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Relevant bibliographies by topics / Ballroom dancers

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Academic literature on the topic 'Ballroom dancers'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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Journal articles on the topic "Ballroom dancers"

1

Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping." Baltic Journal of Sport and Health Sciences 1, no. 120 (April 15, 2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.

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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz. Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found. Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer. Keywords: DanceSport, ballroom, kinematics, partnering, statistical parametric mapping.

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Banio, Adrianna, and Jerzy Eider. "VERIFICATION OF SPECIAL AND TASK-ORIENTED MOTOR TEST AMONG COMPETITIVE BALLROOM DANCERS AT THE HIGHEST LEVEL OF ADVANCEMENT." Journal of Kinesiology and Exercise Sciences 28, no. 82 (June 30, 2018): 29–34. http://dx.doi.org/10.5604/01.3001.0013.5123.

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Aim: Verification of special and task-oriented fitness test of competitive ballroom dancers carried out among the most qualified contestants by Rokita (2006).Basic procedures: The research material consisted of 76 dancers (38 European couples) of the highest international dance class S, who train ballroom dance in European countries, i.e.: Poland, Italy, the United Kingdom, Germany, and Ukraine. The research methodology included carrying out a test constructed by Rokita (2006), consisting of a total of 16 “chaines” turns in 2/4 metre and at a rate of 40 bars per minute. Results: The presented results constitute a proof that the tool proposed by Rokita is not reliable for all competitive ballroom dancers. It is obvious that the most qualified male and female dancers show a higher level of physical fitness due to, for example, training. This however does not mean that there are no significant differences between them. Nevertheless, it is impossible to measure them using this test. Therefore, the conducted research led to considerations on the principles of construction of a motor skills test. Conclusions: The presented results constitute a proof that the tool proposed by Rokita is not reliable for all competitive ballroom dances. This test does not fully meet the criteria for the construction of a motor skills test.

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Wang, Chien-Hsin, and Angel Yin Chu. "Older Adults' Participation in Ballroom Dancing: Practical Application of the Sport Commitment Model." Social Behavior and Personality: an international journal 44, no. 3 (April 12, 2016): 445–52. http://dx.doi.org/10.2224/sbp.2016.44.3.445.

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We investigated potential differences in level of sport commitment and its associated antecedents for older adult ballroom dancers in Taiwan. Participants were 150 older adult ballroom dancers who completed a sport commitment questionnaire. Results showed that participation method, experience level, and frequency of participation all had a significant effect on personal investment in ballroom dancing. Frequency of participation also had a significant effect on sport commitment and involvement opportunities. Our findings provide new insights into how older adults perceive ballroom dancing as their chosen physical activity. The results of this study may be used to help leisure service providers and dance instructors understand that sport enjoyment, personal investment, and involvement opportunities are important determinants for participation retention among older adult ballroom dancers.

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Lu, Yingzhi, Qi Zhao, Yingying Wang, and Chenglin Zhou. "Ballroom Dancing Promotes Neural Activity in the Sensorimotor System: A Resting-State fMRI Study." Neural Plasticity 2018 (2018): 1–7. http://dx.doi.org/10.1155/2018/2024835.

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Objective. This study aims at investigating differences in the spontaneous brain activity and functional connectivity in the sensorimotor system between ballroom dancers and nondancers, to further support the functional alteration in people with expertise. Materials and Methods. Twenty-three ballroom dancers and twenty-one matched novices with no dance experience were recruited in this study. Amplitude of low-frequency fluctuation (ALFF) and seed-based functional connectivity, as methods for assessing resting-state functional magnetic resonance imaging (rs-fMRI) data, were used to reveal the resting-state brain function in these participants. Results. Compared to the novices, ballroom dancers showed increased ALFF in the left middle temporal gyrus, bilateral precentral gyrus, bilateral inferior frontal gyrus, left postcentral gyrus, left inferior temporal gyrus, right middle occipital gyrus, right superior temporal gyrus, and left middle frontal gyrus. The ballroom dancers also demonstrated lower ALFF in the left lingual gyrus and altered functional connectivity between the inferior frontal gyrus and temporal, parietal regions. Conclusions. Our results indicated that ballroom dancers showed elevated neural activity in sensorimotor regions relative to novices and functional alterations in frontal-temporal and frontal-parietal connectivity, which may reflect specific training experience related to ballroom dancing, including high-capacity action perception, attentional control, and movement adjustment.

