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Journal articles on the topic 'Dance action'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Zhai, Xianfeng. "Dance Movement Recognition Based on Feature Expression and Attribute Mining." Complexity 2021 (April 30, 2021): 1–12. http://dx.doi.org/10.1155/2021/9935900.

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There are complex posture changes in dance movements, which lead to the low accuracy of dance movement recognition. And none of the current motion recognition uses the dancer’s attributes. The attribute feature of dancer is the important high-level semantic information in the action recognition. Therefore, a dance movement recognition algorithm based on feature expression and attribute mining is designed to learn the complicated and changeable dancer movements. Firstly, the original image information is compressed by the time-domain fusion module, and the information of action and attitude can

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Ni, Shasha, and Dawei Yao. "Sports Dance Action Recognition System Oriented to Human Motion Monitoring and Sensing." Wireless Communications and Mobile Computing 2021 (June 12, 2021): 1–10. http://dx.doi.org/10.1155/2021/5515352.

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Because of its high research value, action recognition has become a very popular research direction in recent years. However, the research on the combination of motion recognition technology and dance movements is still in its infancy. At the same time, due to the high complexity of dance movements and the problems of human body self-occlusion when performing dances, research on dance video action recognition has been caused. Progress is relatively slow. This article mainly introduces the research of sports dance action recognition system oriented to human motion monitoring and sensing, fully

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Schwartz, Peggy. "Action Research: Dance Improvisation as Dance Technique." Journal of Physical Education, Recreation & Dance 71, no. 5 (May 2000): 42–46. http://dx.doi.org/10.1080/07303084.2000.10605145.

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4

Prevots, Naima. "Action Research and Dance Education." Journal of Dance Education 9, no. 2 (April 2009): 39–40. http://dx.doi.org/10.1080/15290824.2009.10387384.

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Jang, Seon Hee, and Frank E. Pollick. "Experience Influences Brain Mechanisms of Watching Dance." Dance Research 29, supplement (November 2011): 352–77. http://dx.doi.org/10.3366/drs.2011.0024.

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The study of dance has been helpful to advance our understanding of how human brain networks of action observation are influenced by experience. However previous studies have not examined the effect of extensive visual experience alone: for example, an art critic or dance fan who has a rich experience of watching dance but negligible experience performing dance. To explore the effect of pure visual experience we performed a single experiment using functional Magnetic Resonance Imaging (fMRI) to compare the neural processing of dance actions in 3 groups: a) 14 ballet dancers, b) 10 experienced

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Zhu, Fengling, and Ruichao Zhu. "Dance Action Recognition and Pose Estimation Based on Deep Convolutional Neural Network." Traitement du Signal 38, no. 2 (April 30, 2021): 529–38. http://dx.doi.org/10.18280/ts.380233.

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Sports action recognition helps athletes correct their action range and standardize their poses. But it is not an easy task to recognize sports actions, due to the individual difference in action execution. Besides, the difficulty of action recognition increases with the diversity of actions and the complexity of background. The previous studies have not fully considered temporal changes, and failed to determine the exact staring point of actions. To solve the problem, this paper proposes a new method to recognize dance actions and estimate poses based on deep convolutional neural network (DCN

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He, Suli, Min Liu, and Liguo Dong. "Research on Music Adaptive Method Based on Dance Robots." E3S Web of Conferences 233 (2021): 01066. http://dx.doi.org/10.1051/e3sconf/202123301066.

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Music adaptive method, one of the important directions of dance robot research, will improve the robot's intelligence and adaptive ability, thereby greatly enriching people's growing spiritual and cultural life. From the current point of view, an overly complex adaptive method used, a large amount of computer resources will be encroached on, and the dance robot system will freeze or even crash. The dance robot is a kind of embedded device. Under the premise of saving system resources, how to make the robot do different actions according to different music and how to make it produce movements i

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Mabingo, Alfdaniels. "Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda." Research Studies in Music Education 42, no. 2 (June 28, 2019): 231–47. http://dx.doi.org/10.1177/1321103x19843202.

