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Journal articles on the topic 'Dance business'

Author: Grafiati

Published: 28 May 2022

Last updated: 31 July 2025

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1

Zaggelidou, Eleni, Evangelos Tsamourtzis, Alexandros Malkogeorgos, and Georgios Zaggelidis. "Dimensions of Market Demand Associated with Dance Schools." Sport Science Review 21, no. 3-4 (2012): 101–18. http://dx.doi.org/10.2478/v10237-012-0012-8.

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Dimensions of Market Demand Associated with Dance Schools Therefore the purpose of this study was to identify dimensions of market demand for dance schools. Dance is an activity requiring a strong relationship between the artist, marketer and audience. Marketing has generated sufficient commercial interest in the field, transforming dance into a thriving business. The growth of the dance industry has resulted in a highly competitive business environment. Effective management and marketing strategies (market segmentation, market promotion, program differentiation, and pricing strategy) may be f

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2

Vertinsky, Patricia. "“This Dancing Business is More Hazardous Than Any ‘He-Man’ Sport”: Ted Shawn and His Men Dancers." Sociology of Sport Journal 35, no. 2 (2018): 168–77. http://dx.doi.org/10.1123/ssj.2017-0009.

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Selecting Springfield College, founding home of the International YMCA as a training ground for male dancers was an inspired choice by American modern dancer Ted Shawn given the founding credo of the College to ‘build builders of men.’ I would like to see men dancing in gymnasiums and stadiums, he claimed, so that the dance could reach again the position it held among the Greeks as the most perfect athletic accomplishment and the finest means of physical training and development. They were earnest and interesting efforts to foster an aura of ‘authentic rugged American masculinity’ for the era,

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Peterson, Tim O., Claudette M. Peterson, Cynthia L. Krom, and Brian A. Griffith. "Dance? I Can’t Dance! Developing an Understanding of Mental Models Through Line Dancing." Management Teaching Review 1, no. 4 (2016): 226–41. http://dx.doi.org/10.1177/2379298116663170.

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Mental models guide our attitudes and direct our actions. Senge defined a mental model as a deeply ingrained set of assumptions, generalizations, or images that influence how we understand and respond to the world around us. Line dancing is an example of a process that includes many types of mental models. In fact, each dance is a mental model of its own. In addition, we each come to dancing with our own mental models about dancing and our self-concept. In this article, we share experiences of using line dances in classes as a way to help students be engaged while learning about a complex topi

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Colome, Delfin. "East dance – West dance." Asia Europe Journal 3, no. 2 (2005): 247–57. http://dx.doi.org/10.1007/s10308-005-0144-x.

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Bolkvadze, Nataliia. "Business Development in the Field of Creative Industries in Ukraine." Modern Economics 33, no. 1 (2022): 5–11. http://dx.doi.org/10.31521/modecon.v33(2022)-01.

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Abstract. Introduction. The world market has been dictating the requirements of an innovative and non-standard approach of doing business for the last decade. Thus, the economy is gaining signs of socio-political and socio-cultural spheres of life. The concept of strategic development in the field of creative industries is widely used in Europe and United States. The practical adaptation of this new society direction is only gaining popularity In Ukraine. Creative industries and services that emerged at the crossroads of art, culture, business, and technology are developing today in the world

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Taryana, Tatang, Agus Budiman, and Dewi Karyati. "Pendidikan & Manajemen Sanggar Tari Tradisional." Journal of Education, Humaniora and Social Sciences (JEHSS) 5, no. 2 (2022): 1457–69. http://dx.doi.org/10.34007/jehss.v5i2.1455.

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The implementation of dance studios in the community has a function as a forum for non-formal education whose existence is currently growing and developing in the community. Today, there are many dance studios in the community whose orientation is not only in the scope of social activities but has become part of business activities for their implementation. This article aims to provide an overview of the management of traditional dance studios in the Bandung-West Java area, Indonesia, whose management concept has a business orientation. This research was conducted through a qualitative researc

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Kurtieva, Karyna. "Folk-stage dance of the Carpathian region as a folklore basis of contemporary choreographic art." Folk art and ethnology, no. 1 (March 30, 2024): 97–105. http://dx.doi.org/10.15407/nte2024.01.097.