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Tremayne, Patsy, and Debra A. Ballinger. "Performance Enhancement for Ballroom Dancers: Psychological Perspectives." Sport Psychologist 22, no. 1 (March 2008): 90–108. http://dx.doi.org/10.1123/tsp.22.1.90.

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Ballroom dance has resurfaced worldwide as a highly popular competitive sport and might be added to Olympic medal competition for the 2012 London Games. This resurgence presents opportunities for sport psychologists to provide psychological-skills and performance-enhancement training for ballroom dancers at all competitive levels. Few sport psychologists have the personal experience, expertise, or an adequate knowledge base about the competitive-ballroom-dance environment to provide meaningful intervention strategies for participants. This article was developed to provide initial guidance for sport psychology professionals interested in working in this environment. An overview of the competitive-dance and ballroom-dance environment, strategies used by dance couples for enhanced mental preparation before and during dance competitions, and excerpts from an interview with an Australian championship-level couple provide readers insight into performance-enhancement strategies for DanceSport.

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Omelyanenko, V. I. "Complex integrated method of improvement of sports ballroom dance performance." Physical education of students 18, no. 6 (December 28, 2014): 49–53. http://dx.doi.org/10.15561/20755279.2014.0610.

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Purpose: to elaborate complex integrated method of psychological influence upon sport ballroom dancers for their quick response to assumed mistakes by executing other steps in training mode in place of given compositions. Material: 20 senior sport ballroom dancers: 10 - experimental group, 10 - control group. At the I stage dancers for participation in the experimental group with regard to their hypnosis ability for facilitation teaching dynamic meditation were selected. Sportsmen with the 2 nd -3 rd stage of hypnosis were enrolled to the experimental group. At the II stage the experimental group was trained in the method of dynamic meditation. For this, the static meditation was performed first, after this the test persons opened their eyes and without leaving the achieved result with help of the static state of meditation, practiced in dynamic meditation. At the III stage training in sports ballroom dances with introduction new steps changing the composition program sequence to composition was held. The coach evaluated response of the test persons in the state of the dynamic meditation. Results: at the II stage of the research on training in dynamic meditation the dancers of the experimental group needed 3-7 repetitions. At the III stage of the research 8 test persons had trained to response adequately to changes in the compositions within 10-15 repetitions. In the control group if a partner changed steps during performance of the composition it led to stop of the dancing couple. For 8 test persons in the experimental group steps replacement didn’t affect adversely the quality of the dance. The senior group of dancers studied new steps with great difficulty, their motion stereotype was formed badly, they preferred to dance compositions trained earlier. The seniors having insufficient technical background (2 persons) showed low abilities, they had bad memory, they spent 3 months for mastering new compositions. Conclusions: The methods elaborated by us providing for inclusion in the training process stand-alone dance steps in place of compensation steps, provided development of the dancers’ ability to respond quickly to assumed mistakes during dance performance. Mastering dynamic meditation depended on typological features of the nervous system: the higher hypnosis ability degree the better mastering. Women-partners of the experimental group who had high hypnosis ability degree and mastered dynamic meditation could quickly adequately response to the rapid changes in the composition performed by dance partner during dance. Consideration of possible errors trains a woman-partner’s ability to switch timely from one step to another. Using this method, improvement of professional skills of dancers accelerates greatly.

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Ji, Hualin. "Application of Functional Training in Sports Dance Training." Journal of Environmental and Public Health 2022 (August 28, 2022): 1–14. http://dx.doi.org/10.1155/2022/8695535.

