Type Of Dance Research Articles

Aesthetical Beauty of Mathematics and the Pythagorean Theorem

We presented a brief discussion on the aesthetic beauty in its historical basis, referring to the philosopher and mathematician Pythagoras of Samos (c. 569 - c. 475 BC). The Pythagoreans have observed a clear connection between beauty and mathematics. One of the first mathematical knowledges of human history, the Pythagorean Theorem, considered the first main geometric information, has at least six qualities that can be attributed to mathematics in general: universality, objectivity, truthfulness, aesthetics, resistance and applicability. These attributes can also be credited to some degree to Arts. Just as great artists can achieve the goal of making their names universal from their illustrious masterpieces, the same occurs with those who studies and proposes mathematics. And what mathematics and art have in common? The answer is surprisingly positive: whatever type of art, whether painting, music, sculpture, dance, theater, film or poetry, art and math are based on abstraction, the use of imagination and primordial objects, as the shape or sound against numbers. In fact, mathematicians usually designate certain evidence by the adjective elegant, a very particular aesthetic term of this distinct area, and also extensively used for the characterization of artistic works.

Квінтесенція соціальних танців

Main objective of the study is to comprehension of possible potential opportunities for presenting social dance in Ukrainian choreography; the identification of the main vectors of the historical conditions of its development as independent forms of choreographic art; to identify and define the key characteristics of social dance; form a definition of the term social dance. Methodology. The general scientific method of objectivity, historicism, comparison and system. The method of objectivity and historicism made it possible to trace the prerequisites, the main stages in the formation and development of social dance. The method of comparison was used in the analysis of sports-ballroom and social dance, makes it possible to identify the common and distinctive features. The system approach allowed a comprehensive approach to the problem. Important elements are the interconnection of its parts – the structural elements of everyday, ballroom, folklore dance. The method of observation is used for the analysis of social dance, has revealed its international character and at the same time the foundations of national and style parameters. Scientific novelty: the scientific researches on social dance in art history research of 20–21 centuries are generalized; specifies the specificity of social dance in the newest artistic and creative forms; the categorical apparatus of descriptions of social dance is specified. Conclusions. Social dance to originate from a ballroom and folk dance formed their respective forms, which nearly a hundred years of history have developed a simple and affordable, the canons of performance, manners, the position of performers in pairs and basic dance steps simplification, clarity of rhythm and dynamics of their implementation. According to the fact that they are performed both at balls, and at parties of rest, and at home. From the foregoing, we can formulate the following definition: social dance – dancing or dance styles of the different nations of the world, which are predominantly for leisure, communication between partners, their main goal is to achieve positive emotions rather than choreographic virtuosity. They are of Latin American and folklore origin. Social dance – a new perception of dance culture of the present, the main of which is easy and effortless execution of any type of dance, whose goal is the satisfaction of aesthetic, social and communication needs of the person, and not for professional performance or sporting achievements.

Of Dancing Girls and Sarabandes

The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande’s rich history as a theatrical dance regularly performed by female dancers in French court ballets. The groups of girls and solo young women who danced it between 1651 and 1669 invite us to reshape our narrative of the sarabande in France. Both literary references and the theatrical context reveal how the sarabande resonated with layers of culturally inscribed meanings at a time when danced and non-danced sarabandes coexisted side by side. The same individuals moved easily between dancing, watching danced sarabandes in ballets, and playing sarabandes on the keyboard or lute. Spectators and listeners likewise encountered and interpreted sarabandes in multiple settings; knowledge gained through dancing or accompanying dancing did not simply disappear from one performance context to the next. While such embodied knowledge is no longer common cultural currency, examining the historically embodied presence of the sarabande and its ties to female dancers permits a better understanding of its cultural resonances and its appeal in the seventeenth century and opens up a wider range of interpretations of this multi-faceted, multivalent dance type.

MENINGKATKAN KEMAMPUAN KOMUNIKASI MELALUI PEMBELAJARAN KOOPERATIF TIPE TARI BAMBU

This research was conducted with the aim to know the application of cooperative learning model of bamboo dance type in learning social studies in every cycle and to know the improvement of student communication skill in every cycle. The method used in this research is classroom action research. Students who made the object of this study is the fifth-grade students of Islamic primary school AlMuawwanah in Subang District West Java Indonesia, which amounted to 30 consisted of 21 men and 9 women. The data collection techniques using teacher and student observation sheets and performance assessment sheets. The results of this study showed that the application of cooperative learning model of bamboo dance type can improve students' communication skills. The result of precycle student communication skill assessment is 42,83%. In the first cycle increased by 56.83% and more increased in cycle II reached 66.67%. The highest achievement occurred in the third cycle of 86.17%. This study shows that communication skill of grade 5 students of Islamic primary school in Al-Muawwanah has increased during the implementation of cooperative learning model of bamboo dance type in each cycle. The activities of teachers and students in the learning process also increased in every cyle.