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The subject of the inseparability of music and dance in African artistic experiences has preoccupied scholars and researchers in the field of ethnomusicology, ethnochoreology, and musicology. Commonly, music is conceptualized as an accompaniment to dance. Moreover, the existing literary perspectives frame the inseparability of music and dance in African communities in aesthetical, structural, functional, and semiotic terms. This article provides an intellectual excursion that locates music as pedagogy of dances in African practices. It offers a critical examination of how teachers of cultural

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Warburton, Edward C. "Metonymy in Dance: Ballet Bunheads Take a Cognitive Turn." Dance Research 37, no. 1 (May 2019): 18–34. http://dx.doi.org/10.3366/drs.2019.0251.

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This essay considers metonymy in dance from the perspective of cognitive science. My goal is to unpack the roles of metaphor and metonymy in dance thought and action: how do they arise, how are they understood, how are they to be explained, and in what ways do they determine a person's doing of dance? The premise of this essay is that language matters at the cultural level and can be determinative at the individual level. I contend that some figures of speech, especially metonymic labels like ‘bunhead’, can not only discourage but dehumanize young dancers, treating them not as subjects who dan

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Qin, Ruilin, Changle Zhou, He Zhu, Minghui Shi, Fei Chao, and Na Li. "A Music-Driven Dance System of Humanoid Robots." International Journal of Humanoid Robotics 15, no. 05 (September 27, 2018): 1850023. http://dx.doi.org/10.1142/s0219843618500238.

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Robot dance is an important topic in robotics. Conventional robot dance systems mainly rely on beats or rhythms of music; however, these conventional systems suffer from limited dance styles and less action novelty. In this paper, we instead develop a humanoid robot dance system driven by musical structures and emotions. In the proposed system, a musical phrase and a dance phrase are considered as the basic structural units of music and dance, respectively. A musical phrasing algorithm based on music theories is created to divide a piece of music into a sequence of phrases. When the emotion of

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Foster, Raisa. "The Presence of Real Reality: Six Theses on Dance Animateuring." Nordic Journal of Dance 5, no. 2 (December 1, 2014): 36–43. http://dx.doi.org/10.2478/njd-2014-0009.

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Abstract Tanssi-innostaminen® (‘dance animateuring’ in English) is an artistic and pedagogical method, which I have developed in order to empower both individuals and communities. By dance animateuring I refer to dance/ movement based activity, in which everyone can find their own way of moving and expressing by movement, but also reflecting the self and its connections to the other and the whole world. In this paper I will argue the six theses that define my approach to contemporary art making in dance animateuring practice: 1) The dancer should never aim to produce something specific but onl

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Kishore, P. V. V., K. V. V. Kumar, E. Kiran Kumar, A. S. C. S. Sastry, M. Teja Kiran, D. Anil Kumar, and M. V. D. Prasad. "Indian Classical Dance Action Identification and Classification with Convolutional Neural Networks." Advances in Multimedia 2018 (2018): 1–10. http://dx.doi.org/10.1155/2018/5141402.

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Extracting and recognizing complex human movements from unconstrained online/offline video sequence is a challenging task in computer vision. This paper proposes the classification of Indian classical dance actions using a powerful artificial intelligence tool: convolutional neural networks (CNN). In this work, human action recognition on Indian classical dance videos is performed on recordings from both offline (controlled recording) and online (live performances, YouTube) data. The offline data is created with ten different subjects performing 200 familiar dance mudras/poses from different I

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Yun, Jieun. "Effective Approaches to a General Dance Education for Activating Dance as Art : A Focus on Action Research." Journal of Dance Society for Documentation & History 40 (March 31, 2016): 247–69. http://dx.doi.org/10.26861/sddh.2016.40.247.

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Gingrasso, Susan. "Practical Resources for Dance Educators! NDEO's Priorities for Dance Education in Action." Dance Education in Practice 4, no. 2 (April 3, 2018): 33–36. http://dx.doi.org/10.1080/23734833.2018.1457375.

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Ailamazjan, Aida M. "Free dance as a cultural-historical practice of improvisation." National Psychological Journal 41, no. 1 (2021): 175–92. http://dx.doi.org/10.11621/npj.2021.0114.