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With the rapid development of the economy, people’s various needs for daily life are also increasing. Because this sport combines sports and dance, which makes the sport have the effect of physical fitness, as well as the emotional edification and visual beauty that dance brings to dancers and audiences. With the increase in people’s needs, at the same time, corresponding to the relatively insufficient functional training of the project, this problem makes sports dance, the international standard ballroom dance, always at a low level of development, and at the same time, makes it lack of competitiveness. Also, the nature of dance is now more of a viewing experience. In view of the lack of functional training in international standard ballroom dancing, this article will study the role of functional training in this. By adopting the technology of human body feature recognition and functional action screening, it implements the steps of human action recognition detection technology, human action tracking technology, human body posture shape recognition method, and functional action screening. And the final experimental results show that functional training can screen out 57.3% of female dancers, with ligament damage, and 52.1% of male dancers. The screen outs were more than half of the total numbers, which shows that functional training effectively improves international standard ballroom dance that can provide good assistance for dancers’ training.

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Osadtsiv, Taras, Tetiana Tokar, and Alina Zhaylo. "Technical training control of sportsmen’s in ballroom dances." Science and Education 2022, no. 1 (April 2022): 42–47. http://dx.doi.org/10.24195/2414-4665-2022-1-6.

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The results of study of features of sporting activity in ballroom dance are presented in the article. The issues of control of technical training of dance couples are considered. The aim is to analyses the modern state of issue of control of technical training of sportsmen’s in ballroom dance. The group of theoretical and empiric methods was used in the study.Pedagogicalsupervisionsof 24 trainingsessions wereconducted,of which 14 – in Latin American and 10 – in Euro-pean programs in 6 clubs of sporting (ballroom) dances of Lviv, with pairs by age 12–13.A survey of 10 choreographers and 6 judges of the Highest National Category in dance sports showed that high achievements in ballroom dancing at the present stage is impossible without objective control over the physical, technical and functional training of dance couples without physiological mechanisms and patterns of control of motor actions of dancers, which requires the de-velopment of new approaches to the whole educational and training process. The conducted analysis of the dance move in Europe and Ukrainehas shown that a single control system in ballroom dance, which would take into account the evaluation of dance techniques, is just being formed. It was found that the control of technical readiness in the perfor-mance of dances of both Latin American and European programs should take into account a large number of compo-nents: the relative position of body parts, the specifics of weight distribution of the sportsman, tempo-rhythmic charac-teristics of each dance, timeliness, balance. The results of the study complement some provisions of sportsmen’stheory of training aged 12 - 13 years; they can be used in the practice of teachers-choreographers in ballroom dancing.

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Małecki, Jacek, Mirosław Kokosz, Edward Saulicz, and Izabela Świat-Borowczyk. "The effectiveness of stability training of the lumbo-pelvic-hip complex in ballroom dancers with low back pain." Physiotherapy and Health Activity 23, no. 1 (December 1, 2015): 17–22. http://dx.doi.org/10.1515/pha-2015-0010.

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Abstract Background: Low back pain is a common problem in ballroom dancers. In the United States of America about 23% of all injuries in dancers is low back pain. Low back pain in dancers can be related to the extended position of the spine during dancing. The activity of the abdominal muscles, such as transverse abdominis and multifidus muscles can play significant role in the pathomechanics of the problem. These muscles are important for stability of the pelvis and the lumbar spine. The purpose of the study was to estimate the effectiveness of stability exercises of the lumbo-pelvic-hip complex in reducing low back pain among ballroom dancers. Material/Methods: 30 professional dancers (mean age of 19 years) both males and females participated in the research. Subjects were randomised into two groups. Dancers from the first group continued normal dance training with extra stability training (the experimental group). Participants from the second group continued normal dance training only, without any modifications (the control group). The pain rate was measured by the Numerical Pain Rating Scale. The stability muscles activity was estimated with the biofeedback pressure unit in supine and prone position. Results: After 6 weeks of stability trainings in dancers from experimental group low back pain significantly decreased and the stability muscles activity improved (p < 0.05). Conclusions: Results of the study show that stability exercises can be effective in reducing low back pain in ballroom dancers. However, prolonged observations and research comparing different training regimens (e.g. general exercises or Pilates) are needed.

