Dance Forms Research Articles

Folk art classification using support vector machine

<p dir="ltr">Tremendous amounts of effort have been carried out every year by the governments of all the countries to preserve art and culture. Art in the form of paintings, artifacts, music, dance, and cuisines of every country has the utmost importance. The study of Tribal arts provides deep insight into our history and acts as a milestone in the roadmap of our future. This paper focuses on three popular folk arts namely: Gond, Manjusha, and Warli. 300 images of each artwork have been collected from various online repositories. To generate a robust system, data augmentation is applied which results in 7510 images. A feature vector based on a generalized co-occurrence matrix, local binary pattern, HSV histogram, and canny edge detector is constructed and classification is performed using a linear support vector machine. 10- fold cross-validation produces 99.8% accuracy.</p>

The Trace Dance Leaves Is Air: On Steve Paxton (1939–2024)

Abstract Artist, writer, and choreographer Ralph Lemon tangentially marks his life in dance through an account of the times he witnessed the work of an important artistic guide, Steve Paxton, a founding member of Judson Dance Theater (1962–64) and Grand Union (1970–76), two collectives that indelibly redefined dance for the following decades. In addition to composing major works, while involved with Grand Union Paxton first formulated the dance form known as contact improvisation, which has become influential worldwide. “The Trace Dance Leaves Is Air” is a personal reflection and tribute, honoring a major artist, while also questioning how much one can trust creative inspiration.

Aesthetics and Choreography of Bharatanatyam

The word “Aesthetic” in the context of Indian Aesthetics means “Science and philosophy of Fine Art” Bharathe muni wrote the theoretical treatise Natyasastra on Indian performing Arts including theatre, dance acting, and Music. Natyasastra is said to explain Indian aesthetics. Natyasastra is the scientific explanation of classical Indian dances. In this context, Bharatanatyam is also grounded in the principles of the Natyashastra. This research highlights how aesthetic aspects permeate Bharathanatya choreography, which involves designing the dance according to the rhythm of the ragas, along with abhinaya, bhava, and rasa. The choreography of Bharatanatyam is based on body parts and body shape( body proposition) by various elements, including positions (sthāna), hand gestures (mudra), neck movements, eye movements, head movements, karanas, mandalas, and charis. In Bharatanatyam, the body and the shape of the body (including the organs) are the basic source. Beauty is associated with interpretation. Deciphering the symbols means interpretation. The purpose of this study is to explore how aesthetic aspects play an important role in the creation of Bharatanatyam choreography, as Bharatanatyam is an art of both design and creativity this study uses the descriptive research method, observational research method, and qualitative research method. It is descriptive in the sense that it explains the aesthetics of Bharatanatyam choreography and observational since it observes the aesthetic aspects of Bharatanatyam choreography which is method-based. Moreover, the study examines the aesthetic expressions of the performers, who also serve as observers of the art form... When Bharatanatyam is designed with aesthetic aspects in mind, it becomes a powerful and valuable dance form. Systematically, organizing and expressing choreography with these aesthetic elements leads to seamless creativity, effective communication with the audience, relevance for future generations, and the preservation of socio-cultural values.

Translingual crossings: an enactive-performative approach to a pedagogical guide for the teaching of Portuguese as a welcoming language to children

ABSTRACT This article revisits the jongo activity ‘Pisei na Pedra’ (2014) integrated into the Nossa Casinha guide (Martins & Sala, 2022) for teaching Portuguese to migrant children. Jongo is seen as an Afro-Brazilian form of expression, encompassing chants, drumming, collective dance, and spirituality (Rufino, 2014, 2023). The connection between this assembly (Pennycook, 2018) and an enactive-performative pedagogy, uniting biological and aesthetic aspects of poetic languages (Aden & Eschenauer, 2020; Maturana & Varela, 1987; Lecoq, 1997, cited in Aden & Eschenauer, 2020), forms a translingual framework. This allows jongo to be understood as an Afro-diasporic expression in anti-racist education. This perspective also affirms the aesthetic, emergent, experiential, embodied, and transformative nature of jongo as a decolonial practice. By challenging the conservative approach of language activities favoring compartmentalization, assimilation, and monolingualism, the translingual framework promotes transformative education in Portuguese as an additional language. It embraces complexity, relationality, and affectivity as integral to our experiences in linguistic education.