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Background. Plastic, expressive aspects of human behaviour remain underresearched by psychologists. The focus on practices of improvisation is determined by the fact that they show most vividly how expressive movement comes into being. Objective. The aim of the study is to provide psychological analysis of improvised dance action, to identify the conditions of its generation. The hypothesis put forward concerns the formation of overall personal attitude that makes one ready to perform expressive movement in the context of musical-motional improvisation. It seems probable that the principles of

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Giguere, Miriam. "Dance education action research: a twin study." Research in Dance Education 16, no. 1 (December 13, 2014): 16–32. http://dx.doi.org/10.1080/14647893.2014.971231.

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Sustiawati, Ni Luh, and I. Ketut Sariada. "Inventory And Documentation For Bebali Mask Dance." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 3, no. 1 (August 26, 2020): 25–30. http://dx.doi.org/10.31091/lekesan.v3i1.1100.

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The objective of this research is to describe the kinds and the function of Bebali mask dances in each regency or municipality in Bali province and the perception of the public about them. This research was conducted in 9 districts / cities in Bali, namely Jembrana, Buleleng, Tabanan, Badung, Denpasar, Gianyar, Klungkung, Bangli and Karangasem, each represented by the two villages that develop the Bebali Mask dance. This research intended to expose a phenomenon, therefore it applies the phenomenological qualitative approach. It was chosen due to the consideration that this research is focused

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Turner, Alasdair. "Partners in the street ballet: An embodied process of person-space coupling in the built environment." Environment and Planning B: Urban Analytics and City Science 44, no. 2 (July 27, 2016): 294–307. http://dx.doi.org/10.1177/0265813516638185.

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The diurnal movements of pedestrians in the built environment are sometimes typified as a ‘street ballet’, where each actor or dancer has their own set role within a larger complex. Every individual in the ballet may have many influences on their behaviour including the physical layout of the environment, cognitive strategies to navigate it, experiential or affective preferences as well as social, economic and political factors, but ultimately each one seems to obey apparently choreographed actions. The aim of this article is to understand whether or not there is in fact an underlying choreogr

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Van Camp, Julie C. "Dance and the Philosophy of Action: A Framework for the Aesthetics of Dance." British Journal of Aesthetics 59, no. 3 (February 17, 2019): 348–51. http://dx.doi.org/10.1093/aesthj/ayy049.

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V.V. Kumar, K., and P. V.V. Kishore. "Indian classical dance action identification using adaptive graph matching from unconstrained videos." International Journal of Engineering & Technology 7, no. 1.1 (December 21, 2017): 500. http://dx.doi.org/10.14419/ijet.v7i1.1.10156.

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Extracting and recognizing complex human movements from unconstraint online video sequence is a challenging task. In this work the problem becomes complicated by the use of unconstraint video sequences belonging to Indian classical dance forms. A new segmentation model is developed using discrete wavelet transform and local binary pattern features for segmentation. We also explore multiple feature fusion models with early fusion and late fusion techniques for improving the classification process. The extracted features were represented as a graph and a novel adaptive graph matching algorithm i

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Hawkins, Maureen S. G. "‘For all the outcasts of this world’: Song and Dance in Brendan Behan's An Giall and The Hostage." Irish University Review 44, no. 1 (May 2014): 116–28. http://dx.doi.org/10.3366/iur.2014.0106.

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In Brendan Behan's An Giall and The Hostage, song and dance establish atmosphere and character, comment ironically on the action, relate the characters to one another in a union of society's outcasts, and valorize life, love, healthy and open sexuality, and mutual comfort over the rules and regulations (and those who live by them) of a repressive, hypocritical, moribund, even murderous society. Thus, they provide a thematic structural underpinning, supporting and, at the same time, commenting on the essential unity of the plays' actions as they guide the audience's response to their themes. In

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Werther, Janet. "Queer As a Verb: Critical Reflections on the Explode! queer dance festival." TDR/The Drama Review 63, no. 1 (March 2019): 151–58. http://dx.doi.org/10.1162/dram_a_00822.

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The Explode! queer dance festival was a continuation of the ongoing multimedia project that is Queer Dance, comprising a 2012 conference, the 2015 Confetti Sunrise dance series in Ann Arbor, MI, and the 2017 volume Queer Dance: Meanings and Makings with its associated video archive. The festival of 12 performances by 9 artists or groups revealed queer dance as embodied action, at once opaque, evocative, and deeply imbricated in the social.