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Smyers Evanson, Alyssa, Joseph Myrer, Dennis Eggett, Ulrike Mitchell, and A. Johnson. "Multifidus Muscle Size and Symmetry in Ballroom Dancers with and without Low Back Pain." International Journal of Sports Medicine 39, no. 08 (June 8, 2018): 630–35. http://dx.doi.org/10.1055/a-0631-3111.

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AbstractThe incidence of low back pain (LBP) among elite ballroom dancers is high and understanding associations between muscle morphology and pain may provide insight into treatment or training options. Research has linked multifidus muscle atrophy to LBP in the general and some athletic populations; however, this has not been examined in ballroom dancers. We compared the lumbar multifidus cross-sectional area (CSA) at rest in 57 elite level ballroom dancers (age 23±2.4 years; height, 174±11 cm; mass, 64±10 kg) divided into one of three pain groups, according to their self-reported symptoms, 1) LBP group (n=19), 2) minimal LBP (n=17), and 3) no LBP (n=21). There were no significant difference in demographics between the groups (P>0.05). The LBP group demonstrated significant differences in reported pain and Oswestry Disability Index scores compared to the other two groups. There was no significant difference between groups in multifidus cross-sectional area (P=0.49). Asymmetry was found in all groups with the overall left side being significantly larger than the right (P<0.002). Pain associated with segmental decrease in multifidus CSA was not observed in ballroom dancers with LBP, suggesting other reasons for persistent LBP in ballroom dancers.

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Dissertations / Theses on the topic "Ballroom dancers"

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Riding, Teri J. "Contributions of muscle fatigue to a neuromuscular neck injury in female standard ballroom dancers /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1529.pdf.

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Riding, Teri. "Contributions of Muscle Fatigue to a Neuromuscular Neck Injury in Female Standard Ballroom Dancers." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/755.

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Objective: To investigate the potential etiology of a loss of neck control injury in female standard ballroom dancers. The median frequency (MF) as measured by electromyography (EMG) of the left upper trapezius (UT), left splenius capitius (SPL), and right sternocleidomastoid (SCM) of injured dancers was compared to non-injured dancers. This comparison was performed to identify whether dancers with a history of loss of neck control have a greater amount of fatigue than those with no history of this particular injury. Design and Setting: A 2 x 6 factorial design was used for this investigation. The independent variables were group (injured vs. non-injured) and time (before and after the three rounds of dancing). The dependent variables were MF as measured by EMG, range of motion, and neck length. All testing was performed at the university biomechanics laboratory and ballroom dance studio. Subjects: Twenty female subjects (10 injured group {mean height 167.40 ± 4.12 cm and weight 59.30 ± 5.41 kg}, 10 non-injured group {mean height 166.76 ± 4.62 cm and weight 58.93 ± 5.30 kg}), with at least one year experience in competitive ballroom dancing, in the standard division participated in this study. All subjects competed at a Dancesport competition either in the novice, pre-championship, and/or amateur standard classifications. Inclusion criteria for the injured group included female ballroom dancers who had a loss of neck control episode. Measurements: Surface EMG activity was recorded from the left UT, left SPL, and right SCM muscles before and after dancing the five standard dances. Results: The decrease in EMG MF was not significant between groups. There was no difference in neck lengths from the external occipital protuberance to inferior angle of the scapula between groups. There were also no significant differences in range of motion of left and right lateral flexion and extension in either group from pre to post dancing. Conclusions: Based on the results of this study, subjects with a history of neuromuscular neck injury did not appear to have acute fatigue of the three muscles studied here following the routine used in this study.