Embodying Tradition, Imagining Home: Baakisimba Dance and the Ugandan Diaspora

This paper investigates how engagement with the Ugandan Baakisimba folk dance tradition enables cultural resilience and identity continuity for members of the Ugandan diaspora community in Trondheim, Norway. Through an immersive seven-month ethnographic study involving participant observation and interviews, the findings reveal baakisimba's versatility as a vehicle for intergenerational transmission of intangible heritage, as a tool for strengthening social cohesion, and providing a conduit for productively processing nostalgic sentiments. Analysis of a baakisimba performance during a baptism ceremony demonstrates the dance form's effectiveness in shaping communal belonging and sparking continuity with Ugandan cultural roots despite migration's ruptures. The research underscores embodied artistic practices' considerable capacity to mediate complex relocations.

Impact of pole dancing on mental wellbeing and sexual self-concept: Protocol for a systematic review and meta-analysis.

Despite the recognized psychological benefits of traditional dance forms, the impact of newer forms, such as pole dancing, on mental well-being and sexual self-concept remains underexplored. This protocol outlines a systematic review and meta-analysis aimed at elucidating the effects of pole dancing, a burgeoning non-pharmacological intervention, on these dimensions of mental health. This systematic review was registered in the PROSPERO. We will follow the Preferred Reporting Items for Systematic Reviews and Meta-analysis Protocol to accomplish the systematic review protocol. This review will systematically search electronic databases, including PubMed, Embase, Web of Science, Medline, and CNKI, for randomized controlled trials (RCTs) assessing the impact of pole dancing on mental well-being and sexual self-concept. Two independent evaluators will screen the literature, extract data, and evaluate study quality and bias. Data synthesis will utilize Stata 14.0 and Revman 5.4, employing random-effects models. The Grading of Recommendations, Development, and Evaluation (GRADE) system will appraise evidence reliability, with subgroup analysis exploring heterogeneity sources. Publication bias will be assessed through funnel plots and Egger's regression tests. This review aims to fill the gap in the current literature by providing a comprehensive evaluation of pole dancing's psychological effects. It is anticipated that this systematic review and meta-analysis will offer valuable insights for health policy and practice, advocating for the inclusion of pole dancing in mental health and sexual well-being interventions. Systematic review registration: PROSPERO CRD42024529369.

From Tradition to Innovation: The Incorporation of Trumpet in Bɔbɔɔbɔ (Borborbor) Dance of The Ewe People

This article explores the emergence and evolution of bɔbɔɔbɔ (borborbor), a distinctive Ewe dance that originated in mid 20th century British Togoland (now the Volta Region of Ghana) and French Togoland (now Togo). Initially rooted in traditional kokomba dance forms, particularly tuidzi and akpese, bɔbɔɔbɔ rapidly integrated European military brass band instruments, notably the bugle and later the trumpet, influenced by the burgeoning popular music genre of highlife in Ghana. Drawing on ethnographic research conducted in Ewe communities in Ghana, this paper examines the transformative role of the trumpet within bɔbɔɔbɔ ensembles. It investigates how the trumpet’s adoption led to its unique interpretative functions, including improvised obbligatos, sampling of familiar tunes, and enhancing the rhythmic and percussive dynamics of performances. Ultimately, this study illuminates the process of indigenization of the trumpet within bɔbɔɔbɔ, highlighting themes of adoption, assimilation, and reinterpretation in the evolution of this vibrant musical tradition

Moving Towards a Medicine of Dance: A Scoping Review of Characteristics of Dance Interventions Targeting Older Adults and a Theoretical Framework.

