Dance Steps Research Articles

ОРГАНИЗАЦИЯ ТЕМПОРИТМА В КАМЕРНО-АНСАМБЛЕВОМ МУЗИЦИРОВАНИИ

The article is devoted to the artistic and technical aspects of tempo-rhythm in a chamber ensemble. The genre-forming feature of chamber music making is formulated as the equality of the partners' alternating tempo-rhythmic initiatives. The technology of synchronization of the ensemble playing is considered; its principle of relying on the pulsation changes instead of its stabilisation is highlighted; the myth of "uniformity" as the basis of synchronization is dispelled. The features of the tempo-rhythmic interaction of partners in the repertoire of different epochs and styles (Baroque, Classicism, Romanticism, Impressionism, XXth century) are analyzed. Each of the considered eras has formed its own type of tempo-rhythmic relations. The Baroque is characterized by a conflict of a uniform axial pulsation, which goes back to the dance step, and agogically detailed horizontal. Classicism is marked by a greater integration of a small pulse into a large one and, accordingly, by a greater uniformity, due to the dance and conductor-symphonic roots of the musical material. Romanticism is agogic freedom of the melody and the subordination of the accompaniment to it, conditioned by the principle of tempo rubato. Impressionism is typified by the tempo-rhythmic significance of coloristic "events" and, accordingly, the priority of the moment over the process, statics over development. Distinctive features of the XXth century chamber ensemble traditions include the focus on rethinking the Pre-Romantic tradition and going beyond the major-minor. The first factor actualizes the Baroque and Classicist pulse with the priority of uniformity, the second conflicts with this uniformity due to the tension of dissonant harmony.

Collision-free trajectory design for dance choreography of virtual drones in hierarchical structure

This paper proposes a collision-free trajectory design for dance choreography of virtual drones using a hierarchical design structure. The trajectory on two levels is designed, i.e., on the level of individual virtual drones and on the level of their centralized coordination. The design on the drone level through reinforcement learning has been carried out, with which dance steps of virtual drones in their motion can be achieved. The coordination level contains a prediction algorithm, which guarantees the avoidance of collision, even at the faultiness of some virtual drones. The effectiveness of the hierarchical design on the example of a Viennese waltz dance choreography in augmented reality has been illustrated.

Josephine Baker and Katherine Dunham: Dances in Literature and Cinema by Hannah Durkin