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Voropaj, Katerina. "Mėgėjų pramoginio šokio dalyvaujant televizijos šokių projektuose ypatumai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130808_120006-13638.

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Pastaruoju metu Lietuvą užvaldė realybės šou žanras. Dabar televizjos ir interneto dėka mes galime stebėti begalę realybės šou projektų, kurie atvaizduoja realų gyvenimą, kurių dėka Lietuva atranda naujų talentų arba vieniši žmonės susiranda savo meilę. Informacinės technologijos paskatino ir pramoginių šokių išpopuliarėjimą. Populiarūs televizijos šokių projektai paskatino žmones lankyti pramoginius šokius bei prisidėjo prie daugybės naujų šokių studijų atsiradimo. Mėgėjų šokėjų ir suaugusiųjų šokių mokymosi ypatumai pakankamai plačiai išanalizuoti mokslinėje literatūroje, tačiau iki šiol neaišku, ar mokymasis šokti dalyvaujant televizijos šokių projekte skiriasi nuo tradicinio mokymosi šokių studijose. Tyrimo objektu pasirinktas mėgėjų pramoginio šokio mokymas televizijos projekte metu. Tyrimo tikslas –išanalizuoti mėgėjų pramoginio šokio mokymo, dalyvaujant televizijos šokių projekte, ypatumus. Atlikus temai aktualios literatūros analizę, išsiaiškinta, kad televizija daro didelę įtaką asmenybei, ji pateikia gyvenimo būdo modelius, elgesio normas, vertybių sistemą. Žiūrėdami televiziją, žmonės įgyja galimybę išmokti daugelį naujų dalykų, pvz., šokti. Suaugusiųjų mokymas šokti turi savo ypatumų – mokytojas privalo atsižvelgti į jų fizines, psichologines, socialines charakteristikas. Siekiant atskleisti mėgėjų šokėjų, dalyvaujančių televizijos projekte, mokymo ypatumus, buvo atlikta šokių projektų dalyvių – mėgėjų šokėjų ir choreografų mokytojų apklausa. Tyrime dalyvavo 9... [toliau žr. visą tekstą]
In recent years Lithuanian television has been taken over by the reality TV show genre. Due to television and Internet we have the opportunity to watch many reality shows, representing real life and enabling us to discover new talents or help people to find new love. Advancemenet in IT technologies enabled the popularisation of ballroom dance. Popular dance TV shows stimualted public interest in ballroom dance, which lead to the opening many more new dance studios. The aspects of social dancers‘ and adults‘ teaching are well described in academic literature. But it is still unlear wether training for the reality TV project is different from training in dance studio. The object of the study is training of social dancers engaged in the reality dance TV project. The study is aimed at analyzing the aspects of social dancers participating in reality TV projects. The analysis of literature revealed teh great influence of television on personality. Television provides lifestyle, behavior norms, social values. Reality TV projects provide the opportunity for people to learn lots of new things (e. g. dance). Adult dance training is influenced by participants‘ physical, psychological and socials characteristics. In order to discover the features of training social dancers‘ participating in TV dance projects, the survey was conducted. Nine social dancers (3 female, 6 male) and two choreographers (male and female) participated in the survey. The survey revealed different aimes for... [to full text]

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Pettyjohn, Celine Lyn Doherty. "Swingers masculinities and male sexualities in ballroom dance /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1446434.

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Nielsen, Eric Douglas 1977. "Web-tools for streamlining ballroom dance competition management." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29703.

