Dance Images Research Articles

The Dance of Priests, Matronae, and Philosophers: Aspects of Dance Culture in Rome and the Roman Empire

Abstract The fourteen papers delivered at a conference on Roman dance in June 2019 set about correcting the widespread idea that dance was marginal and held in low esteem in Rome. They elucidated different contexts in which dance was central, especially religion, the theatre, and private entertainments, and further topics included cultural interactions on the Italian peninsula, the diversity of practitioners, the political role of dance, and dance images in poetry. The conference showed not only that further study of Roman dance is necessary, but also that dance is a valuable tool that allows us to think about what we mean when we talk about ‘Roman’ culture.

The East in the Works of Charles Griffes

The article is devoted to the oriental compositions of the American composer Charles Griffes (1884–1920), created in the 1910s. These include the symphonic poem “The Pleasure-Dome of Kubla Khan” (1912–1917), the vocal cycle “Five Poems of Ancient China and Japan” for voice and piano (1916–1917), and the Japanese pantomime “Sho-Jo” (1917). Significant creative contacts (Eva Gauthier, A. Coomaraswamy, E. Bloch, A. Bolm, M. Ito), extensive reading, fascination with folklore, poetry, painting, and philosophy of Asian countries led to the formation of his own method of working with oriental materials. The composer saw prospects for the interaction of Western and Eastern music in his address to the archaic, to the stylization of ancient folklore. An example is the music for the pantomime “Sho-Jo” and the cycle “Five Poems of Ancient China and Japan.” Natural modes (pentatonic modes), organ points, ascetic quarto-quinto-second verticals, spatial sound, and rhythmic ostinato allow us to draw parallels with new folkloristics, in particular, with the works of I. F. Stravinsky. In the symphonic poem “The Pleasure-Dome of Kubla Khan,” the European influences at the forefront are associated with the study of the “Russian” East (first of all the writings of N. Rimsky-Korsakov) and the French oriental pieces by C. Debussy and M. Ravel. Colorful in mood and harmony, a multi-layered texture, and spicy timbers testify to the features of impressionism. The technique of orchestral writing enables us to find similarities with Ravel’s “Sheherazade” Overture. Also, the works of Griffes brightly revealed features of the Art Nouveau style: the image of dance, the increased interest in the element of water, ornamental melodies-arabesques, and the independence of timber layers.

SME feature-based classification of <i>Adavu</i> and posture images of Bharatanatyam dance

SME feature-based classification of <i>Adavu</i> and posture images of Bharatanatyam dance

СИМВОЛИ ТА ЗНАКИ В КОНТЕКСТІ ХОРЕОГРАФІЧНОГО ХУДОЖНЬОГО ОБРАЗУ

Мета статті – виявити специфіку хореографічних знаків та символів у контексті створення художнього образу в сценічному бальному танці та розглянути особливості їх сприйняття відповідно до трансформаційних перетворень. Методологія дослідження. У межах обраної наукової стратегії, а саме принципу системного аналізу, застосовано методологічний, культурологічний, структурно-семіотичний, формально-феноменологічний та соціологічний підходи, кожен з яких посприяв осмисленню аспектів сценічного бального танцю для побудови цілісної теоретичної моделі. Наукова новизна. Визначено взаємозв’язок та взаємовплив публічних проявів тілесних рухів і артикуляції соціальних категорій ідентичності та гендерних тіл; проаналізовано специфіку трансформації і сприйняття хореографічних знаків та символів у сценічному бальному танці; досліджено матеріальні, феноменологічні, суб’єктивні й інтерактивні аспекти сценічного бального танцю як естетичного, соціального й театрального виступу; розглянуто синтез емоційного, експресивного, чуттєвого та пропріорицепторного складників танцю в контексті сценічного хореографічного виступу. Висновки. Образи сценічного бального танцю синтезують у різноманітних пропорціях естетичні цінності та інформативні повідомлення, мають реальний референт або ментальне уявлення, а хореографічний знак є інтерпретатором іншого знаку, семіотичного процесу, теоретично необмеженого. Засобами відбору, спрощення й інтерпретації хореографічний знак розкриває свою мету. Цей процес відноситься до абстракції, що пов’язана з демотивацією – мотивовані знаки перетворюються на знаки символічні. Отже, хореографічний знак передбачає його семантизацію в конкретному контексті хореографічної композиції кожної постановки сценічного бального танцю як особливої конфігурації системи час–простір–енергія.