Reviewed by: Josephine Baker and Katherine Dunham: Dances in Literature and Cinema by Hannah Durkin Joanna Dee Das Josephine Baker and Katherine Dunham: Dances in Literature and Cinema. By Hannah Durkin. Urbana: University of Illinois Press, 2019. pp. xiii + 256. $99.00 cloth, $27.95 paper, $14.95 e-book. Hannah Durkin's Josephine Baker and Katherine Dunham: Dances in Literature and Cinema pairs two of the twentieth century's most famous dancers to address [End Page 173] questions of Black women's authorship in a transatlantic context. Scholars have paid much more attention to Baker and Dunham's live stage performances than to their written or cinematic work, and this book aims to fill that gap. Though the two women had distinct career trajectories, Durkin compellingly argues for examining them together, given that "both women adopt self-reflexive narrative voices and explore dance to communicate radical narratives of Black female subjectivity" in a mid-century context (13). Durkin shows how both women intervened in racist structures to insist on the authority of their own voices. The first two chapters focus on literary works. Chapter 1, "The Dancer in Translation: Baker's Coauthored Narratives," takes Baker's memoirs seriously as sources of understanding Baker's negotiation of racism on multiple continents. Durkin asserts that despite the fact that these early memoirs were coauthored by white men, Baker's voice comes through and she still is able to challenge primitivist and exoticizing narrative tropes that framed her. Importantly, Durkin analyzes untranslated memoirs written in French, for the most part overlooked by scholars writing in English. Chapter 2, "The Dancer as Translator: Dunham's Ethnographic Memoirs," examines Katherine Dunham's Journey to Accompong (1946) and Island Possessed (1969) as literary works that have been overlooked because of how they blur genre categories. Dunham's memoirs offer a penetrating look at the subjective nature of anthropological research, as she constantly questions the ethnographer's "perceived position of authority" (57). They also, as Durkin writes, offer "an important literary account of Dunham's intellectual development and debt to Caribbean artistry" (69). Chapter 3, "Performing within Primitivism: Baker on the French Silent Screen" applies a well-rehearsed argument to new materials: that through dance, Black subjects carve out space for agency within oppressive structures. This argument has also been made with reference to Baker before by scholars such as Mae Henderson and Michael Borshuk, as "ambivalence" (93) and "ambiguity" (97) are terms frequently associated with Baker. While Durkin's argument is therefore not groundbreaking, her analysis of two silent French films, La Revue des revues (1927) and Sirène des tropiques (1929), adds important documentation of Baker's dancing to the existing literature. Refreshingly, Durkin specifies the African American vaudeville tradition from which Baker derived her material, describing specific dance steps (Pecking, the Itch, the Mess Around, etc.) as she analyzes the films. Contextualizing the reception of Sirène among Black cinema-goers in the United States was also helpful to read. Chapter 4, "Cinematic Stardom: Baker and the 1930s French Musical Film" continues in the same vein: Durkin reiterates the argument that Baker's films Zouzou (1934) and Princesse Tam-Tam (1935) "reinforce her image as an exotic [End Page 174] Other" but also "grant Baker some control over her dance scenes, enabling her to articulate a self-referential screen image that intervenes in and disrupts racial binaries" (106). Durkin emphasizes the difference between the French film industry, which framed Baker as a glamorous star, and Hollywood, which excluded Black women from ideas of glamor, beauty, or stardom. In particular, the French films featured Baker as a glamorous icon who could sing in the delicate chanson style; Durkin notes that when Baker replicated such a performance for the Ziegfeld Follies of 1936 on Broadway, white American theatre critics judged her harshly for straying outside of the bounds of acceptable Black performance. Unlike Baker, Dunham did have to take on Hollywood racial codes. Durkin's goal in chapter 5 echoes that of the previous four chapters: to "investigate the ambiguities resulting from Dunham's attempts to resist screen stereotypes" (136) and to conclude that "Dunham worked within such limitations to present an artistically and aesthetically...

Distribution Functions of Pre-Hispanic Aztec Dance Steps Revealed a Fractal Dimension Increased with Augmentation in Number of Dancers

Distribution Functions of Pre-Hispanic Aztec Dance Steps Revealed a Fractal Dimension Increased with Augmentation in Number of Dancers

Algorithm for the Comparison of Human Periodic Movements Using Wearable Devices.

In the context of teaching-learning of motor skills in a virtual environment, videos are generally used. The person who wants to learn a certain movement watches a video and tries to perform the activity. In this sense, feedback is rarely thought of. This article proposes an algorithm in which two periodic movements are compared, the one carried out by an expert and the one carried out by the person who is learning, in order to determine how closely these two movements are performed and to provide feedback from them. The algorithm starts from the capture of data through a wearable device that yields data from an accelerometer; in this case, the data of the expert and the data of the person who is learning are captured in a dataset of salsa dance steps. Adjustments are made to the data in terms of Pearson iterations, synchronization, filtering, and normalization, and DTW, linear regression, and error analysis are used to make the corresponding comparison of the two datasets. With the above, it is possible to determine if the cycles of the two signals coincide and how closely the learner's movements resemble those of the expert.

The Pattern of Affective Responses to Dance-Based Group Exercise Differs According to Physical Fitness, as Measured by a Smartwatch

The present study investigated the effect of a dance-based aerobic exercise, on the affective experiences of participants with different fitness levels. Thirty-two college students were enrolled in the same dance fitness course, tested using a physical fitness test (the National Fitness Project 100) and grouped accordingly to 15 sports majors (high-fit group) and 17 non-sports majors (low-fit group). Together, they participated in a single-session dance fitness program using 11 basic dance steps incorporated in Zumba rhythms of merengue and reggaeton for 47 min including warm-up and cool-down. Pre- and post-exercise affects were measured using the PANAS-X transmitted to each participant’s smartphone. During exercise, participants’ heart rate (HR) and their responses to the felt arousal scale (FAS) and the feeling scale (FS) by exercise section were measured using tailor-made applications on a smartwatch. Results showed that the intensity of exercise for the same exercise program was lower in the high-fit group than in the low-fit group, as evidenced by %HRmax. In addition, the pattern of affective change throughout the exercise sections was different according to the groups’ fitness levels, while the affective improvement was greater in the high-fit group. This study confirmed that physical fitness is a major variable influencing the relationship between exercise and affect.