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Carr, David. "THOUGHT AND ACTION IN THE ART OF DANCE." British Journal of Aesthetics 27, no. 4 (1987): 345–57. http://dx.doi.org/10.1093/bjaesthetics/27.4.345.

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Gingrasso, Susan. "Practical Resources for Dance Educators! NDEO Priorities for Dance Education: Our Call to Action." Dance Education in Practice 3, no. 1 (January 2, 2017): 6–11. http://dx.doi.org/10.1080/23734833.2017.1269556.

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Obeng, Pashington. "Siddi Street Theatre and Dance in North Karnataka, South India." African Diaspora 4, no. 1 (2011): 1–26. http://dx.doi.org/10.1163/187254611x566080.

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Abstract The Karnataka African Indians (Siddis, Habshis and Cafrees), drawing on both Indian performing arts and their African heritage, use dance and street theatre for political action, entertainment, social critique and self-expression. This paper focuses on Siddi dance and theatre in Uttara Kannada (North Karnataka), South India. Karnataka Siddis number about twenty thousand (Prasad, 2005). Using dramatic aesthetics, performers portray farming, hunting, child labour, violence against women and domestic work motifs to articulate Siddi grundnorms (foundational norms). I address how some Sidd

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Hartawan, I. Wayan, I. Nyoman Dhana, and I. Nyoman Sama. "Tari Baris Babuang pada Upacara Pegingsiran Jro Pingit di Desa Pengotan." Humanis 25, no. 1 (February 27, 2021): 111. http://dx.doi.org/10.24843/jh.2021.v25.i01.p14.

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Bali is one of the islands that is very well known to foreign countries. Besides being famous for its natural beauty it is also known by the nickname of the Thousand Temples. It is known that the Balinese are usually inseparable from the sacred arts which are believed to complement the ceremony. Meanwhile in the village of Pengotan has a sacred dance that is the Baris Babuang dance. Baris Babuang is one element of universal culture that is part of the arts. Baris Babuang dance is danced by carrying banana fronds which can also be called the papah biu war. This research focuses on two things, n

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Destrinelli, D., and L. Leony. "Meningkatkan Keterampilan Gerak Tari Melalui Strategi Praktik Berpasangan Kelas IV SD Negeri 66/IV Kota Jambi." Jurnal Gentala Pendidikan Dasar 4, no. 1 (June 13, 2019): 41–63. http://dx.doi.org/10.22437/gentala.v4i1.6850.

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Abstract. This study aims to describe the application of paired practice strategies (Practice Rehearsal Pairs) to improve dance movement skills of students in 4th grade elementary school dance learning. This research was conducted in 66 / IV Public Elementary School in Jambi City in the even semester of the 2018/2019 academic year. This type of research is classroom action research, which consists of II cycles with procedures starting from planning, implementation, observation, and reflection. The subjects of this study were grade IVB students of SD 66 / IV in Jambi City. Instrument Data colle

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Seko, Yukari, and Trish Van Katwyk. "Embodied interpretation: Assessing the knowledge produced through a dance-based inquiry." Aotearoa New Zealand Social Work 28, no. 4 (December 23, 2016): 54–66. http://dx.doi.org/10.11157/anzswj-vol28iss4id299.

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INTRODUCTION: Although the field of social work has experienced an exponential increase in the use of arts-based methodology, the way in which knowledge shared through artful presentations is understood by audience members remains understudied. As arts-based inquiry often involves active co-construction of meanings between researchers, participants and audiences, it is crucial for social work researchers to scrutinise the process of meaning making by audience members. In this article, we explore how audience members make sense of research findings presented through improvisational dance and ho

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Camilleri, Frank. "‘Yours Neutrally, Habitational Action’: Performance between Theatre and Dance." New Theatre Quarterly 29, no. 3 (July 31, 2013): 247–63. http://dx.doi.org/10.1017/s0266464x13000444.