CHOREOGRAPHIC WORKS AS OBJECTS OF FORENSIC EXPERTISE: KEY FEATURES AND APPROACHES TO SOLVING EXPERT TASKS

A research aim was to investigate signs peculiar to choreographic works, as objects of copyright. Will consider, what elements of choreographic results can be attributed to maintenance, and also internal and external forms, and also to offer approach to the decision of set certain tasks. Identification of the main features of choreographic works has a special relevance for the methodological provision of forensic expert activity. It was established that the main tasks of the forensic expertise of choreographic works are: the definition of the object of copyright law in the object of research; definition in the object of the research or its part of signs of originality and creative nature; establishing the fact of reproduction of a choreographic work; establishing a method for its use or processing. The results of the conducted research indicate that the elements of the internal form of choreographic works may include the artistic image, composition, structure of the work. The elements of the external form – the choreographic work of the work (choreographic vocabulary of the work, style of speech), that is, the author’s own means and techniques of creating artistic images, with which plastic dance images are created. During realization of expertise it is expedient to investigate the next elements of choreographic language works: composition of motions, gestures, poses, mimicry; harmoniousness of motions and poses, plastic expressiveness and mimicry, rate and rhythm of motion, spatial picture; light and colour decisions; stage sceneries, suits, make-up and hair-dos of actors; individual style of motion (handwriting of motions) etc. At establishment of fact of the complete or partial use of choreographic work an expert on the stage of comparative research conducts the analysis of language elements of the investigated works, methods of their selection, use, mutual combination and correlation. The elements of maintenance and form of these works are thus analysed, in particular, features of expression of their internal and external form. In the process of research the special attention applies on facts that can testify to more early use by other authors of analogical choreographic elements. It also establishes the originality of the used choreographic vocabulary of the work, means and methods of creating artistic images. Key words: choreographic works, forms of work, expert practice, objects of copyright.

The painted ceiling of Santa Maria de Llíria and its dancing images

The images of music and dance featured on the friezes of Santa Maria de Llíria church in Valencia coexist alongside a host of secular images, the majority of which could be labelled ‘courtly scenes’. This theme, which is encountered on many other medieval ceilings throughout the Mediterranean, displays certain unique iconographic features in Valencia. These features are also to be found on the tin-glazed ceramics decorated with green and manganese manufactured in Paterna and Teruel during the 14th century. The analysis of both the ceiling of Santa Maria and the ceramic ware reveals the traces of their shared visual repertoire, which resulted from the convergence of rich, heterogeneous artistic traditions on the Iberian Peninsula from both Al-Andalus and the Christian kingdoms.

중장년 여성의 전통춤과 요가활동을 통한 예술적 체험 및 정서적 기대효과에 관한 연구

This study was intended to identify the difference in artistic experience and expected emotional effect through the traditional Korean dance activity and yoga activity of middle-aged women. To attain this goal, the questionnaire research was conducted for 331 middle-aged women engaged in traditional Korean dance and yoga activities. 327 questionnaires except the ones judged to be improper as data were used for statistical analysis. As a result, the following findings were obtained: First, it was found that the group of the women engaged in traditional Korean dance had a statistically higher level than the counterpart engaged in yoga activity in all factors such as the attitude image and commitment of artistic experience and the external satisfaction, internal satisfaction and loyalty of emotional expectation. Second, it was found that traditional Korean dance had an effect on all the factors such as the attitude, image and commitment of traditional Korean dance and the external satisfaction, internal satisfaction and loyalty of emotional expectation. Third, it was found that yoga activity had an effect on all the factors such as the attitude, image and commitment of traditional Korean dance and the external satisfaction, internal satisfaction and loyalty of emotional expectation.

Філософія танцю. Передовий досвід українських учених

The purpose of the research is to identify the innovative aspects of philosophical dance understanding in the collective monograph by I. Pecheranskyi and D. Bazela "Introduction to the philosophy of dance" in comparison with similar studies of foreign scientists. Methodology. The study uses a comparative method as a device for interpreting various aspects of the dance image knowledge in connection with the ways of different choreographic works existence. Historical, culturological and art-study methods are used in the characteristics of dance as a cultural universals, as a socio-cultural triad and a way of aesthetic self-affirmation and self-improvement. Scientific novelty. An analysis of the newly created monograph by I. Peceransky and D. Basel, published in 2017, has not yet been held, although it contains innovative and relevant provisions on dance as a deep layer of the spiritual world and an inalienable element of human existence. Conclusions. It is fully confirmed by the author's position that the cultural triad of dance is semiotics, art and sport. There is no objection or need for additional substantiation to the authors conclusion of the monograph that the dance, in its ideal and socio-cultural manifestations, generates a practical philosophy that is theoretically presented on the pages of the monograph. The new work of Ukrainian scholars — a philosopher and practitioner as well as a theorist of choreographic art, therefore favorably differs from many of the foreign scholars achievements, which is not the result of purely philosophical reflections, but a product of analytical considerations and substantiated conclusions based on certain dance traditions and creation of specific choreographic patterns.