Cardiorespiratory responses to isolated dance steps in young girls

ABSTRACT Dance is mostly performed at light aerobic intensities and rarely reaches the recommendations of 50% of the total class time at moderate-vigorous physical activity (MVPA). The goal of this study was to verify oxygen uptake (VO2) and heart rate (HR) responses to different isolated dance steps, relating them to participants’ first and second ventilatory thresholds (VT1 and VT2), and peak oxygen consumption (VO2peak). Sixteen girls, aged 8–12, performed a cardiopulmonary exercise test and had cardiorespiratory responses to 13 dance steps (Plié, Relevé, Tendu, Chassé, Skip, Sauté, Grand Battement, Spin, Floor Work, Pendulum Pas De Bourré, Waves/Snake and Swing Arms) evaluated by a protable gas analyser (K5 COSMED). Statistical Analyses: Friedman and Fisher tests (p ≤ 0.05). Results are presented as mean±SD. All dance steps achieved VO2 values (mL.FFM−1.min−1) similar to participants’ VT1 (28.5 ± 7.9). Chassé, Skip, Sauté and Grand Battement achieved VT2 (43.8 ± 12.4). Similar pattern was found for HR (bpm) at VT1 (123.8 ± 13.3) and VT2 (167.0 ± 13.2), respectively. VO2 and HR analysis showed that dance steps with technical characteristics (Tendu) and/or increased level of complexity (Spin) were at low aerobic intensity. Dance steps performed with greater range of motion (Grand Battement) were at moderate aerobic intensity. Small jumps and across-the-floor (Skip) sets were at high aerobic intensity. Dance classes can be structured to induce MVPA levels.

Biomechanical Analysis of Sports Dance

Sports ballroom dancing is a type of sports activity that makes serious demands on the development of new motor actions, the manifestation of reaction speed, the ability to concentrate and switch attention, and many more parameters. Success in sports dance competitions depends not only on natural skills but also to a greater extent on a sportsman's practical training. The analysis of the biomechanics of sports dance and the characteristics of the sportsman's dynamic data suggest assessing the feasibility, efficiency, improvement of the technique of the performed motor action, which determines the goals of the development of the motor abilities of young sportsmen at an early stage. Based on knowledge of biomechanics, it is easier for a teacher to teach his pupils. But for this, it is necessary to be able to analyze motor activity and indicate the direction of active search, form a motor task and, based on the foundations of biomechanics, the necessary fundamentals of technology. Information about the biomechanical structure of the movement is used both in the formation of the technique of motor actions of beginner dancers and in its improvement in qualified dancers. This is what determines the relevance of the study; therefore, the purpose of the article is to identify the features of movements in sports dances using their biomechanical analysis. The authors carried out a theoretical and methodological analysis of special literature on biomechanical analysis of sports dance, which allowed them to analyze the movements of two dances. The analysis made it possible to reveal the peculiarities of the performance of these dances, which means that making adjustments to special preparatory exercises with a similar amplitude of the knee joints will lead to better training of sportsmen. Also, this analysis effectively improves the skill level of performing dance steps by experienced dancers because it clearly shows all the features of the movement at a particular moment.

Static Balancing Ability and Lower Body Kinematics Examination of Hungarian Folk Dancers: A Pilot Study Investigating the “Kalocsai Mars” Dance Sequence

Folk dance is a collection of traditional dances that requires years of practicing to perform correctly. The aim of the present study was to develop a complex biomechanical measurement procedure that investigated Hungarian folk dancers’ balancing ability and lower body kinematics through a dance movement called “Kalocsai mars”. Therefore, 11 dancers’ motion (5 female and 6 male; age: 20.5 ± 2.5 years; height: 173.82 ± 7.82 cm; weight: 64.77 ± 8.67 kg) was recorded with an optical-based motion capture system and force platforms simultaneously. Before and after the dancing session, static balancing tests were performed, examining bipedal stance with eyes opened and closed conditions. The ANOVA results showed that the values of the range of motions of the knee joint flexion-extension angles and hip flexion averaged for sessions increased significantly (p=0.044, p=0.003, p=0.005) during the dancing sessions. The deviation in the joint angle was greater in the nondominant legs, suggesting that the nondominant side requires more attention to execute the dance steps correctly. The results of the balance tests showed that the oscillation in the posterior direction increased significantly after dancing (p=0.023). In comparison, the visual feedback had no significant effect on the dancers’ balancing ability.