Dance combines cultural and aesthetic elements with behaviors important for brain health, including physical activity, social engagement, and cognitive challenge. Therefore, dance could positively impact public health given the rapidly aging population, increasing incidence of Alzheimer's disease and related dementias, and lack of uptake of exercise in many older adults. Despite a high volume of literature, existing literature does not support evidence-based guidelines for dance to support healthy aging. To conduct a scoping review of the dance intervention literature in older adults and provide information to facilitate a more consistent approach among scientists in designing dance interventions for older adults that stimulate physical and neurocognitive health adaptations. Study characteristics (sample size, population, study design, outcomes, intervention details) were ascertained from 112 separate studies of dance reported in 127 papers that reported outcomes important for brain health (cardiorespiratory fitness, balance and mobility, cognition, mood, and quality of life). High heterogeneity across studies was evident. Class frequency ranged from < 1 to 5 classes per week, class length from 30-120 minutes, and intervention duration from 2 weeks to 18 months. Studies often did not randomize participants, had small (< 30) sample sizes, and used varied comparator conditions. Over 50 tests of cognition, 40 dance forms, and 30 tests of mobility were identified. Based on these results, important future directions are establishing common data elements, developing intervention mapping and mechanistic modeling, and testing dosing parameters to strengthen and focus trial design of future studies and generate evidence-based guidelines for dance.

Soulful Rhythm, Dancing Bodies: Spirituality, Pain Tolerance, and the Risk of Lower Extremity Musculoskeletal Injuries Among Classical Kathak Dancers of India

Background: Dance and dancers reflect happiness, sadness, passion, anger, and all other emotions as every single dancing movement carries a significant signal that goes beyond words. Kathak, an Indian classical dance form, requires a divine balance between the soul and the physical body. This balance allows for a high pain tolerance of the dancers, but the spiritual nature of this dance form also generates ignorance and disinterest in their health seeking behavior towards injuries. Objectives: This comprehensive narrative review is aimed at exploring and examining the prevalence of lower extremity musculoskeletal injuries among Kathak dancers and proposes management strategies for their prevention and treatment. Methods: This review is based on a search of relevant articles, research papers, books and book chapters conducted across a wide array of online sources, utilizing the search engines like PubMed, Medline, CrossRef; etc. Considering the inclusion criterion, the review process included three stages: initial assessment of papers through title and abstract review, a detailed examination of relevant items, and systematic compilation of pertinent information into a categorized table under topical headings. Results: The review finds that the majority of injuries were reported in the foot and ankle region of dancers practicing Kathak. Conclusion: There is a need to develop supplementary exercise training programs and also spread awareness among dancers regarding their physical health and seeking medical care in time to delay/prevent lower extremity injuries.

Understanding similarities and exploring possibilities of using somatic dance/movement aspects of Odissi dance for social, cognitive and emotional development in population with autism spectrum disorder

