing arts. This article proposes applying the deep-learning techniques of CNNs as a critical technology to recognise the correct mudra. Experimental results on our challenging mudra dataset through the MobileNet architecture show 85%–95% accuracy in real-time, which outperforms the Sebastien-Marcel dataset. The time taken to process an image is 0.172 seconds, and the result is significant considering that the images are dynamic. This work proves the accuracy of the proposed method, which significantly outperforms another CNN-based Inception v3 model.

Tari Semut Karya Arif Rofiq dan Budi Alfan Sebagai Sarana Edukasi Anak

The reseach aims to discuss of the ant dance. The problem of this research can be formulated as follows: how the ant danceworks and how the ant dance educates children. The purpose of this study is to describe the form of the ant dance and how to explain and how to educate children. The literati use theory of Slamet Md to reveal the element of ant dance namely: motion, rhythm or accompaniment, expression or taste, costumes, stage venues, and dancers. Educational theory by John Locke is ta bula rasa. The ant dance imitates the movement of the ant animal, by using Desmond Morries' theory, namely theatrical mimicry, imitates the actual motion. The metode that i have used is qualitative, data collection techniques using observation, interviews, and literature study. The results of this study, the ant dance is a choreography in the form of a group, can be danced by six dancers aged 4-11 years wearing a costum which is visualizes the ant. The motions composed by the choreographer are imitative motions of ant animals. The musical is contained and adapted to the characteristics of the children, namely music that describes an atmosphere of joy and agility. Ant dance as a means of education which is realized in the form of imitative movements that are embellished with children's playing movements. Ant Dance help children to developed motoric sytem, kognitif system, social-emosion system, and developed their linguistic’s ability. Keywords: Ant Dance, form, and education.

Research on Digitally-empowered Street Dance Creation

As a new dance form, digitally-empowered street dance is deeply loved by young people for its unique expression and style. The form of street dance is usually rooted in cultural traditions and historical background. The integration of digital technologies in street dance can provide a way to preserve these traditional art forms and allow to achieve innovative development. Researchers can explore how digital tools, such as motion-capture systems, virtual reality, or augmented reality, can be used to document, analyze, and revitalize street dance styles. However, the development of digitally-empowered street dance is limited due to the lack of professional theoretical guidance and practical experience. Therefore, the purpose of this study is to provide more scientific and reasonable creative methods and technical support through an in-depth exploration of digitally-empowered street dance. It is to promote the development and progress of digitally-empowered street dance.

Curtain Calls in Dance: Negotiating the Terms of Disengagement

Through curtain calls in Eurocentric theatrical dance forms, dance artists, audience members, and staff coordinate how dance concerts end and participants disperse. Nevertheless, despite the widespread use of such practices, the rituals of bows and applause have largely eluded critical inquiry. This article offers dance practitioners choices toward thoughtfully negotiating the processes of engagement and disengagement in groups contingently assembled for dance events. A brief historical inquiry introduces how such behaviors may enact deeply embedded, power-laden agendas of relationship. Then, curtain calls are revealed as complex spaces of intersubjective negotiations, iterative of numerous possible functions at work.

Bentuk Komponen Nonverbal Karya Tari Elegi

This paper aims to reveal the meaning of the nonverbal component forms of Elegi dance by interpreting the compound relationships between its elements. Several elements are discussed, namely: theme, movement, facial expressions (polatan), make-up, clothing, floor patterns and music as accompaniment. The research methodology is qualitative with data collection techniques: literature study, observation and interviews. All data that has been collected, classified, processed and analyzed using the triangulation method. The data that has been collected is then compared between one data and other data. This study found that the compound relationship of the nonverbal component elements of the Elegi dance is a dance work presented by two female dancers based on elements of traditional Surakarta style dance which was developed with the theme of romance. The struggle for love that is presented is about a love relationship that failed due to the denial of love and the woman fell into a state of hatred, resentment and anger, but in her downturn a new awareness was born, she got up and moved on to continue living by arranging her entire life so that it was meaningful for herself and others.

Sufi Dance Performativity of Maulana Rumi Islamic Boarding School in Yogyakarta

Sufi dance is one of the dances that is considered the most Islamic and represents spiritual values. One of the Islamic boarding schools that is still developing Sufi dance is Maulana Rumi Islamic Boarding School, Yogyakarta. The method used is qualitative with a performance studies approach in Sufi dance. The collection techniques are observation, interviews, and documentation. Obtaining survey data uses a multidisciplinary approach; art-social science, and art-religion. While the data analysis technique uses the opinion of Milles & Huberman, namely data collection- data reduction- data presentation- conclusion. The results showed that the performance of Sufi dance at Maulana Rumi Islamic Boarding School are as follows: (1) Sufi dance performance is carried out routinely every selapanan night or once every 40 days at Maulana Rumi Islamic boarding school. Another event that is also regularly held is the Sufi dance performance in the study which is held at Basa Basi cafe in Yogyakarta every Wednesday from 20.00-22.00 WIB. Sufi dance performances are performed in between recitations of books both by Maulana Rumi and others, such as the book Ihya Ulumuddin by Imam Gozali, the book Nurudh Dholam by Syekh Muhammad Nawawi As-Syafi'ie, and the book Hidayatul Azkiya Ila Thariqil Auliya by Zeinuddin ibn Ali Al-Ma' Bari Al-Malibari. (2) There is a social interaction between dancers and study participants who are both present in the same space and time at the Maulana Rumi Islamic boarding school and the Basa Basi cafe, and (3) The Sufi dance performance events were manifested by an interrelationship between dancers and performers where the audience feels involved in spiritual events in the form of the Sufi dance.