“Rapt with sweet pleasure”: The Rhetoric of Dance in Sir John Davies’ Orchestra or A Poem of Dancing

This article examines the trope of dance in Orchestra or a Poem of Dancing, specifically the ways in which dance functions as a form of rhetoric and, ultimately, out-performs the seduction rhetoric of Antinous. Presented literally and metaphorically, dance as the subject of Antinous' rhetoric repels Penelope, while the image of dance that appears in Love's mirror enraptures her so strongly that she esteems the weaving and unweaving of bodies above her own weaving and unweaving of thread. This activity of chaste waiting is attended to also in metaphorical terms, as it provides a parallel with the ongoing weaving and simultaneous unweaving of Antinous' argument that Penelope should dance with him. The conclusion reached is that the verbal rhetoric of Antinous, while theoretically sound in its rhetorical characteristics and presentation, fails to sway Penelope. Ultimately, it is dance that proves the successful rhetor, as it performs eloquently and persuasively to move Penelope's mind toward accepting dance as a virtuous and noble activity, indeed moves her to be “rapt with sweet pleasure” at the sight of its measured oration. Framed in a delineation of the shared qualities of rhetoric and dance, this argument relies upon classical and Renaissance rhetoric and dance treatises, as well as the work of modern rhetoric, dance, and literature scholars.

Specificity and functions of a dance as a component of syncretic “mousikē” art of the Ancient world

Specificity and functions of a dance as a component of syncretic “mousikē” art of the Ancient world

Музичне сприймання в структурі музикальності балетмейстера

The article is devoted to comprehension of musicality of the choreographer as a dynamic aggregate and interconnection of his musical, personal and professional abilities. The central “core” of musicality is the emotional experience of music, through which the content of the musical composition is expressed. The experience of music is formed by the perceived holistic musical image. For the choreographer, the professional level of music perception is the professional competence that influences the process of creating a choreographic work of a choreographer's concept, the construction of a sequence of choreographic movements in individual fragments and in dramatic integrity, as well as the process of teaching, tutoring work with artists. For the choreographer, the notion of musicality includes the versatile properties of his personality, and not only musical, for example, perfectly developed fantasy, imagination, a sense of energy and movement in the interaction of time and space, visual and muscular memory. The perception of the musical image is a leading component in the musical-choreographic activity of the choreographer, which involves understanding the artistic meaning of music through the visual, emotional, kinetic-motor, auditory, and organic mediation. The peculiarity of musical perception of the choreographer is the mediation through various receptions of reflection in body movements, plastic dance images. In the practical plane, the comprehension of the artistic meaning of music takes place through plastic modeling, which begins with the perception of music (unconscious work of imagination, intuitive comprehension of meaning, creative imagination), analysis of intonational-semantic and structural-analytic components of music (intellectual principle, a priori norms) and the formation of an image movement (verbal integral concept of a choreographic work). The image of the movement is the culminating moment of comprehension of the musical meaning, which enables musical plastic modeling. The professional direction of the interpretation of the musical image clearly defines the ways of developing the musicality of the choreographer in areas of emotional, sensory and intellectual comprehension of musical meaning. Keywords: musicality of the choreographer, musical perception, musical image, means of musical expression, plastic modeling, image of movement.

Genre-style priorities for the development of composer’s work for the balalaika in Slobozhanska Ukraine

Genre-style priorities for the development of composer’s work for the balalaika in Slobozhanska Ukraine

무용공연에서 공익연계마케팅과 공유가치창출활동이 무용이미지와 호의적구전, 향후관람의도에 미치는 영향

For data collection, this study applied convenient sampling as a random sampling technique to ordinary people aged more than 20 living in Seoul and Gyeonggi-do. Survey had been conducted from Mar. 1 to Mar. 31, 2017. The questionnaire for the survey was 309 copies were used for statistics. As a result, effective analysis rate was 95.37%. In addition, to draw results, AMOS package based confirmatory factor analysis (CFA) and structural equation model (SEM) analysis were conducted. The results are presented as follows: First, CRM and CSV of a dance performance group positively influenced the public`s dance image. In particular, CRM was more influential than CSV. Secondly, CRM and CSV of a dance performance group didn`t significantly influence the public