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The article analyzes the history of the development and popularization of folk-stage dance in Prykarpattia. The study of folk art in general and folk dance in particular in the context of the full-scale russian invasion of Ukraine is becoming more relevant than ever, because «the identity of a nation is its civilizational brand, the country’s socio-cultural niche, and the defining principle of the state’s foreign and domestic policy» [8, p. 4]. Folk dance is the cultural code of a nation. As a part of theatrical art, it is able to raise the patriotic spirit in the viewer, to foster a sense of

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Impavido, Gregorio. "Financial and Business Cycles: Shall We Dance?" IMF Working Papers 2024, no. 182 (2024): 1. http://dx.doi.org/10.5089/9798400288883.001.

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Suharji, Suharji, Soemaryatmi Soemaryatmi, Darmasti Darmasti, Efrida Efrida, Sumargono Sumargono, and Sri Ningsih Sukirman. "Sapta Cipta Rasa Tunggal Offering Dance at the 51st Dies Natalis of ISI Surakarta." Gelar : Jurnal Seni Budaya 20, no. 2 (2022): 92–100. http://dx.doi.org/10.33153/glr.v20i2.4591.

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This research is a case study of the performance of the offering dance at the ISI Surakarta 51st Dies Natalis Ceremony (held on July 15th, 2015) by seven dancers. The seven dancers previously acted as leaders of the Senate procession, after the members of the senate sat in their seats, they danced to express the character of Bima so that it could be said that the dance was part of the ceremonial event. The sesaji dance is an expression of Bima's character, which in Javanese collective knowledge is a complex system of symbols. This phenomenon is approached through the constructivism paradigm, e

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Ramesh, S. "Beyond Balance Sheets: Integrating Humanities, Music, and Dance Into Business Strategy." Journal of Humanities,Music and Dance, no. 12 (October 30, 2021): 5–9. http://dx.doi.org/10.55529/jhmd.12.5.9.

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"Beyond Balance Sheets: Integrating Humanities, Music, and Dance into Business Strategy" explores the transformative potential of incorporating artistic disciplines into traditional business strategies. The article delves into how the humanities offer valuable insights into human behavior, music serves as a universal language for communication, and dance provides a metaphor for effective teamwork. By weaving these elements into business strategy, organizations can foster creativity, innovation, and a more profound connection with both internal teams and external stakeholders.

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Slutskaya, Natalia, and Christian De Cock. "The Body Dances: Carnival Dance and Organization." Organization 15, no. 6 (2008): 851–68. http://dx.doi.org/10.1177/1350508408095817.

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Hudoshnyk, O., and O. Aleksieienko. "Dance journalism in the modern communication space: world and Ukrainian experience." Mass Communication in Global and National Dimensions, no. 11 (May 13, 2019): 4–10. https://doi.org/10.5281/zenodo.2784140.

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The article deals with the main tendencies of the functioning and development of dance journalism and criticism, as well as the form of their representation in the world and national information space. The urgency of studying of these processes is the rapid changes in the external and Ukrainian information space of the dance culture that influence the development of art studies and dance journalism. The topic was studied using two basic methods – comparison and synchronous method. With the help of these methods, we discovered the common and distinctive features of dance journalism in inf

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Dyah Nugrahaningsih, Ruth Hertami. "Manduda Dance in Simalungun Community Dancing Style in a Contextual Perspective." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 3, no. 1 (2020): 164–71. http://dx.doi.org/10.33258/birle.v3i1.768.

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This study aims to explain: 1) the relationship of body attitude in Manduda Dance with the activities of the Simalungun community; 2) the relationship between the type of transition in Manduda dance and the activities of Simalungun community; 3) the relationship between the number of active body part in Manduda dance and the patterns of daily activities of Simalungun community; 4) the relationship between business forms and the patterns of study is the formulation of dance style in Manduda dance on Simalungun community in a contextual perspective. The research method used is a qualitative-anth

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Sarason, Yolanda, Jesse F. Dillard, and Tom Dean. "How can we know the dancer from the dance?" Journal of Business Venturing 25, no. 2 (2010): 238–43. http://dx.doi.org/10.1016/j.jbusvent.2008.06.003.