Performing arts and neuroscience: body and mirrors in theatrical expressivity

Neuroscience, pedagogy and theatre: different epistemologies which, through dialogue, reflect each other from different perspectives, generating openings and multiplying meanings. They create links, networks, relationships of meaning and offer people creative and resilient strategies capable of generating beauty through the creation of shared spaces of action. In the pedagogical relationship between actor and spectator, theatre is an ephemeral but lasting experience, which leads to the transformation of the parties involved in a harmonic dance step in which attention, empathy, intention, affordances and ambiguity are involved. In the potential theatrical space, through the mechanisms of embodied simulation and liberated simulation, the subjects mirror each other, in a common resonance. The knowledge of the activation processes of the cortico-spinal pathway that induces movement allows to illuminate the dialogue and offers important contributions in the educational and didactic field.

Socio-Cultural Values and Ecological Awareness in Sakela Sili in Kirant Rai in Nepal

In the Eastern part of Nepal, Kirant Rai in traditional attires perform Sakela Sili, a dance style performed twice a yearin a larger circle to honour of Sakela, a deity in Kirant Rai community. The performance of Sakela or Sakkew involves singing and dancing simultaneously. Sakela connects the Kirant to their original source of energy, cultural root, origin and the civilization. Ethnic Kirant Rai, including youth and the old in their dance steps of working in the farmland and worshiping gods, with their hands and legs raising low and high, embody their connections to the terrestrial and celestial, profane and sacred, and the humanity and the divinity to maintain a perfect balance of art and life. The dancers in their body movements blend their passionate intensity to work and aesthetic response to art and embody socio -cultural practices and ecological awareness. While dancing, they work and dance for representing the life in totality. The Kirant Rai work pleasingly, and they dance with their strong passion to work. This paper as an instance of qualitative research employs both emic and etic perspectives to find out how such Sakela Sili performed shapes the socio - cultural values and ecological awareness among Kirant Rai community.

Deciphering the dance steps of reactive hydrogen at fluid-transition-metal interfaces

In this Activity article, Cathy Chin (associate professor and Canada Research Chair in Advanced Catalysis for Sustainable Chemistry at the University of Toronto) and Sourav K. Sengupta (DuPont Laureate) exchange views on academic and industrial partnerships to obtain new fundamental insights for accelerating process discovery and optimization.

A Novel High-Intensity Short Interval Dance Intervention (THANDAV) to Improve Physical Fitness in Asian Indian Adolescent Girls.

Background: There exist several barriers to physical activity (PA) among adolescent girls. We therefore developed a culturally acceptable dance/fitness intervention called THANDAV (Taking High-Intensity Interval Training [HIIT] ANd Dance to Adolescents for Victory over noncommunicable diseases [NCDs]). The main aim of this study was to evaluate the THANDAV protocol among Asian Indian girls aged 10 to 17 years. Materials and Methods: THANDAV consisted of a 10-min routine with high- and low-intensity dance steps that was taught to 23 adolescent girls. Heart rate (HR), energy expenditure, body mass index (BMI), and blood pressure (BP) were recorded. Focused group discussions (FGDs) were conducted after the quantitative measurements were completed. Results: The average age of the girls was 13.9 ± 2.1 years, and the mean BMI and BP were 19.8 ± 3.3 kg/m2 and 107/68 (±8/7) mm/Hg, respectively. All participants achieved 80% of their maximum HR during the first dance and managed to sustain this HR throughout the 10-min routine. There was a significant increase in the HR (bpm) [88.7 ± 8.4 to 195.6 ± 11.8, P < 0.001] and VO2 (L/min) [0.025 ± 0.0 to 0.395 ± 0.1, P < 0.001] postintervention. The average energy cost of the activity (metabolic equivalent) was 6.3. The FGDs revealed that THANDAV was a socially acceptable, fun, and energetic form of PA. Conclusions: The THANDAV intervention meets HIIT norms and is a novel culturally appropriate form of PA that is enjoyable, takes little time, and can be done at home. It has the potential to be a sustainable intervention to improve cardiorespiratory fitness and prevent NCDs in Asian Indian adolescent girls. Clinical Trials Registry of India: CTRI/2020/02/023384.