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Thesis (M.Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2003.
Includes bibliographical references (p. 465).
This thesis presents the design and development of the initial offerings in a potential suite of computer aids for ballroom dance competitions. The suite of tools is known by the name CompinaBox; while the initial module which handles on-line registration for competitions is named SlidingDoors. The tools have been developed using the PHP programming language a scripting language that is easily embeddable within the HTML used to create web-pages. The PostGreSQL database system is used to handle all data storage requirements. The registration component was selected as the initial tool because it provides the data needed by practically all of the other possible tools. SlidingDoors has been coded from scratch twice, under two radically different coding methodologies. The first was in accordance with "common" web-programming views and a completely dynamic page generation model. The second was along the more traditional software engineering model and used more static page generation. As the story of the tool development unfolds, trade-offs between the two approaches are discussed.
by Eric D. Nielsen.
M.Eng.

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De, Young Danielle Erin. "A Layered Ceiling: A Center for Ballroom Dance." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/56657.

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This collection of drawings and paintings presents a proposal for a ballroom dance center in Montreal, Quebec, Canada. The building is unnecessarily generous with the most essential elements and exaggerates non-essential elements in a way enhances their redundancy. Layered glulam ceilings cover the two main spaces and evoke the hidden structure of the sprung dance floor below. The ceiling is reflected in the pattern of the hardwood floors, and the ballroom is reflected in the pool outside its layered facade. Layers of concrete walls create thresholds and add depth to the views between spaces. Light, material, and people follow indirect paths through the building and its detailed elements.
Master of Architecture

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Boeh, Sarah Marshall. "The effectiveness of labanotation in learning ballroom dance /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487777901658673.

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Nurse, Gwendoline. "Competitive ballroom dancing as a social phenomenon : an anthropological approach." Thesis, University of Roehampton, 2007. https://pure.roehampton.ac.uk/portal/en/studentthesis/competitive-ballroom-dancing-as-a-social-phenomenon(3c1eadf1-9c6a-4911-b514-362e8b6ddbd1).html.

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The following investigation develops a critique of Competitive Ballroom Dancing as a social phenomenon from an anthropological perspective and that of a non-dancer. In order to do this the thesis is concerned with interrelating dance with anthropology. The concepts of how people express themselves and communicate in society provide the study with the scope to explore certain issues. The first aspect shows how a person would prepare to be a dancer in competition, this involves, among other things, learning to dance, finding a suitable partner and the overall appearance of the dancer. Secondly looking at competition, which involves sport and dance, judgement and perception of how the dancers and spectators view it. The embodied content of the competitive dancer is seen as an important issue, since it can affect how the dancers dance and how the dance is perceived, despite the fact that competitive ballroom dancing is such a highly formal, structured and rule-governed form of dance. Ritual and performance theories integrating emic and etic tendencies are juxtaposed with what appears to happen in this form of dance. In addition various types of altered state of mind are examined, in view of comments made by dancers about how they feel when dancing. Furthermore this thesis explores an understanding of how important this form of dancing is to its participants and how the activity can be a life-long pursuit whether as a dancer or subsequently as a spectator. It also illustrates the extent to which younger people enjoy an activity where there is great emphasis on being fit and how they have come to link it with sport.

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Holden, Patsy. "Civilized Dancing: The Evolution of Ballroom Dancing from African Trance and Folk Dance." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1173.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
Philosophy

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Marion, Jonathan Saul. "Dance as self, culture, and community the construction of personal and collective meaning and identity in competitive ballroom and salsa dancing /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3213856.

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Thesis (Ph. D.)--University of California, San Diego, 2006.
Title from first page of PDF file (viewed June 27, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 853-893).

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Books on the topic "Ballroom dancers"

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Home of happy dancers: A pictorial scrapbook history of Bridgeport, Connecticut's Ritz Ballroom. Virginia Beach, VA: Donning Company Publishers, 2011.

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Dance anecdotes: Stories from the worlds of ballet, Broadway, the ballroom, and modern dance. New York: Oxford University Press, 2006.

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translator, McGillicuddy Karen, Blakeslee Brndn, and Starr Paul editor, eds. Welcome to the ballroom. New York: Kodansha America, Incorporated, 2016.

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translator, McGillicuddy Karen, Blakeslee Brndn, and Starr Paul, eds. Welcome to the ballroom. New York: Kodansha America, Incorporated, 2017.