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Schupp, Karen. "Dance Competition Culture and Capitalism." Congress on Research in Dance Conference Proceedings 2016 (2016): 361–68. http://dx.doi.org/10.1017/cor.2016.48.

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Long before SoYou Think You Can DanceandDance Moms, dance competitions focused on tap, jazz, contemporary, and ballet were alive and well throughout the U.S. Since the 1970s, dance competitions have served as venues for dance students to display their skills as both a team and as individuals, and as a means of profit for the individuals and corporations who run them. Dance competition culture operates on a “pay to dance” framework and belief system. By some estimates, for competitors who are deeply involved in dance competitions, the costs can easily top $1,000 per month.In many ways, more Ame

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Palmer-Fornarola, Jeanne. "The Business of the Dance Studio: Including the Concerns of Studio Ownership in Dance Education." Journal of Dance Education 3, no. 3 (2003): 109–10. http://dx.doi.org/10.1080/15290824.2003.10387239.

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Ramesh, S. "Harmony in Commerce and Humanities: Exploring the Symbiosis of Business and the Arts." Journal of Humanities,Music and Dance, no. 23 (May 14, 2022): 8–12. http://dx.doi.org/10.55529/jhmd.23.8.12.

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This article explores the symbiotic relationship between commerce and the arts, specifically delving into the integration of humanities, music, and dance into business and management practices. Recognizing the transformative impact of a multidisciplinary approach, the article discusses how the human touch of humanities, the inspirational power of music, and the metaphorical insights from dance contribute to innovative and successful business strategies. Through case studies, the article highlights companies that have embraced this symbiosis, showcasing the tangible benefits of fostering a holi

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Duan, MengShan. "In-Depth Analysis of the Professional Quality Problems and Solution Strategies of Children’s Dance Teachers." World Journal of Educational Research 10, no. 3 (2023): p174. http://dx.doi.org/10.22158/wjer.v10n3p174.

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As China’s national strength is becoming more and more powerful, the material foundation of the people is generally rich, China’s dance art cause has appeared vigorous scene, especially under the strong support of national policies, the status of dance art has risen sharply. At the same time, a large number of children’s dance education classes have emerged inside and outside the school. However, under the competition of business model, the development of some dance education institutions begins to have many problems, etc. Children’s dance education methods are uneven, and the threshold of tea

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Ortiz, Ersa Joy L., Faith Joan Relampagos, Jyn Ruehn Pejana, et al. "THE TRANSITION OF SINULOG DANCE FESTIVAL IN THE FACE OF MODERNIZATION." International Journal of Research -GRANTHAALAYAH 5, no. 3 (2017): 293–309. http://dx.doi.org/10.29121/granthaalayah.v5.i3.2017.1784.

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This study analyzed the evolutionary transition of the Sinulog-based dance in Cebu, Philippines. It also sought to: contrast the traditional Sinug Dance and the contemporary Sinulog-based dance in terms of the dance steps, musicality, ritual, costumes, and the reason or purpose of dancing; identify the effects of the changes in the Sinulog-based dance in the tourism industry of Cebu City as a whole; generate a theory which serves as framework of the evolutionary transition of the Sinulog-based dance. A collective case study design with naturalistic observation was utilized. The transition of t

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Ersa, Joy L. Ortiz, Joan P. Relampagos Faith, Ruehn S. Pejana Jyn, et al. "THE TRANSITION OF SINULOG DANCE FESTIVAL IN THE FACE OF MODERNIZATION." International Journal of Research - Granthaalayah 5, no. 3 (2017): 293–309. https://doi.org/10.5281/zenodo.478895.

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This study analyzed the evolutionary transition of the Sinulog-based dance in Cebu, Philippines. It also sought to: contrast the traditional Sinug Dance and the contemporary Sinulog-based dance in terms of the dance steps, musicality, ritual, costumes, and the reason or purpose of dancing; identify the effects of the changes in the Sinulog-based dance in the tourism industry of Cebu City as a whole; generate a theory which serves as framework of the evolutionary transition of the Sinulog-based dance. A collective case study design with naturalistic observation was utilized. The transition of t

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Bassi, Karen. "The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance edited by Fiona Macintosh; Modernism's Mythic Pose: Gender, Genre, Solo Performance by Carrie J. Preston." Dance Research Journal 45, no. 1 (2013): 111–17. http://dx.doi.org/10.1017/s0149767712000356.