Results of Treatment of Posterior Ankle Impingement Syndrome and Flexor Hallucis Longus Tendinopathy in Dancers: A Systematic Review.

Dancing on pointe and relevé requires extreme plantar flexion of the talo-crural joint. Hence, these positions may lead to posterior ankle impingement syndrome (PAIS). PAIS often coincides with flexor hallucis longus tendinopathy (FHL tendinopathy, or "dancers' tendinitis"). Both injuries can appear in isolation as well. The goal of this review is to evaluate the results and the available levels of evidence of conservative and operative treatment (both open and endoscopic) of PAIS and FHL tendinopathy in dancers. It also offers an insight into the history of dance medical publications on this subject. In October 2016, a systematic search of PubMed, Embase, Cochrane, CINAHL, Web of Science, and (in French) ScienceDirect databases was undertaken. Five hundred and seventy-six publications were found, of which a total of 27 reported the results of operative treatment in 376 ankles (344 open, 32 endoscopic) in 324 dancers. The outcome was good to excellent in most cases (89%). The mean period of return to dance for all surgeries combined (PAIS and FHL tendinopathy, open and endo) was 11 weeks (range: 4 to 36 weeks), and for isolated FHL tendinopathy 16 weeks (range: 8 to 36 weeks). Only six publications reported the results of conservative treatment in 33 ankles (13 PAIS, 20 FHL tendinopathy) of 28 dancers, which does not allow for any evidence-based recommendations. Most studies failed to include dance-specific baseline characteristics, like dance style and level of participation. We concluded that only retrospective studies with levels of evidence four and five show that operative treatment for PAIS and FHL tendinopathy is successful with few complications. Since isolated PAIS, PAIS combined with FHL tendinopathy, and isolated FHL injuries appear to be different pathological entities, more research taking into account demography, dance type, and level of participation is needed to find out in which cases early operative management should be considered or avoided. The same applies to defining the place of endoscopic surgery in dancers and being able better to predict which pathology is likely to produce worse outcomes or delay the return to dance. Future research should have a prospective design, including dance-specific outcome scores both preand post-treatment. Furthermore, preferably a prospective randomized controlled design should be used to compare different conservative and operative treatment options.

From the Calendas to the Calenda: On the Afro-Iberian Substratum in Black Performance Culture in the Americas

Abstract This article presents a new theory on the origin of the calenda (also known as calinda, colinda, corlinda, and caringa) by analyzing the term from an Iberian perspective. It claims that the term should not be understood as a type of dance or song, but as a festive period in the Iberian calendar. It explains the calenda with reference to an Afro-Iberian substratum in Black performance culture in the Americas and highlights the role of brotherhoods.

A study on the audience perception types about the success factors of <Gangnam Style> and <Gentleman> music videos

Psy's music video earned huge popularity in a worldwide scale. All his other videos were released applying the supposedly success factors of . However, all his other music videos were not as successful as except for the case of . It is assumed that there are some hidden success factors in . Four types of the visual scenes in and music videos are found to be the success factors. The types of successful scenes in are: pleasure pursuing culture type, progress and development type, relieving fatigue type, and various Korean adult culture type. On the other hand, ’s flash mob dance type, arrogant dance type, food cart scene type, and teasing scene type are thought to be the main successful scenes. The scene types of the two music videos shared similarities in their choreographed dances and their expressions of Korean popular culture. In , all of success factors are based on the very Korean way of representing culture. In , however, only the food cart type is perceived as expressing Korean pop culture. The two music videos show that the very Korean culture can lead to great success in the world market. This study might be able to be used as a helpful strategy for Korean music videos and pop contents to pave their way to success in a worldwide scale.