Dance allows for expressions of various emotions and interactions. It can be used for entertainment and exercising, as well as for movement therapy, improving health and wellness, and promoting relaxation. It has been known to enhance mindfulness, well-being, healing of body and mind, etc. The key contributions of this work are as follows: (1) present an overview of Odissi dance elements; (2) aggregate certain studies that explore the relevance of somatic dance/movement therapy for neurodegenerative disorders such as autism spectrum disorders (ASDs); (3) exploring the many similarities between Odissi dance, an Indian classical dance (ICD) form, and somatic dance/movements; and (4) study the implication of using the Odissi dance form as a dance/movement therapy as an alternative rehabilitation tool for a population with neurocognitive disorders such as ASD. ICDs such as Odissi dance practices and somatic dance/movements have been found to have numerous similarities. There are many characteristics of the Odissi dance form that are relatable to somatic dance/movements. Somatic dance/movement praxis generically includes body, action, space, time and energy. These practices are a customary part of Odissi dance as well. The Odissi dance form also allows an in-depth examination of the human body, feelings and flow through music, beat tempo and lyrics. These practices help develop an awareness of the body, its connection and its movements. The fundamental elements of somatic dance/movements, such as mindfulness, breath, sensing, connectivity, initiation, rhythm, movement patterns, temperament depiction and mirroring, are also prevalent in Odissi dance. The various aspects of somatic dance/movement and Odissi dance are explored, and their similarities are investigated in this work. This study also explores having Odissi dance as an alternative rehabilitation therapy form for the population suffering from ASD conditions. Twenty-seven children suffering from some degree of ASDs, aged between 4 and 14 years, for six months, underwent regular Odissi dance training. The participants were taught Odissi’s basics and trained in Bhumi Pranam, Guru Pranam, Mangalacharan and the initials of Sthayee and Battu. Certified teachers and therapists were involved in teaching the participants. Interactions with participants and parents/guardians presented an intuition of the usefulness of regular Odissi dance practice. Feedback was aggregated from subjective questionnaires. These feedbacks indicated increased general health, including physical well-being, cognitive enhancement and sensory-motor coordination. Almost all also reported betterment in social conditions and certain presented clinical conditions.

Dancing through Dada: Suzanne Duchamp’s Scottish Espagnole

: This article addresses the role of vernacular forms of dance and music within Suzanne Duchamp’s art. Focusing on her watercolor Scottish Espagnole (1920), it considers the interrelated concepts of dance, drawing, and diagrammatic language. The title refers to the dance of the schottische espagnole and a contemporaneous song by André Perchicot. Duchamp’s engagement with dance is positioned in relation to her peers, especially Marcel Duchamp, Francis Picabia, Sophie Taeuber-Arp, and Loïe Fuller. This reading explores how dance functioned as a medium within Dada, as well as a path to abstraction more broadly.

MANIPURI RAAS LEELA: THE REMARKABLE MANIPURI CLASSICAL DANCE

Manipur is renowned for its cultural heritage, particularly in dance i.e., Manipuri Raas Leela, Pung Cholom, Lai Haraoba, Khamba Thoibi etc. Manipuri Raas Leela, the classical dance form is deeply rooted in the Vaishnavite tradition, depicting the love story of Shrimati Radhika and Lord Shri Krishna. It combines graceful movements, lyrical music and expressive gestures. Pung Cholom knew as the drum dance, this performance features dancers playing pung while performing acrobatic and vigorous movements. It is often performed during religious and cultural festivals. Lai Haraoba ia an ancient ritualistic dance celebrating the creation of the universe. It involves intricate movements and is performed in honor of traditional deities called Umang Lai. Khamba Thoibi, a popular folk dance depicting the legendary love story of Khamba and Thoibi, characters from the ancient Moirang folklore. It involves synchronized movements and is often performed during the Lai Haraoba festival. These dance forms reflect the rich cultural and spiritual traditions of Manipur, blending storytelling, music and intricate choreography. This paper is showcase about the Raas Leela of Manipur.