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Perhaps the best-known dancer from Greek antiquity is Hippocleides, who was a suitor for the hand of the daughter of Cleisthenes, the tyrant of Sicyon in the sixth century BCE. According to Herodotus, Hippocleides was “the most outstanding man in Athens for his wealth and good looks,” and Cleisthenes preferred him for his son-in-law “because of his courage” (or “manly virtue,” andragathiê) and because he was related to the Cypselidae of Corinth (Histories 6.127–8). On the day Cleisthenes was to make his decision, however, things took a wrong turn (Histories 6.129.2–4; trans. Waterfield 1998):

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Balfanz, Henry B., and Laura Lowe. "Measuring Small Business Customer Satisfaction." Journal of Business Case Studies (JBCS) 15, no. 1 (2019): 1–12. http://dx.doi.org/10.19030/jbcs.v15i1.10276.

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Most family owned small businesses are so concerned about keeping the doors open on a daily basis that not a lot of time is spent on researching their customer satisfaction. As well, funds for such marketing research are often limited. Trying to keep personal bias out of such research is difficult. Thanks to the Ultimate Question/Net Promoter Score now there is a simple way to measure customer satisfaction by asking a single question. Can this work for a small dance business in mid-Michigan?

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Mullins, Tara Z. "Do Dance Majors Need Entrepreneurial Skills?" Journal of Arts Entrepreneurship Education 2, no. 1 (2020): 42–47. http://dx.doi.org/10.46776/jaee.v2.55.

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Dance majors take courses in technique, history, theory, choreography and production, but do not often take entrepreneurship-based classes. It might be said that if dance majors wish to be dance entrepreneurs or business owners, they should supplement their education with specific courses/certificates/degrees that teach those skills. It could be argued, however, that all dancers need these skills to have a sustainable career. Looking at the dance industry from the vantage point of a 25-year career, I wonder: Are we cheating dance students and the dance industry by not consistently incorporatin

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Sullivan, Patrick. "Bureaucratic process as morris dance." Critical perspectives on international business 4, no. 2/3 (2008): 127–41. http://dx.doi.org/10.1108/17422040810869981.

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Anggun, Anggun, Dessy Wardiah, and Nugroho NAD. "Efforts to Maintain the Existence of Tepak Dance at Sang Putri Sriwijaya Studio." QISTINA: Jurnal Multidisiplin Indonesia 2, no. 2 (2023): 1150–56. http://dx.doi.org/10.57235/qistina.v2i2.936.

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Tepak dance is one of the traditional arts originating from the South Sumatra region, especially the city of Palembang, which is one of the artistic treasures in the city of Palembang. This dance is a traditional South Sumatran dance created by Mrs. Sukaina Rojak and Mrs. Tina Hajigong in 1945. The origin of the formation of this tepak dance is taken from the Tanggai Dance movement and also the Gending Sriwijaya Dance, in terms of the movement it is the same but in terms of the lyrics of the song it is different, as time goes by the Tepak Dance undergoes changes or reforms, namely in terms of

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XU, CHENGFEI. "A A Case Study on the Integration of Jiangnan Culture into the Choreography of Jiangnan Dance Works--Taking the Dance Drama "Century Of The Fan" as an Example." International Theory and Practice in Humanities and Social Sciences 2, no. 7 (2025): 83–93. https://doi.org/10.70693/itphss.v2i7.748.

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This Relying on its unique geographical location and long historical precipitation, Jiangnan culture has formed a very distinctive "near business, near water" humanistic style, which has become an important source of inspiration and choreographic elements for Jiangnan dance to condense and carry forward the regional culture. Jiangnan dance is a part of Jiangnan culture, in order to better show the cultural landscape of the Jiangnan region, dance choreographers in-depth regional picking, digging danceable elements at the same time, launched a bold imagination, creating a vivid and real dance ma

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WOLL, CORNELIA. "Leading the Dance? Power and Political Resources of Business Lobbyists." Journal of Public Policy 27, no. 1 (2007): 57–78. http://dx.doi.org/10.1017/s0143814x07000633.