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A milestone development in a practice-as-research investigation led to the identification of ‘habitational action’ as a term that resists a priori restrictions of inner–outer problematics when discussing performer processes. In this article Frank Camilleri cross-references the term with ‘neutral action’ to locate it conceptually and historically; first with Jacques Lecoq's pedagogical mask work, and then with Yvonne Rainer's conceptualization of the ‘neutral doer’. The cross-referencing to specific theatre and dance contexts is also intended to problematize psychophysicality as a central aspec

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Stevens, Catherine, and Shirley McKechnie. "Thinking in action: thought made visible in contemporary dance." Cognitive Processing 6, no. 4 (August 26, 2005): 243–52. http://dx.doi.org/10.1007/s10339-005-0014-x.

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Sevdalis, Vassilis, and Peter E. Keller. "Captured by motion: Dance, action understanding, and social cognition." Brain and Cognition 77, no. 2 (November 2011): 231–36. http://dx.doi.org/10.1016/j.bandc.2011.08.005.

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He, Hua. "Research on Human Action Recognition in Dance Video Images." Journal of Physics: Conference Series 1852, no. 2 (April 1, 2021): 022062. http://dx.doi.org/10.1088/1742-6596/1852/2/022062.

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Vieira, Alba Pedreira. "A Brazilian Hoe: Education in and through Dance—Unlocking Children's Potential for Dance Appreciation." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 284–92. http://dx.doi.org/10.1017/s2049125500001230.

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This paper discusses an action research project conducted for three semesters at two Brazilian cities: Vicosa and Paula Candido. It describes meanings, elements, and processes of education in dance appreciation experienced by K-12 public school students. The pedagogical method assured participants' attendance of ninety-minute dance classes once a week. The research method included qualitative analysis of more than two hundred written and oral answers from children and adolescents to questionnaires about dance appreciation, of their videotaped classes and performances, and of systematic on-site

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Liu, Hao. "The Study of Sports Dance Teaching Methods in the Multimedia Environment Based on Dancing Materials." Advanced Materials Research 282-283 (July 2011): 303–6. http://dx.doi.org/10.4028/www.scientific.net/amr.282-283.303.

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After consulting a large number of literature and experts, survey to the present situation of sports dance teaching methods that P.E. teachers used in the senior high school is not efficient. The author is deeply impressed that sports dance teaching in the multimedia environment provides conditions for students to establish action representation, arouse students' learning passion and enthusiasm, emphasize students` subjective dynamic role and cultivate students' self-confidence to complete the right technology action with the strong will and the ability. This paper raises that sports dance tea

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Alistiana, Lisa. "Proses Kreativitas dan Apresiasi Seni Dalam Pembelajaran Seni Tari Bagi Mahasiswa PIAUD UIN Sunan Ampel Surabaya." Attadrib: Jurnal Pendidikan Guru Madrasah Ibtidaiyah 3, no. 2 (September 29, 2020): 19–25. http://dx.doi.org/10.54069/attadrib.v3i2.106.

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This study aims to develop creativity and appreciation of art in learning dance for students of UIN Sunan Ampel Surabaya PIAUD. Learning dance is very useful for PIAUD students because it can improve the ability to learn dance in art appreciation activities. Creativity in this research is to create a new thing in individual learning. In general, creativity and appreciation lead to the process of moving that drives someone in an action. Desires that must continue to be fostered for the process of learning dance one of them with a form of appreciation, because in the form of appreciation of art

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Van Meel, Jacques, Henriette Verburgh, and Marco De Meijer. "Children's Interpretations of Dance Expressions." Empirical Studies of the Arts 11, no. 2 (July 1993): 117–33. http://dx.doi.org/10.2190/v69n-vb0t-a9q3-tj04.

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Nine emotional themes were presented in dance expressions by a group of three professional dance students. In a first experiment these dance expressions were presented to children in the age groups of five-, eight-, ten-, and twelve-year-olds. Children's free response interpretations were analyzed for adequacy, conceptual level, and complexity of response. Clear age trends emerged, especially differentiating the five-year-olds from the other groups. In a second experiment a multiple choice response format was used. The same age trends were found. In a third experiment children with and without

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Vass-Rhee, Freya. "Motion/Perception: William Forsythe's Spectatorial Shifts." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 206–11. http://dx.doi.org/10.1017/s2049125500000340.