Assessment of Foot In Female Kathak Dancers

Background: Kathak is the art of storytelling and conveying it to the audience in a different way. Now a days kathak is spreading worldwide, and people are learning and chasing the challenges at top level for this the kathak dancers are focusing more and more over the riyaz followed by intense practice. Tatkar is an important component of this dance form which is performed by foot of dancer, commonly called as footwork. The population increasingly demand the repetitive rhythmic movements at ankle joint and to maintain the ankle stability there is requirement of heavy muscle work. This study examines postural deviations in the foot of female kathak dancers. Methods: The design was quantitative descriptive study utilizing Self Made Questionnaire developed specially for the research and foot posture index scale with the navicular drop test. The questionnaire contained questions related years of practice and frequency of practice with the pain associated to lower limb. Results: Percentage of people with normal and supinated conditions for both right and left feet across the different variables. It's notable that the categories for Pronated, Highly Pronated, and Highly Supinated feet were not observed in the datasets. Conclusion: In the present study it is found out that about 80% of total population have no postural changes found out in the foot the reason behind that can be the regular warm up cool down sessions, stretching and much more postural awareness. To avoid the foot problems and postural deviation now a days institutes are taking great warm up and cool down sessions with stretching for at least 1 hour and then startup with the forceful riyaz. Further research is warranted to make standardized warm up and cool down protocols for kathak dancers. KEYWORDS: Tatkar, kathak, Riyaz, Postural changes, footwork.

Proses Pembelajaran Seni Tari Melalui Teknik Motivasi DI SMP Negeri 1 Rambutan Banyuasin

This research aims to find out and describe the dance forms of middle children in the Tuah Merindu art studio, PulauBeringin District, South OKU Regency. The method used in this research is a qualitative descriptive method discussing the dance forms of middle children. This research uses primary data sources and secondary data sources. The data collection techniques used are observation techniques, interview techniques and documentation techniques. The results of this research, the middle child dance was created in 2019 which has the meaning "nak iduptareknyawe" where middle children are required to be tougher and tougher in living life. Over time, this dance is carried out with the aim of preserving and maintaining regional traditional dances that have been passed down from generation to generation so that they are known to the outside community and are not lost over time. The forms in the middle child's dance at the Tuah Merindu art studio, PulauBeringin District, South OKU Regency have elements, namely 1). Theme, 2). Motion, 3). Dancer, 4), Property, 5). Music, 6). Makeup 7). Clothing, 8). Floor Patterns, 9). Expression/Pattern, 10). Storyline, 11). Dramatic Plot, 12). Settings, 13). Stage, 14). Lighting.

Music, Dance and Performing Arts in the Spirit of the Iron Men of Petroleum

The spirit of Petroleum Ironman is a precious heritage of China s industrial history, embodying the spirit of perseverance, hard work and dedication. However, with the development of the times, the inheritance of this spirit faces challenges. This study aims to make more people understand and pass on the Petroleum Ironman Spirit through the form of music, dance and art performance.

Non-Verbal Communication in Indian Classical Dance Forms

This study delves into the intricate world of non-verbal communication within the rich mosaics of the Indian classical dance forms. The statement quoted by Noam Chomsky, “Language is not an inborn quality, it is creative and acquired”. The objective of this research is to analyse and focus on the need for humans to communicate, that too using non-verbal communication. Dance will not be relegated to simply a performance genre but will be treated as an essential ingredient of life. The focus would be on identifying the non-verbal elements of the dance that would communicate not just the stories but also social messages if needed through the gestures and other elements in Indian Classical Dance Forms. For this analysis, the researcher has considered, Bharatanatyam, Kuchipudi, Mohiniyattam, and Kathakali, the dance forms that trace their origin to the southern states of India namely, Tamil Nadu, Andhra Pradesh, and Kerala. The research employs a multidisciplinary approach, combining elements of anthropology and performing arts to unravel the communicative nuances in the intricate hand gestures, facial expressions, body postures, and rhythmic footwork inherent in Indian classical dances. By examining the symbolism and cultural significance of gestures (mudras), the utilization of facial expressions (abhinaya), and the synchronization of movements with musical rhythms, the research seeks to unveil the deeper layers of communication that lie beneath the surface of these mesmerizing performances.