Energy expenditure and nutrition status of ballet, jazz and contemporary dance students

Purpose: To evaluate of the energy expenditure in 3 types of dance classes (ballet, Jazz, and contemporary), as well as of the daily energy balance depending on dance type. Materials and methods: 40 females attending dance classes with a median age of 21.0 (19.0-25.0) and 10 males with a median age of 27.0 (20.0-28.0) participated in this study. The energy cost of each dance class was measured using the BodyMedia SenseWear Sensor and total daily energy expenditure was evaluated using a 3-day recording of physical activity. The dietary intake was evaluated with a 3-day food diary recording. Statistical analysis was performed using the SPSS software. Results: Median energy expenditure varied from 306 (277-328) Kcals/class for contemporary dance to 327 (290-355) Kcals/class for ballet and 369 (333-394) Kcals/class for jazz for females with significant differences between contemporary and jazz classes. For males, energy expenditure was 508 (447-589) Kcals/class and 564 (538-593) Kcals/class for ballet and jazz classes, respectively. Females had lower values for all anthropometric measurements, energy intake, macronutrient intakes, and energy expenditure, compared with males. The anthropometric characteristics did not differ between dance types. Both female and male dance students were in a negative energy balance. Conclusions: The use of sensors such as BodyMedia SenseWear together with keeping daily diaries make measurement of physical activity in dancing reliable and accurate. Exercise expenditure differs across types of dance in females but not in males. Both sexes had inadequate energy and carbohydrate intakes.

THE EFFECT OF MAKE A MATCH (MAM) TYPE MODEL AND BAMBOO DANCE TYPE MODEL THROUGH COOPERATIVE LEARNING ON STUDENTS MOTIVATION

Students motivation plays an important role in every learning process. Lacking in Make A Match (MAM) type model in mathematics teaching has become the justification in finding the solution for the crowded situation. This research used quasi experimental research design. The samples used were 60 students and they were requested to respond a set of motivation questionnaire. In addition, the students activity data was obtained from the observation sheet. T-test was used to determine the difference in motivation between experimental and control group. The result revealed that, the influence of the Make A Match (MAM) Type Model And Bamboo Dance Type Model Through Cooperative Learning on the motivation of the students.

Attitude Toward Different Type of Dance Perceived by Female Youths: Secular Change

Attitude Toward Different Type of Dance Perceived by Female Youths: Secular Change

El “tocotín” en los fastos novohispanos: una muestra de sincretismo cultural

The present study covers the “tocotin”, a type of dance of pre-Hispanic origin, in their celebratory context. The role this dance has in the New Spain celebrations is very specifi c. It helps to understand the complexity of the cross-cultural process, as an indigenous dance is inserted in an european framework. Along these lines, we will try to describe the specific characteristics of this type of dance to raise awareness about this kind of pieces and about their origin. Besides, based on some examples, we will try to analyse their evolution inside Spanish culture. This is the main topic of this article as the “tocotin” is just another element of the transculturation of New Spain. The celebratory context –during celebrations we can observe the hierarchy of society– is optimal for the study of the pre-Hispanic culture role inside the hegemonic culture at that time.

Effect of Folk Dance Training on Blood Oxidative Stress Level, Lipids, and Lipoproteins

Abstract Introduction. Folk dance is a form of physical activity which helps develop the ability to use the whole body in a coordinated way with music, and folk dancers’ characteristics vary according to the particular type of dance practised in a given geographic region. The aims of the study were to evaluate the effects of 12-week folk dance training on blood oxidative stress level, lipids, lipoproteins, as well as muscle damage markers and to define some physical and physiological properties of folk dancers. Material and methods. Thirty-eight healthy male folk dancers aged 21-28 years having an average of 11 years of dance training experience voluntarily participated in the study. All of the physical and physiological measurements and the blood analysis were performed twice, before and after the training period which focused on different regional dances (Caucasus, Bar, Zeybek, Spoon Dance, Thracian dances, and Horon). The training was done 2 hours per day (a total of 10 hours a week), during a 12-week-long period. Results. All the blood parameters were found to be within the specified reference ranges. The training programme had no significant effect on the blood lipid profile, whereas it was found to have positive effects on body fat (p ≤ 0.012), peak oxygen consumption (VO2peak; p = 0.000), muscle damage markers (creatine kinase, Δ% = −19.6), and total antioxidant capacity (p ≤ 0.002). Conclusions. Regular folk dance training was found to have positive effects on body fat, VO2peak, blood total antioxidant capacity, and muscle damage markers. Based on these results, the community should be encouraged to perform folk dance as a recreational physical activity, and public awareness should be raised about the health benefits of practising folk dances.