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translator, McGillicuddy Karen, Blakeslee Brndn, and Starr Paul editor, eds. Welcome to the ballroom. New York: Kodansha America, Incorporated, 2016.

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Takeuchi, Tomo. Welcome to the ballroom. New York: Kodansha America, Incorporated, 2017.

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translator, McGillicuddy Karen, Blakeslee Brndn, and Starr Paul, eds. Welcome to the ballroom. New York: Kodansha America, Incorporated, 2017.

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Drummond, Teresa. Enquanto houver dança: Biografia de Maria Antonietta Guaycurús de Souza, a grande dama dos salões. Rio de Janeiro: Bom Texto, 2004.

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Takeuchi, Tomo. Welcome to the ballroom. New York: Kodansha America, Incorporated, 2017.

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Ballroom dancing: A comprehensive guide for dancers of all levels. Leicestershire: Southwater, 2012.

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Book chapters on the topic "Ballroom dancers"

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Moore, Alex, and Stuart Nichols. "Ballroom Party Dances." In Ballroom Dancing, 261–63. 11th ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003091554-8.

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Moore, Alex, and Stuart Nichols. "For the Keen Dancer." In Ballroom Dancing, 251–60. 11th ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003091554-7.

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Thomas, Helen, and Nicola Miller. "Ballroom Blitz." In Dance in the City, 89–110. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230379213_6.

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Harman, Vicki. "Starting to Dance." In The Sexual Politics of Ballroom Dancing, 51–73. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-02939-3_3.

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Uejou, Masaki, Hung-Hsuan Huang, Jooho Lee, and Kyoji Kawagoe. "Toward a Conversational Virtual Instructor of Ballroom Dance." In Intelligent Virtual Agents, 477–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23974-8_70.

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Kinoe, Yosuke, and Mari Sato. "Analysis of Nonverbal Interaction Among Competitive Ballroom Dance Couple." In Human Interface and the Management of Information: Applications in Complex Technological Environments, 247–66. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06509-5_18.

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Huang, Hung-Hsuan, Yuki Seki, Masaki Uejo, Joo-Ho Lee, and Kyoji Kawagoe. "Modeling the Multi-modal Behaviors of a Virtual Instructor in Tutoring Ballroom Dance." In Intelligent Virtual Agents, 489–91. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-33197-8_55.

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Matsuyama, Hitoshi, Kei Hiroi, Katsuhiko Kaji, Takuro Yonezawa, and Nobuo Kawaguchi. "A Basic Study on Ballroom Dance Figure Classification with LSTM Using Multi-modal Sensor." In Smart Innovation, Systems and Technologies, 209–26. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-8944-7_13.

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Wells, Christi Jay. "“Lindy Hopper’s Delight”." In Between Beats, 61–108. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197559277.003.0003.

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As jazz music became popular entertainment nationwide, many dances circulated from social venues to professional floor shows and ballroom stages and then back again to amateur social practice. As musicians built careers playing for social dancers touring with professional dance acts, they learned to structure their performances collaboratively by listening visually to dancers’ bodies. Jazz musicians, and especially drummers, learned to accentuate dancers’ movements and engage them in playful “catching” games while also providing the stable rhythmic framework that encouraged dancers to participate kinesthetically with the music. This chapter explicates the dynamics of such relationships through the career of drummer Chick Webb, whose reputation was built on the strength of his close connection with lindy hop dancers during his tenure as house bandleader at Harlem’s Savoy Ballroom throughout the 1930s. Specifically, it explores his close connections with Whitey’s Lindy Hoppers, a group of talented young dancers who became among the first to adapt this social partnered dance for the professional stage and, ultimately, for Hollywood films. Webb played regularly for elite lindy hop dancers in films, in touring stage shows, for amateur dance contests, and nightly at the Savoy, and his evolving relationship with them throughout the 1930s reveals the fluid boundaries between labor and play through which musicians and dancers co-creatively shaped jazz’s development.