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Studies of lobbying try to determine the influence and power of non-governmental actors on public policy. Although influence is very difficult to measure empirically, many continue to push for better research design to solve the problem. Through case studies of business-government relations in the United States and the European Union, this article argues that the difficulties with power and influence concern not only their operationalisation, but they also reflect conceptual confusions. Trying to determine the ‘winners’ and ‘losers’ of a policy issue can be misleading, since power also structu

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Kavanagh, Donncha, Carmen Kuhling, and Kieran Keohane. "Dance-work: Images of Organization in Irish Dance." Organization 15, no. 5 (2008): 725–42. http://dx.doi.org/10.1177/1350508408093650.

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Poton, Didier. "Aux origines d’une controverse entre protestants et catholiques à La Rochelle. Sermon contre les danses de Philippe Vincent (1634)." Albineana, Cahiers d'Aubigné 33, no. 1 (2021): 257–72. http://dx.doi.org/10.3406/albin.2021.1682.

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In 1634, the consistory of the Reformed Church of La Rochelle asked Ph. Vincent to publish his preaching against dances. In 1606, J. Boiseul, pastor of Marennes, had printed in La Rochelle a Treatise on dances. Five years after the surrender of La Rochelle, the dance is denounced here as a political instrument aiming at opposing to the catholic morality, a Calvinist morality more in conformity with the social standards and the artistic practices of the king and the nobility.

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ROBBINS, ALLISON. "Doubled Selves: Eleanor Powell and the MGM Backstage Musical, 1935–37." Journal of the Society for American Music 7, no. 1 (2013): 65–93. http://dx.doi.org/10.1017/s175219631200048x.

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AbstractBeginning in the mid-1930s, Metro-Goldwyn-Mayer Studios released a series of backstage musicals starring Eleanor Powell, a dancer known for her tuxedoes as well as her virtuosic tapping. Powell's tap routines are in and of themselves commanding, with her male dress seeming to originate from her confidence and the masculine aura of tap dance. Yet it is the narratives of her films, inspired by the so-called Cinderella stage musicals of the 1920s, that hold the key to her tuxedoed performances. MGM's backstage stories feature a young dancer, who dreams of Broadway stardom, and her show bu

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Kuryumova, Natalia. "Provincial dances theatre: From a local project to a flagship of contemporary choreography in 35 years." Managing of Culture 4, no. 1 (2025): 37–47. https://doi.org/10.70202/2949-074x-2025-4-1-37-47.

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The article is devoted to the consideration of the phenomenon of the domestic dance theater, which appeared in Russia in the early 1990s, and one of the iconic representatives of which is the Yekaterinburg troupe "Provincial Dances". The goal is an attempt to periodize the 35-year creativity of the troupe and the inextricably linked creativity of the choreographer Tatyana Baganova. The periodization is based on mixed criteria. On the one hand, the connection of each chronological period with certain organizational changes, on the other - their connection with certain artistic and stylistic shi

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Cinnéide, Barra Ó. "Creative Entrepreneurship in the Arts." International Journal of Entrepreneurship and Innovation 6, no. 3 (2005): 151–58. http://dx.doi.org/10.5367/0000000054662827.

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The emergence of an unparalleled national economic performance, labelled the Celtic Tiger, has given Irish business educators the challenging task of analysing and recording their country's burgeoning growth over the past decade. As part of this development, Riverdance –an upbeat combination of Irish music and dance – hit the world stage, demonstrating that entrepreneurship and innovation are as much part of the success process within the creative industries as is the case in any other sector of the economy. By researching the advent and ongoing development of Riverdance and the follow-on show

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Daruni, Daruni. "Lagu Salam Sahabat Anak Sebagai Inspirasi Penciptaan Karya Komposisi Tari." Resital: Jurnal Seni Pertunjukan 23, no. 2 (2022): 88–95. http://dx.doi.org/10.24821/resital.v23i2.7606.