Assessment of Foot Deviations and Associated Foot Injuries and its Effect on Foot Functional Activity among Amateur Adolescent Female Kathak Dancers in Selected Dance Schools in Bengaluru

Background & purpose: Kathak is a north Indian classical dance form that requires fast rhythmically sophisticatedfootwork and fast turns, which puts the dancers at risk of foot injuries. Any foot deviations or reduced foot functionare associated with an increased risk of a foot injury. This study aims to assess foot deviations and related footinjuries and their effect on functional activity and create awareness among kathak dancers about foot position andits risk factor for injury. Methods: This study included 100 recruited subjects based on the inclusion and exclusioncriteria. Demographic data and other variables were collected and recorded, and measures like foot posture andfunction indexes were used.Results: The foot posture index mean and SD of the left feet for the subjects recruited in the present study were1.83 and 1.43 and of the right feet were 1.89 and 1.54 respectively. The overall foot functional index score mean andSD, for the subjects recruited in the present study were 9.76 and 10.39.Conclusion: The present study concluded by stating that the foot posture index was normal and didn’t haverestrictions on foot usage while performing the kathak dance form. Whereas with the foot function index, it wasobserved that the pain experienced by subjects was severe which restricted their activity pattern and hinderedtheir dance performance.

STUDY ON ARTS, CRAFTS AND DANCES OF THE GOND COMMUNITY OF NUAPADA DISTRICT IN ODISHA

The arts, crafts and dances of the people of Gond community of the Nuapada district are the significant aspects of the tribal cultural heritage of Odisha in India. This study is focusing on the rich cultural heritage of the Gonds residing in the Nuapada district of western Odisha particularly their art, paintings, craft, and dances. The Gond tribe people is known for decorating the exterior walls of their houses with intricate artwork believed to bring respectable providence. The research aimed to assess the knowledge of Gond art among the community near the Boden block of Nuapada district of Odisha, focusing on themes monogram patterns, designs, motifs, colours, media used, and institutions involved of the promotion of this art custom. The Maadli and Dalkhaiand Ghumura dances in particular are highlighted as a significant cultural expression among the Gond community of the Kalahandi and Nuapada districts, performed in honour of the deity Budha Deo through dance and song. The study emphasizes the urgent need for the preservation and documentation of the Maadli dance, which is on the verge of extinction of the Nuapada district. The Gond tribe of Nuapada is one of the major tribal communities of Odisha as well as Central India. The name “Gond” is derived from “Kond,” meaning green mountains of the Dravidian idiom of the Gond tribe. The painting is a popular folk art of the Gond tribe/ community of the Nuapada district of Odisha. The cultural heritage in the form of arts, crafts, songs and dances of Gond community is very interesting study for scholars as well as historians. So, the authors have taken modest venture to focus on the arts, crafts and dances of the Gonds of the Nuapada District in Odisha.

The Ngerebeg dance: A discovery of dance tourism in Tegallalang, Bali

The purpose of this study is to announce the ngerebeg dance. The people of Tegallalang have the ngerebeg tradition, which is sacred in a traditional ceremony at Duur Bingin Temple. Unlike the ngerebeg dance, it is known as a new dance that is profane. The problems: 1) What is the form of the ngerebeg dance in the Tegallalang?. This problem is solved by using the R&D method. All data was collected through observation, interviews, focus group discussions, and literature studies. All data were analyzed qualitatively from the perspective of art studies. The output of this research then becomes an interpretive review in the process of developing research results that are tested and applied through the process of creating a new dance. It was then socialized with the Tegallalang people so that it would be institutionalized immediately. The results showed that the ngerebeg dance as a discovery in Tegallalang, this dance was performed by 10 dancers using tree branches, caru ceremonies, hoes, caping, bodag, tempeh, sickle, farmer's clothes, farmer's pants, body water colors, coconut leaves, palm leaf fronds, lelontek, flags and penjor to dance for 30 minutes with tree-patterned movements, animal-patterned movements, populist-patterned movements, broken movements, transitional movements, sitting movements accompanied by silence, sanghyang dance movements, wong samar patterned movements, worship movements to wong samar, the movement had a ceremonial ritual motif, the ngerebeg procession patterned movement, the farmer's movement and the mother's movement had the motif of carrying ceremony materials.