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Decker, Todd. "Partners." In Astaire by Numbers, 251—C5.F47. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197643587.003.0007.

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Abstract Two-thirds of Astaire’s dances are duos done with one other dancer. This part considers Astaire’s duo dances from two quantitative perspectives: how much time the partners touch each other and how the two partners relate to each other physically. Astaire’s use of closed ballroom position often indicates a conventional heterosexual relationship between the couple. His use of vaudeville double-act position—dancers facing front and dancing in unison—establishes a parity between partners. Surprisingly, Astaire relates to female and male partners in much the same way, with the major difference being more physical contact between Astaire and the women with whom he dances. Astaire’s only dance with a Black partner, from The Band Wagon, contains substantial differences from his dances with white partners. The formative influence of Adele Astaire and Hermes Pan (Astaire’s dance assistant and a closeted gay man) on Astaire’s partner dances is discussed.

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Conference papers on the topic "Ballroom dancers"

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Pavlin, Tomas, Jan Cech, and Jiri Matas. "Ballroom Dance Recognition from Audio Recordings." In 2020 25th International Conference on Pattern Recognition (ICPR). IEEE, 2021. http://dx.doi.org/10.1109/icpr48806.2021.9412255.

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Eyben, Florian, Bjorn Schuller, Stephan Reiter, and Gerhard Rigoll. "Wearable Assistance for the Ballroom-Dance Hobbyist - Holistic Rhythm Analysis and Dance-Style Classification." In Multimedia and Expo, 2007 IEEE International Conference on. IEEE, 2007. http://dx.doi.org/10.1109/icme.2007.4284594.

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Buondonno, Gabriele, Federico Patota, Hongbo Wang, Alessandro De Luca, and Kazuhiro Kosuge. "A model predictive control approach for the Partner Ballroom Dance Robot." In 2015 IEEE International Conference on Robotics and Automation (ICRA). IEEE, 2015. http://dx.doi.org/10.1109/icra.2015.7139266.

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Matsuyama, Hitoshi, Kei Hiroi, Katsuhiko Kaji, Takuro Yonezawa, and Nobuo Kawaguchi. "Hybrid Activity Recognition for Ballroom Dance Exercise using Video and Wearable Sensor." In 2019 Joint 8th International Conference on Informatics, Electronics & Vision (ICIEV) and 2019 3rd International Conference on Imaging, Vision & Pattern Recognition (icIVPR). IEEE, 2019. http://dx.doi.org/10.1109/iciev.2019.8858524.

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Kimura, Kosuke, Hung-Hsuan Huang, and Kyoji Kawagoe. "Analysis on learners' gaze patterns and the instructor's reactions in ballroom dance tutoring." In the 4th Workshop. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2401836.2401844.

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Matsuyama, Hitoshi, Kei Hiroi, Katsuhiko Kaji, Takuro Yonezawa, and Nobuo Kawaguchi. "Ballroom dance step type recognition by random forest using video and wearable sensor." In UbiComp '19: The 2019 ACM International Joint Conference on Pervasive and Ubiquitous Computing. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3341162.3344852.

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Schuller, Bjorn, Florian Eyben, and Gerhard Rigoll. "Fast and Robust Meter and Tempo Recognition for the Automatic Discrimination of Ballroom Dance Styles." In 2007 IEEE International Conference on Acoustics, Speech, and Signal Processing. IEEE, 2007. http://dx.doi.org/10.1109/icassp.2007.366655.

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Gutierrez, Sebastian Fernando Chinchilla, Jose Victorio Salazar Luces, and Yasuhisa Hirata. "Modality Influence on the Motor Learning of Ballroom Dance with a Mixed-Reality Human-Machine Interface." In 2022 IEEE/SICE International Symposium on System Integration (SII). IEEE, 2022. http://dx.doi.org/10.1109/sii52469.2022.9708803.

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