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What do we mean when we talk about perception in/of dance? The movement of viewers of William Forsythe's dance and performance installation works affords perceptual change in multiple senses—sensory, cognitive, philosophical, aesthetic. This paper explores issues of action, perspective, and convention in the performance of dance spectatorship through a consideration of Forsythe's mobilized audiences. Moving within and between diverse disciplines, this paper simultaneously examines disciplinary specificity, variance, and crossover of the term “perception.”

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Rosita, Rosita. "PENINGKATAN KECERDASAN BODY KINESTHETIC MELALUI KEGIATAN TARI KREATIF (Penelitian Tindakan di Kelompok B TK/RA Daaruttuqo, Cipondoh)." JECIES: Journal of Early Childhood Islamic Education Study 1, no. 2 (October 6, 2020): 89–102. http://dx.doi.org/10.33853/jecies.v1i2.87.

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Objectives of the research are to determine the creative dance and to increase body kinesthetic intelligence of children through creative dance. This research was carried out in group B Daaruttuqo kindergarten, Cipondoh Tangerang with 10 subject , on the month from May to June. This research uses an action research design model of Kemmis and Mc Taggart, through two cycles consisting of seven meetings on the first cycle and seven meetings on the second cycle which includes the stages of planning, action, observation and reflection. Data analysis using quantitative and qualitative analysis. Data

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German, Senta. "Dance in Bronze Age Greece." Dance Research Journal 39, no. 2 (2007): 23–42. http://dx.doi.org/10.1017/s0149767700000206.

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The identification of images of dance from antiquity is very difficult given the limitations of ancient forms of representation, the remoteness of the action itself, and the obscurity of its cultural contexts. These problems are magnified when one considers images of dance from preliterate cultures or those in which written language offers little insight. The following is an investigation into the representation of dance dating to the latter half of the Aegean Bronze Age, during the second millennium BC, as part of the visual culture of the Minoans and Mycenaeans from the island of Crete and t

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Prieto, Laura, Michael L. Norris, and Luis Columna. "“Keep Moving”: Experiences of People With Parkinson’s and Their Care Partners in a Dance Class." Adapted Physical Activity Quarterly 38, no. 2 (April 1, 2021): 307–28. http://dx.doi.org/10.1123/apaq.2019-0125.

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The purpose of this study was to examine the experiences of people with Parkinson’s (PwP) and their care partners (CPs) who participated in a Parkinson’s-focused community dance class in a northeastern state of the United States. In this qualitative inquiry, participants included five PwP and their respective CPs (n = 5). Three major, recurrent, and interrelated themes emerged from the data. These themes were (a) keep moving, (b) compassion in action, and (c) acceptance and freedom in dance. These themes captured personal and environmental factors that influenced the participation of PwP and t

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Stevens, Kym, Rachel A. Pedro, and Stephanie J. Hanrahan. "Building an authentic cultural curriculum through tertiary cultural dance." Arts and Humanities in Higher Education 19, no. 3 (March 6, 2019): 264–84. http://dx.doi.org/10.1177/1474022219833648.

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This study identified a range of pedagogies developed to promote global citizenship within a university Latin American dance unit. It implemented changes to teaching and learning approaches in the unit using the Biological Sciences Curriculum Study (BSCS) 5E Instructional Model, supporting learning that privileges transcultural connections to Latin America. The action research used a range of dance teaching pedagogies that were adapted, and evaluated, using the Structure of Observed Learning Outcomes (SOLO)Taxonomy, to support a culturally enriched student learning experience. The findings cha

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Leman, Marc, and Luiz Naveda. "Basic Gestures as Spatiotemporal Reference Frames for Repetitive Dance/Music Patterns in Samba and Charleston." Music Perception 28, no. 1 (September 1, 2010): 71–91. http://dx.doi.org/10.1525/mp.2010.28.1.71.

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The goal of the present study is to gain better insight into how dancers establish, through dancing, a spatiotemporal reference frame in synchrony with musical cues. With the aim of achieving this, repetitive dance patterns of samba and Charleston were recorded using a three-dimensional motion capture system. Geometric patterns then were extracted from each joint of the dancer's body. The method uses a body-centered reference frame and decomposes the movement into nonorthogonal periodicities that match periods of the musical meter. Musical cues (such as meter and loudness) as well as action-ba

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Cullen, R., R. W. Carter, and H. Ross. "The government–non-government dance: collective action in New Zealand." Australasian Journal of Environmental Management 18, no. 3 (September 2011): 135–38. http://dx.doi.org/10.1080/14486563.2011.613151.