The Relationship between the Participation in Life Dance, Perception of Health and Lifestyle in the Elderly

Background/Objectives: This study was conducted to review the relation among the elderly participation in life dance, their health perception and lifestyle. Methods/Statistical Analysis: This study carried out a survey with 210 the elderly aged 60 or older. The survey as the research tool consists of total 32 questions. A self-assessment was used and for those who had difficulty understanding the questions, 1 researcher and 2 research assistants helped the subjects. The verification between each variable was done through a one-way ANOVA, after which a multiple regression analysis was conducted. Findings: In terms of health perception in accordance with individual characteristics, there was a difference in physical confidence across gender, education. The more they perceived themselves to be rich, the higher the physical confidence and improvement in stamina. The more they perceived their health status to be very good, their physical confidence, improvement in stamina and mental confidence were higher. Second, the more they perceived their health status to be overall good, the sub-categories of the lifestyle which are the socially active and the traditionalists ranked higher. Third, the health awareness of the life dance experience was significantly improved on physical fitness and stamina. Forth, the socially active lifestyle was significant in terms of dance period, while the traditionalist was significant for dance type and duration. Fifth, health perception appeared to have a significant effect on all lifestyle types. Application/Improvements: The participation by the elderly in life dance has a positive effect on health perception and lifestyle. Health perception was applied differently according to the lifestyle type.

The Representation of Janger Gotra I Mecaling Dance of Klungkung Regency towards Bali Arts Festival XXXVII in 2015

Janger dance was a type of social dance that was done by muda-mudi (young people) who did while singing blared rejoice. Unlike one of the cultural heritage, Janger dance consist of cultural values that can be imparted to the next generation as the improvement character therefore, they had a foundation and a high identity. The entry of globalization through a tourism networking and modern technology brought a great influence to tradition; the local culture of Balinese traditional seems narrow movement. However, the issue could be minimized by giving the traditional of art and culture for performing to each regencies in Bali at the Bali Arts Festival that was initiated by the Government of Bali Province. The good opportunities utilized by the Government of Klungkung allowed young artists creativity, innovative; compete with sportively in realizing an art production. Through the art could express and represent a performance i.e. Janger Gotra I Mecaling dance Klungkung regency in 2015 Bali Arts Festival XXXVII. Unlike a new culture production, Janger dance performances coupled with the dance that told the story of Gotra I Mecaling. The audience could be amazed on who had come for watching, through the new artists design in arts performing was expected to compete without leaving their authenticity, and could be a tourist attraction, in order to remember that Bali was a tourist destination.

Notación de zapateado flamenco para Educación Infantil. Análisis de métodos y propuesta didáctica

The main form of teaching and learning of any type of dance has produced orally, observing movements directly between the student and the teacher. However, the need for coding is rooted in human nature. There are different notation systems in dance. In some percussive dance styles of feet is a fundamental aspect as in the flamenco, with zapateado, also known as tapping or clicking heels. This paper aims to show an analysis of the issues addressed in the tap dance notation systems to assess its possible introduction in teaching. This analysis was conducted through a literature review, the strengths and weaknesses of the different aspects and then systems based on the conclusions will be presented, develop our proposal notation that could be introduced in the classroom Early Childhood Education.

TOKAT YÖRESİ OMUZ HALAYININ İNCELENMESİ

This Study was conducted to examine way how shoulder dance was acted in Tokat district and what sense it has at present. Tokat of which history backs BC Dates to year 3000 is one of most important settlements in Central Black Sea region. Tokat hosted many nations and people starting from ancient Byzantine period such as Byzantine, Arab , Persian , Mongol and Turks until today. This multi-culturalism is obviously manifested in material and spiritual cultural values. The rich and deep-rooted culture in this district can be observed in diversity of movements, figures and acts in folk dances. Both folk dance colthes and daily clothes are evidence of richness and diversity of cultural heritage Although Tokat’s in transition zone, it is mainly classified as “Halay Dance Type” in terms of Folk Dances an done of oldest dance known in Tokat is still “ shoulder dance It is also called arbordance. Shoulder ( arbor ) dance used to be acted by men in past. However, it is known that women - men are played in a mixed dance especially after spread of folk dance competitions with “staging” fact since end of year 1970. It is obvious that this dance has a different feature among Turkish folk dance because women perform dance on shoulder of men. Although different meanings assigned in past to shoulder dance, today it is thought to symbolize the value given to women .

Comparison of nutritional intake, body composition, bone mineral density, and isokinetic strength in collegiate female dancers.