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ABSTRACT. The series of beautiful, rhythmic and comical tones leave an impression of joy for the listeners. Once a musical work was auditive stimulated by Studio Omah Cangkem's entitled Salam Sahabat Anak, it prompted the birth of a dance work with the same title as the accompanying music. Following the title and the song's lyrics, the dance tells about the importance of making friends with children. The dance method of Jacqueline Smith was chosen to realize this dance design with the steps of dance design starting with listening and analyzing the structure of the song, which was identified as

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Peleckis, Kęstutis, Valentina Peleckienė, and Kęstutis Peleckis. "Nonverbal Communication in Business Negotiations and Business Meetings." International Letters of Social and Humanistic Sciences 62 (October 2015): 62–72. http://dx.doi.org/10.18052/www.scipress.com/ilshs.62.62.

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This paper examines the importance of reading the body language signals in business negotiations and business meetings. By observing the physical changes of the human body, gestures, can lead to a more or less realistic impression about opponent, feelings of the other person, his mood, thoughts, expectations, intentions, and their changes. In non-verbal body language are very much important things : human posture, dress, accessories, gestures, eye contact, facial expressions, smile, voice intonation, laughter, eye contact, eye signs, the distance between the communicators, touch, clap, dance,

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Wedhana, Arik Putra, Alit Kumala Dewi, and Gede Bayu Segara Putra. "PERANCANGAN MERCHANDISE BERTEMAKAN TARI LEKO UNTUK ZALOUKH APPAREL." AMARASI: JURNAL DESAIN KOMUNIKASI VISUAL 4, no. 01 (2023): 123–31. http://dx.doi.org/10.59997/amarasi.v4i01.1962.

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Zaloukh apparel is a business company in the fashion sector that was established in 2020. In the fashion business, clothing is not only limited to necessities, but clothing is also a medium to show image and character in the form of fashion. One of them is t-shirts. Currently, the tendency of people to buy a product is to get merchandise offered from certain brands. Merchandise is a type of knick-knacks that are often encountered by the public as a means or media to advertise or promote a company. Merchandise made in the form of everyday items that are usually used by the owner, such as t-shir

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Lambangsari, Sonia Pangesti, Sri Rochana Widyastutieningrum, and Aris Setiawan. "Daryono's artistic creativity journey in the body of Surakarta Style Javanese Dance." Gelar : Jurnal Seni Budaya 21, no. 1 (2023): 90–102. http://dx.doi.org/10.33153/glr.v21i1.4952.

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This study aimed to explore the Daryono’s artistic, creative journey in the body in the Surakarta Style of Javanese Dance. The research method was carried out through observation of dance performances presented by Daryono, that is, Beksan Diradameta. Through this dance, the researcher studied the form and characteristics of Daryono's dance expertise. The observation focused on the process of achieving the quality of Daryono dance through various stages. In-depth interviews were conducted to reinforce the data obtained through the observation. The results showed that the factors and stages that

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Ropo, Arja, and Erika Sauer. "Dances of leadership: Bridging theory and practice through an aesthetic approach." Journal of Management & Organization 14, no. 5 (2008): 560–72. http://dx.doi.org/10.5172/jmo.837.14.5.560.

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AbstractWe wish to develop the argument in this paper that through aesthetic and artistic work, practices and their metaphorical use, we have a potential to better understand the relationship between academic leadership theory and practical action. By aesthetic approach we mean the experiential way of knowing that emphasizes human senses and the corporeal nature of social interaction in leadership. In this paper, we discuss how leadership could look, sound and feel like when seen via the artistic metaphor of dance. We use the traditional dance, waltz and the postmodern dance experience of rave

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Sova, O. N. "DANCE MARATHONS IN THE USA DURING THE GREAT DEPRESSION THROUGH THE LENS OF PHOTOS AS VISUAL SOURCES." Американистика на Дальнем Востоке, no. 3 (2024): 109–15. https://doi.org/10.48344/27824152_2024_3_109.

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The article makes an attempt, based on an analysis of available photographs of participants in dance marathons, to reveal the features of their organization and conduct during the Great Depression in the USA. Visual images of that era help convey the atmosphere of the time in question, reflect the public mood and the consequences of the economic crisis. Dance marathons, having become part of mass culture and the show business, remain an integral element in the collective memory, transmitting socially significant experience to future generations.