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Harrison, Alexandra M. "The sandwich model: The ‘music and dance’ of therapeutic action." International Journal of Psychoanalysis 95, no. 2 (April 2014): 313–40. http://dx.doi.org/10.1111/1745-8315.12113.

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Leventhal, Fern, and Meg Chang. "Dance/movement therapy with battered women: A paradigm of action." American Journal of Dance Therapy 13, no. 2 (1991): 131–45. http://dx.doi.org/10.1007/bf00844142.

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Kajiyama, Debby, and Jose Navarrete. "Environmental performance as social action: Navarrete x Kajiyama Dance Theater." Journal of Environmental Studies and Sciences 4, no. 2 (August 6, 2013): 180–82. http://dx.doi.org/10.1007/s13412-013-0121-4.

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Wass, Andrew. "Aristotle and Husserl go dancing: Solo improvised dance-making and the noetic cycle." Choreographic Practices 11, no. 1 (July 1, 2020): 29–42. http://dx.doi.org/10.1386/chor_00010_1.

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This article asserts that the practice of dance improvisation is the embodiment of the noetic cycle, the cyclical relationship of two theories of noesis, Aristotle’s and Husserl’s. Aristotle describes noesis as the thinking and planning of work to be done. Husserl’s noesis describes the reception of sensuous information and the translation of that information into actionable data. Using videos of my solo release-based improvised dancing in the studio, I discuss how each theory of noesis is present in practice. These theories of noesis, when seen as complementary to one another, reveal improvis

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Jay, Danielle. "Effect of a Dance Program on the Creativity of Preschool Handicapped Children." Adapted Physical Activity Quarterly 8, no. 4 (October 1991): 305–16. http://dx.doi.org/10.1123/apaq.8.4.305.

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The purpose of this study was to determine whether a dance program for preschool handicapped children can influence their creativity. This study was conducted in two schools in Illinois with 17 preschool handicapped children (Program I, N = 12; Program II, N = 5), ages 3 to 5 years. In each school there was a Program I and Program II. The children in Program I participated in the 12-week dance program which was based on sensory experiences utilizing Laban’s effort actions. Those in Program II did not have the dance program but did participate in an adapted physical education program. At the be

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Adnan, Nerosti. "Tiga Gaya Tari Rantak Kudo Berpotensi Sebagai Sajian Pariwisata Di Kawasan Mandeh Dan Sekitarnya." Journal of Urban Society's Arts 4, no. 2 (December 26, 2018): 89–102. http://dx.doi.org/10.24821/jousa.v4i2.2162.

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This article is part of the research (2017) to analyze the style of Pesisir Selatan dance in textual and contextual. The study focuses on the style of dance Rantak Kudo from Nagari Painan Timur, Laban, and Bayang. Textual analysis includes (a) Attitude of the body; (b) Transition type of motion; (c) the dimensions of motion; (d) Active moving parts of the body; And (e) Action and effort. Contextual analysis includes the geographical areas of dance, customs, and community life structures. Descriptive evaluative method by comparing the three areas of dance development, namely Rantak Kudo dance o

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Atkins, Rahshida, Janet Deatrick, Cory Bowman, Ansley Bolick, Ian McCurry, and Terri Lipman. "University–Community Partnerships Using a Participatory Action Research Model to Evaluate the Impact of Dance for Health." Behavioral Sciences 8, no. 12 (December 14, 2018): 113. http://dx.doi.org/10.3390/bs8120113.

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Little is known about fostering sustainable, collaborative community-academic partnerships that effectively improve physical activity and health in residents of under resourced communities using Participatory Action Research (PAR) driven models. The purpose of this PAR study was to evaluate the impact of an urban, intergenerational, and physical activity dance program by identifying community preferred measurable outcomes that promote program participation and sustainability. A descriptive, qualitative design was employed using semi-structured interview guides to facilitate discussions for two

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