Flipped, Broken, and PausedClave

AbstractThis article examines some of the complex interactions between salsa music and dance by focusing on physical interpretations of specific types of metric ambiguities and disruptions. It explores both the fairly frequent displacement dissonances that arise when the established clave pattern is flipped, paused, or broken and the grouping dissonances that are somewhat rare occurrences in salsa music, showing how dancers' responses to these metric disruptions depend heavily on the unique features of each musical context. Annotated videos break down salsa's fundamental dance and musical structures, encouraging readers to contemplate the artful interpretations presented by experienced dance practitioners and to engage with these interesting musical passages more intimately by trying out the dance steps for themselves.

Characteristics of Eight Irish Dance LandingsConsiderations for Training and Overuse Injury Prevention.

Irish dance has evolved in aesthetics that lead to greater physical demands on dancers' bodies. Irish dancers must land from difficult moves without letting their knees bend or heels touch the ground, causing large forces to be absorbed by the body. The majority of injuries incurred by Irish dancers are due to overuse (79.6%). The purpose of this study was to determine loads on the body of female Irish dancers, including peak force, rise rate of force, and impulse, in eight common Irish hard shoe and soft shoe dance movements. It was hypothesized that these movements would produce different ground reac- tion force (GRF) characteristics. Sixteen female Irish dancers were recruited from the three highest competitive levels. Each performed a warm-up, reviewed the eight movements, and then performed each movement three times on a force plate, four in soft shoes and four in hard shoes. Ground reaction forces were measured using a three-dimensional force plate recording at 1,000 Hz. Peak force, rise rate, and vertical impulse were calculated. Peak forces normalized by each dancer's body weight for each of these variables were significantly different between move- ments and shoe types [F(15, 15)= 65.4, p < 0.01; F(15, 15) = 65.0, p < 0.01; and F(15, 15) = 67.4, p < 0.01, respectively]. The variable years of experience was not correlated with peak force, rise rate, or impulse (p > 0.40). It is concluded that there was a large range in GRF characteristics among the eight movements studied. Understanding the force of each dance step will allow instructors to develop training routines that help dancers adapt gradually to the high forces experienced in Irish dance training and competitions, thereby limiting the potential for overuse injuries.

"In a expressionist dance step" : Vytautas Kavolis's visions of "Santara"'s activity

"In a expressionist dance step" : Vytautas Kavolis's visions of "Santara"'s activity

ЧОЛОВІЧЕ БАЛЕТНЕ ВИКОНАВСТВО В УКРАЇНІ 30–40-х РОКІВ ХХ ст.

The purpose of the article is to identify the special features of Ukrainian male ballet performance in the 1930s – 1940sbased on the analysis of the works by O. Sehal, B. Stepanenko, and O. Stalinskyi. The research methodology is based on theapplication of the historical and biographical approaches to comprehend the work of ballet dancers in chronological order, thecultural approach and art studies analysis to identify the artistic characteristics of male performance and consider its formationin the context of general trends in the development of ballet theatre. Scientific novelty. The features of male ballet performanceof the 1930s – 1940s through the prism of general trends in the development of ballet dance and creative biographies ofthe leading artists were revealed for the first time. Conclusions. The article has demonstrated that Ukrainian male balletperformance as an independent phenomenon began its formation in the 1930s – 1940s, in the context of the reconstructionof ballets of classical heritage (Swan Lake, Sleeping Beauty, Raymonda, Giselle, etc.), the formation and development ofa choreodrama (Red Poppy, The Fountain of Bakhchisaray, Laurencia, etc.), including Ukrainian national ballets (Lileia, ForestSong, etc.). It has been stated that the leading ballet dancers of this period (O. Sehal, B. Stepanenko, O. Stalinskyi, etc.) wereprofessionally trained. The article has revealed the main features of male performance – pronounced acting skills, a high levelof pantomime proficiency as the main expressive means of a drama ballet, a limited number of dance steps in male parts. Thepositive dynamics of the growth of male dance performance was interrupted by the Second World War, during which balletdancers performed at the fronts and in evacuation. In the post-war period, the repertoire of ballet theatres was restored andenriched, but the dominance of director’s principles over choreographic ones led to the crisis of the emasculation of the dancecomponent from the male parts.