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Georgieva, Hristina. "Characteristics and analysis of the Culture and Arts sector, specifically the Performing dance sector in Bulgaria." Business & Management Compass 68, no. 1 (2024): 5–13. http://dx.doi.org/10.56065/gr8bt572.

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The culture and arts sector is often described as a "motor sector" in academic literature. Dance schools, within this sector, offer a unique blend of educational and artistic experiences to their clients, encompassing both instructional classes and the creation of original dance performances. However, cultural and arts organizations are not solely business-oriented but also play a significant role in shaping cultural identity and providing educational opportunities. In Bulgaria, there is a lack of a standardized system for accounting for the number of dance schools and cultural organizations.

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Feng, Hua, Xiang Zhao, and Xiaomin Zhang. "Automatic Arrangement of Sports Dance Movement Based on Deep Learning." Computational Intelligence and Neuroscience 2022 (February 10, 2022): 1–14. http://dx.doi.org/10.1155/2022/9722558.

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Sports dance is a new form of sports that integrates sports, dance, music, and other elements. The core content of “dance” is an important carrier for athletes to display their body art. This article aims to study the automatic arrangement of sports dance based on deep learning. This article first introduces the development process of deep learning. As the latest research direction developed from artificial neural network technology in machine learning, deep learning has attracted widespread attention from the society. And then proposing a shallow regression model based on deep learning, a con

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Özgen, Caner, Hüseyin Köse, and Servet Reyhan. "Discovering the relationships between event identity, satisfaction, image, WoM, and re-participation intention." Management 28, no. 2 (2023): 119–32. http://dx.doi.org/10.30924/mjcmi.28.2.9.

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Although small-scale dance events are popular as a postmodern socialization tool for modern people, little is known about participants’ behavioral intentions in active small-scale dance events. This research examined the hierarchical relationship between event image, event satisfaction, event identity, and behavioral intentions, including re-participation intention and positive word-of-mouth (WoM) behavior, in a repeated small-scale dance event. A total of 412 participants of the Eskisehir Dance Festival (EDF), a repeated small-scale dance event, were reached by the convenience sampling method

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Fernandez, Michael Oladipupo. "Dance pedagogy and entrepreneurship: a study of Footprints Arts Ambassadors, Lagos." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 447–59. http://dx.doi.org/10.4314/ejotmas.v7i1-2.30.

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This work examines the pedagogy of dance and entrepreneurship in the society. In other words, it seeks to engender dynamic essence between theory and practice, dance scholar and choreographer, and their impact on students/dancers with respect to teaching dance as a career for profit making against art for art sake. The teaching approaches provide for managing dance establishments as well as the art and act of dancing. In doing this, we adopted the managerial system of the Footprints Arts Ambassadors in Lagos, Nigeria as a prototype. We apply some fundamental tools of entrepreneurship that dete

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Davis, David R., and Michael D. Ward. "They Dance Alone." Journal of Conflict Resolution 34, no. 3 (1990): 449–75. http://dx.doi.org/10.1177/0022002790034003004.

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Nurhayati, Siti, Zora Iriani, and Darmawati Darmawati. "MOTIVASI SISWA TERHADAP KEGIATAN PENGEMBANGAN DIRI SENI TARI DI SMP- SDI SILUNGKANG." Jurnal Sendratasik 8, no. 3 (2019): 14. http://dx.doi.org/10.24036/jsu.v7i3.103338.

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AbstractThis article aimed to reveal and describe students' motivation towards dance self-development activities in SMP-SDI Silungkang. The type of this research was qualitative research with descriptive methods. The objects in the study were 22 female students and 1 male of class VII and VIII in odd semester 2018/2019 academic year. All of the objects participated self-development. The instruments used in this study were the researchers herself and free interviews. The types of data in this research were primary and secondary data. Data collection techniques were carried out by means of libra

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Ramesh, S. "Bridging Commerce and Management with Humanities, Music, and Dance: A Holistic Approach to Organizational Success." Journal of Humanities,Music and Dance, no. 24 (July 28, 2022): 26–31. http://dx.doi.org/10.55529/jhmd.24.26.31.