REOG BULKIYO DANCE: TRADITION AND HISTORICAL REPRESENTATION OF THE JAVA WAR

The Java War, often known as De Javasche Oorlog or Diponegoro War, was an event that had an impact on national and local history. The capture of Prince Diponegoro by the Dutch on March 28, 1830, resulted in many of his troops fleeing to remote areas to avoid Dutch capture. As a result of the escape they settled in an area, disguised as ordinary people. One of the places where Diponegoro's troops escaped was in Kemloko village, Nglegok sub-district, Blitar district. The mind of the soldiers who managed to escape had a work of art in the form of Reog Bulkiyo Dance. The purpose of this study was to determine the history of the formation of Reog Bulkiyo Dance, the characteristics of Reog Bulkiyo dance, the existence of Reog Bulkiyo dance. This research uses a historical method consisting of (1). Heuristics, (2). Criticism, (3). Interpretation, (4). Historiography. The approach is carried out using cultural anthropology and the theory of cultural forms according to Koentjaraningrat to understand the origin of the creation of Bulkiyo reog dance as a form of expression, a symbol of communication and humanity to fight Dutch colonialism. The results of this study show that there are several historical facts about the emergence of Bulkiyo Reog Dance in Kemloko Village, Nglegok Subdistrict, Blitar Regency. The characteristics of Bulkiyo reog dance are influenced by Javanese, Arabic and Chinese cultures, this can be seen from the attributes and equipment used, the existence of Bulkiyo reog dance is influenced by internal factors of the Genealogical Inheritance system, and external factors of support from the community, government, and academics.

The masculinized feminine body: The body politics and the construction of female identity in Mohiniyattam

The article explores the sociocultural construction of aesthetic identities and the ways in which the dominant ideologies have perpetuated specific narratives of the development of Mohiniyattam. Drawing on Michel Foucault’s concept of ‘episteme’ and Judith Butler’s theory of gender performativity, the study examines the femininity embodied in Mohiniyattam and argues that the dance form has been a tool for patriarchal ideologies, transmitted through generations of dancers manifested in their performance practice. The analysis extends to the contemporary scope of Mohiniyattam, questioning the rigid notion of femininity that has defined the dance form through erotic expressions of the dancer and exploring how innovative choreographies and performative interpretations can challenge such norms. The study uses oral histories and case studies to present a multifaceted view of Mohiniyattam’s historical evolution as a dance form. The revival of Mohiniyattam at different times reflects the dominant epistemes, marked by an embedded male gaze on the female dancing body. The performers’ own initiatives reframed the concept of femininity and its portrayal by exploring the potential of the trained dancing body.

From Tradition to Transformation: Bharatanatyam Explored through Feminist and Psychological Contexts

This study explores the evolution and contemporary significance of Bharatanatyam, an Indian classical dance form. It examines the evolution of the dance form, focusing on the portrayal of stories, emotions, and characters. The research also reimagines the Ashta-Nayikas, the eight main female archetypes in classical dance, through the lens of contemporary psychology. The study uses qualitative data analysis, including media studies, historical texts, and in-depth interviews, to reveal the dynamic interaction between modernity and tradition. The study highlights the dance form’s innate resilience and the need for dance artists to develop coping mechanisms to navigate the intricacies of tradition and modernity.

Globalization of Argentine Tango and Its Cultural Adaptations in Dance Cultures Worldwide

This paper explores the globalization and cultural adaptations of Argentine Tango, a dance form that has transcended its origins to become a global phenomenon. The study delves into the historical spread of Tango from Buenos Aires to various parts of the world and examines how it has been adapted in different cultural contexts, including Europe, Asia, and North America. The paper discusses Tango’s role as a cultural bridge, fostering cross-cultural exchange and understanding through international festivals and collaborations. It also addresses the challenges faced in maintaining Tango’s authenticity while adapting to diverse cultures and highlights the resilience of Tango enthusiasts in preserving the essence of the dance. The impact of Tango on global dance culture is analyzed, emphasizing its influence on other dance forms and its contribution to the diversity of global artistic expression. The paper concludes with a reflection on the future directions of Tango’s globalization and its potential for further cultural exchange, underscoring the significance of Tango as a symbol of cultural interconnectedness and artistic innovation.