REDUCING STRESS IN SCHOOL CHILDREN THROUGH THE USE OF SOME DANCE TECHNICAL ELEMENTS AS A FORM OF THERAPY

Dance therapy, after numerous researches, has proven to be a very beneficial exercise. We are considering reducing stress by applying an intervention plan based on a succession of specific dance steps, artistic program, made by entirely for this purpose. Our results show that the initial measurement, after the intervention program, students were able to greatly reduce mental tensions by further discharged their muscle tension. Certain indicators of stress can be improved by practicing a moment of sport dance with art therapy effect.

DANCE THERAPY – THE PSYCHOTHERAPEUTIC USE OF MOVEMENT TO PROMOTE THE EMOTIONAL, SOCIAL, COGNITIVE AND PHYSICAL INTEGRATION OF THE ELDERLY

Background. Elder adults often require adaptive activities to maintain or regain their physical fitness. Dancing is one of the most complex activity for people. Dance is an activity which develops social, emotional, cognitive and physical skills that can improve the life quality of elder. The old age is a problematic, so the therapists have to work more with this segment. Every activity or therapy is welcome to prevent the needs of elder people. Dancing is one of this theraphies and I will show the benefits of this activity. Method. The purpose of this case study is to describe the process of developing, pilot testing and implementing a dance-based exercise class at the Seniors Club of Bucharest City Hall. This participant observation-based case study makes use of holistic observations during the process of developing and offering the class in cooperation with the Director of the Seniors Organization. Participants will complete a “Course and Instructor Evaluation”, reporting their experience with the class, including any perceived benefits, concerns and willingness to pay and participate in future dance offerings. The weekly class format includes 10-minute warm-up/introduction, 40 minutes of cardiovascular oriented dance instruction with pre-recorded accompanying music, and a 10-minute cool down/review. Results: In consultation with the program, a dance-based exercise class for seniors was approved, designed, advertised, and implemented. Participants displayed signs of enjoyment during the class meetings and the small class size allowed all to engage in a dynamic, powerful, and rewarding experience of dance regardless of level of ability. Through repetition and reinforcement of movements participants learned dance steps often working beyond their conceived limitations. Dance has shown promise in improved fitness, social connections and overall physical and cognitive benefits. Conclusion: Our study is meant to show that a professional trainer, a good program, implicated people takes to good results. For elders is very important to take good activities. The study will show that the dance therapy is an instrument that is proper to improve the elders life, make they feel good and in the end the quality of life of elder people.

Implementation of dance therapy in 13–14 year old students in order to reduce stress and anxiety

Problem statement: Investigating numerous articles and studies on the effects of dance on the body, we can say that this type of movement brings many benefits to our health both physically and mentally regardless of the age. Purpose of study: This paper aims to analyse the level of stress in students aged 13–14 years, as well as reducing the level of stress felt by them by applying dance therapy. Study hypothesis: Indicators of stress (such as anxiety, emotional distress, etc.) can be improved with a focused dance-intervention therapy program, created specifically for this purpose. Objectives of the study proposed by us take into account the well-being of young people, more precisely of students aged 13–14. We intend to reduce stress by applying intervention plans based on a succession of specific dance steps, an artistic program created by us especially for this purpose. Subjects, duration and place of study: The study took place between October 2016 and January 2017, in Cluj-Napoca, in the gym of the ‘George Baritiu’ National College, a number of 30 students. Tests and assessment tools used in research: To find out the emotional state of students, we apply: Relaxation technique R. Bandler, Jacobson, Endler Scale of Multidimensional Anxiety Assessment Test – Endler Scales for Multidimensional Anxiety Assessment (Anxiety Scale), Emotional Distress Profile. We use Statistical Package for the Social Sciences, for the analysis of three or more samples, the analysis of variance test was used in the case of data with normal distribution or the non-parametric Kruskal–Wallis test, in the case of values with uneven distribution or ranks. Conclusions and recommendations: The obtained results underline the importance of using psychological tests to detect the level of stress in order to decrease its intensity and to raise awareness of well-being. Following the results obtained, which are statistically significant, we conclude that students need a special intervention program created by us that will reduce the accumulated stress.&#x0D; &#x0D; Keywords: Dance-therapy, stress, anxiety.