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This article explores the symbiotic relationship between commerce and management disciplines with the realms of humanities, music, and dance. It delves into the potential benefits of integrating artistic and humanistic perspectives into business practices, aiming for a more holistic and inclusive approach to organizational success. The study employs a qualitative research methodology, combining literature review, case studies, and expert interviews to provide insights into the impacts of this interdisciplinary fusion on various aspects of business.

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Higdon, Rachel D. "From employability to ‘complexability’." Industry and Higher Education 32, no. 1 (2018): 33–46. http://dx.doi.org/10.1177/0950422217744721.

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Higher education students and employers in the creative industries dismiss the prevailing skills-focused concept of ‘employability’ as inadequate. Entry into the creative world and subsequent survival require access to contact networks, confidence and the adaptability to cope with uncertainty and with changing contexts for business, partnerships and innovative opportunities. ‘Complexability’, it is suggested, better describes such interactive abilities. In close work with undergraduates, graduates and practitioners in two contrasting disciplines, architecture and dance, a set of interlocking b

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Du, Guoguang, and Jacquline Tham. "Optimize Brand Culture Positioning to Improve Customer Perception of Brand Image and Purchase Intention." International Journal of Social Sciences and Public Administration 4, no. 1 (2024): 207–18. http://dx.doi.org/10.62051/ijsspa.v4n1.22.

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This paper takes "optimizing brand culture positioning to improve customer perception of brand image and purchase intention" as the starting point and makes an in-depth exploration and research in the field of brand image. This is not only the exploration of brand cultural positioning, but also the exploration of brand image perception and consumer purchase intention. As a popular form of entertainment, dance drama and drama have emerged in an endless stream in recent years, and the output and quality of works have shown a rapid development trend, which has aroused the warm attention of consum

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Xu, Fang, and Wentao Chu. "Sports Dance Movement Assessment Method Using Augment Reality and Mobile Edge Computing." Mobile Information Systems 2021 (May 24, 2021): 1–8. http://dx.doi.org/10.1155/2021/3534577.

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AR (Augment Reality) is an emerging technology that combines computer technology and simulation technology. It uses a computer to generate a simulation environment to immerse users in the environment. AR can simulate the real environment or things and present it to users by virtue of its multiperceptual, interactive, immersive, and other characteristics, to achieve an immersive effect. For sports dance, the same can be used to enhance the effect of teaching and learning through the use of AR technology. Aiming at the problems of delay and terminal equipment energy consumption caused by high-sp

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Zhang, Jingyu. "Analysis of Byte Dance’s OKR System Based on Goal-Setting Theory." Frontiers in Business, Economics and Management 12, no. 2 (2023): 184–86. http://dx.doi.org/10.54097/fbem.v12i2.14877.

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Goal-Setting Theory was proposed by Locke and Latham in 1990. While OKR (Objectives and Key Results) is formulated in the goal-setting theory by the famous American management scientist Peter Senge in his book The Fifth Discipline in 2005. It is mainly used to solve the problem of how an organization achieves the optimal performance. The core of OKR is to set an "O" goal and then set a "KR" around that goal so that everyone in the organization has a clear idea of where they want to work and what to do next. Among Internet companies, the most typical use of OKR is Byte Dance. In 2018, Byte Danc

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Ojha, Ayush Kumar. "Breaking Free: How Innovative Entrepreneurs are Disrupting Traditional Models in Dance and Music." Journal of Humanities,Music and Dance, no. 24 (July 29, 2022): 32–39. http://dx.doi.org/10.55529/jhmd.24.32.39.

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For centuries, the worlds of dance and music have operated within established structures: record labels, concert halls, and ballet studios. However, the digital revolution has empowered a new wave of entrepreneurial disruptors who are challenging these traditional models and forging a vibrant, independent landscape. This paper delves into the ecosystem of innovation fueling this transformation, uncovering how entrepreneurs are harnessing technology, building alternative revenue streams, and fostering inclusivity and diversity within the industry. We explore the rise of DIY platforms empowering

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