This study compared nutritional intake, body composition, bone mineral density, and isokinetic strength by dance type in collegiate female dancers. The study subjects included Korean dancers (n=12), ballet dancers (n=13), contemporary dancers (n=8), and controls (n=12). Nutritional intake was estimated using the Computer Aided Nutritional Analysis Program. Body composition and bone mineral density were measured using dual-energy X-ray absorptiometry. Isokinetic knee joint strength was measured by Cybex 770-NORM. All statistical analyses were performed by SAS 9.2. Means and standard deviations were calculated using descriptive statistics. One-way analysis of variance was applied to evaluate nutritional intake, body composition, bone mineral density, and isokinetic strength differences. Duncan multiple range test was used for post hoc testing. A level of significance was set at P<0.05. The study results indicated no significant differences in nutritional in-take among dancer types. Despite no significant differences in body composition among dancer types, contemporary and ballet dancers had lower body fat percentages than controls (P<0.05). No significant differences were seen in bone mineral density and bone mineral contents among dancer types. No significant differences were found in isokinetic strength in right or left knee flexion and extension at 60°/sec (P<0.05). There were significant differences in body composition and isokinetic strength between dancer groups and the control group. Further studies of different professional dance type and more scientific methods of dance training are needed.

Physical activity in youth dance classes.

The majority of youth are not meeting the US Department of Health and Human Services physical activity guidelines. Dance is a popular activity, particularly for girls, and has the potential to increase physical activity for many youth. This study investigated physical activity of children and adolescents in 7 dance types: ballet, hip-hop, jazz, Latin-flamenco, Latin-salsa/ballet folklorico, partnered, and tap. Data were collected in 17 private studios and 4 community centers in San Diego, California. A total of 264 girls from 66 classes participated (n =154 children; n = 110 adolescents). Physical activity was measured with accelerometers, and activity levels during class were calculated. Participants recorded an average of 17.2 ± 8.9 minutes of moderate-to-vigorous physical activity (36% of class), but this varied by age and dance type. For children, dance type differences were observed with percent of class in moderate-to-vigorous physical activity ranging from 13.6% (Latin-flamenco) to 57% (hip-hop). For adolescents, there were no differences across dance types. Children were more active than adolescents in all types except ballet. Children and adolescents were more active in private compared with community center classes. Overall, physical activity in youth dance classes was low; 8% of children and 6% of adolescents met the Centers for Disease Control and Prevention 30-minute guideline for after-school physical activity during dance. To increase physical activity in dance classes, teaching methods could be employed to increase activity in all types, or emphasis could be placed on greater participation in more active dance types.

FOLİA`NIN TARİHSEL YOLCULUĞU

In this review, Folia, being a type of dance and musical form in 16th century is studied in terms of its melodic, rhythmic and harmonic features obtained during its historical development period. It is taken into consideration in two different periods as the early Folia and the late Folia. The texts prepared by musicologists and researchers based on documents and musical notes originated with regard to the Folia in 15-17th centuries are used as sources for this study. Characteristics on early Folia and late Folia are specified, and some sample notes regarding to these periods are demonstrated and in addition several composers using Folia and their compositions are exemplified. In order to draw attention to the mentioned points, some examples from the works and their composers who used folia are given. The books and articles having title of folia have been reviewed, the archives which belong to the folia-related people have been searched and interviews with the competent persons have been accomplished face to face. In this article Folia is taken into consideration as its own advances without comparing to the other dance types. As a conclusion, for 400 years Folia have been center of interest for the composers, performers characteristics to the new musical styles. with and researchers its unitive and adaptable

Dance Class Structure Affects Youth Physical Activity and Sedentary Behavior: A Study of Seven Dance Types

Purpose: The study aims were to determine: (a) how class structure varies by dance type, (b) how moderate-to-vigorous physical activity (MVPA) and sedentary behavior vary by dance class segments, and (c) how class structure relates to total MVPA in dance classes. Method: Participants were 291 boys and girls ages 5 to 18 years old enrolled in 58 dance classes at 21 dance studios in Southern California. MVPA and sedentary behavior were assessed with accelerometry, with data aggregated to 15-s epochs. Percent and minutes of MVPA and sedentary behavior during dance class segments and percent of class time and minutes spent in each segment were calculated using Freedson age-specific cut points. Differences in MVPA (Freedson 3 Metabolic Equivalents of Tasks age-specific cut points) and sedentary behavior ( < 100 counts/min) were examined using mixed-effects linear regression. Results: The length of each class segment was fairly consistent across dance types, with the exception that in ballet, more time was spent in technique as compared with private jazz/hip-hop classes and Latin-flamenco and less time was spent in routine/practice as compared with Latin-salsa/ballet folklorico. Segment type accounted for 17% of the variance in the proportion of the segment spent in MVPA. The proportion of the segment in MVPA was higher for routine/practice (44.2%) than for technique (34.7%). The proportion of the segment in sedentary behavior was lowest for routine/practice (22.8%). Conclusion: The structure of dance lessons can impact youths' physical activity. Working with instructors to increase time in routine/practice during dance classes could contribute to physical activity promotion in youth.