A vertical-horizontal-intersections feature based method for identification of bharatanatyam double hand mudra images

Bharatanatyam is an Indian classical dance, which has to be studied under an expert. In villages, semi-urban areas and foreign countries the experts are scarce. In order to promote, popularize and make it self-pursuable, this Indian art requires technological leveraging. With this motivation, the goal of this work is to automate identification of mudras through Image processing. This paper presents a three stage methodology for identification of 24 double hand mudra images of Bharatanatyam dance. In the first stage, acquired images of Bharatanatyam mudras are preprocessed to obtain contours of mudras using canny edge detector. In the second stage, cell features are extracted that include number of vertical and horizontal intersections of grid lines with the contours of the mudras. In the third stage, a rule based classifier is developed to classify the given image into 24 classes of mudras. The proposed method is implemented using OpenCV with Microsoft visual C++ IDE. The proposed method finds many applications such as e-learning of mudras and proper postures leading to self-learning of Bharatanatyam dance, online commentary during concerts, and adoption to many other forms of dances prevailing in India and outside.

Combined Hu moments, orientation knowledge, and grid intersections feature based identification of Bharatanatyam mudra images

This paper presents a three-stage methodology for identification of mudra images of Bharatanatyam dance. In the first stage, acquired images of Bharatanatyam mudras are preprocessed to obtain contours and edge images of mudras using canny edge detector. In the second stage, features such as Hu moments, mudra orientation, and grid intersections are extracted and combined feature is defined. In the third stage, a rule-based classifier is used. The proposed method is implemented using OpenCV with Microsoft visual C++ IDE. The work finds application in e-learning of ‘Bharatanatyam’ dance in particular and dances in general and automation of commentary during concerts.

Artificial neural network based identification of Bharatanatyam Mudra images using eigen values

This paper presents a three stage methodology for identification of Mudra images of Bharatanatyam dance. In the first stage, acquired images of Bharatanatyam Mudras are preprocessed to obtain contours of Mudras using canny edge detector. In the second stage, eigen values are extracted as features. In the third stage, an artificial neural network is used for recognition and classification of unknown Mudras. The work finds application in e-learning of Bharatanatyam dance in particular and dances in general and automation of commentary during concerts.

Dressing for the dance: Aesthetics, ageing and gender in modern square dance

Abstract This article examines clothing practices within the square dance community in Calgary, Alberta, Canada, whose members are mainly older adults in the 60–80 age range. What square dancers call ‘traditional dress’ is no longer required and is, even, overtly criticized by those seeking to update the image of square dance, but it remains the favourite of long-time dancers. Our focus is on the pleasures and practices of this clothing, with particular attention to sensory experience and to the activation of the clothing within forms of gender performance among older adults. Wearing traditional dress offers rich resources for aesthetic and physical expression and, for women in particular, an opportunity to assert forms of femininity that are otherwise seen as off limits to older women.

Analysis on the Difference in Dance Image Based on the Level of Dance

Analysis on the Difference in Dance Image Based on the Level of Dance

Romancing the nation, effacing history: reading Kenya through patriotic choral music

This article looks at music as one of the channels used by oppressive regimes to persuade the public to pledge loyalty to the nation and government of the day while at the same time blinding citizens from acknowledging the social, economic and political realities on the ground. Music composed, performed and accompanied by dance and visual images, and subsequently broadcast through different media channels, can be effective in achieving this mission. This article examines the song Tuishangilie Kenya (1984, revised 2012) as an example of the way music and performance in the Kenyan context become tools to efface substantial historical realities in order to project an imagined vision of a united nation. This article draws on Stuart Hall’s argument that music channelled through mass media can instil a sense of patriotism and national consciousness, and Nicholas Cook’s analysis of music in television commercials, to argue that the 2012 remaking of Tuishangilie Kenya provides a potential avenue for constructing a kind of double meaning, one overtly intended and one subverted at the end. Through an analysis of the song’s lyrical, musical and visual parameters I demonstrate how the audience is “hoodwinked” but how propaganda can backfire.

춤 축제 방문가치가 무용이미지 및 재방문의도와의 구조적 관계 : 천안 흥타령축제를 중심으로

춤 축제 방문가치가 무용이미지 및 재방문의도와의 구조적 관계 : 천안 흥타령축제를 중심으로