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Journal articles on the topic 'Dance notation'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 August 2024

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1

Spalva, Rita. "Dance Notation : a Historical Fact or a Necessity." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (July 24, 2015): 495. http://dx.doi.org/10.17770/sie2014vol2.644.

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For centuries choreographers and dance theorists have been looking for ample signs to create a universal system for dance notation. Dance notation was created based on the need for a repeated staging of dances or for their preservation. However, unlike with music, no universal method of notation has been established allowing to capture dance techniques and compositions from different centuries in a single system. Nowadays, when video recording enables to capture each movement, dance or dance performance, the verbalgraphic style of dance notation can be perceived as dated an ineffective. Howeve

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Guest, Ann Hutchinson. "Dance Notation." Perspecta 26 (1990): 203. http://dx.doi.org/10.2307/1567163.

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Hsieh, Chieh-Ting. "The Body That Counts." Prism 20, no. 2 (September 1, 2023): 503–16. http://dx.doi.org/10.1215/25783491-10992820.

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Abstract This article is intended to analyze the “digital techniques of dance” implied in the different dance notations from the perspective of Medienwissenschaft. Medienwissenschaft, which is often translated as German “media theories,” regards media as techniques through which concepts are developed. The digital technique is therefore redefined here as the technique of counting in general through which the concept of number is developed. The digital technique of dance in this article is also defined as the “technique of counting number with the body in dance.” This article's analysis of the

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Rakocevic, Selena. "The Jankovic sisters and kinetography Laban." Muzikologija, no. 24 (2018): 151–72. http://dx.doi.org/10.2298/muz1824151r.

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Based on the archival material from the Legacy of Sisters Jankovic, which is stored in the National Library of Serbia, this article critically examines Ljubica and Danica Jankovic?s relation to today?s world-renowned dance notation, kinetography Laban. The analyzed archival material includes the transcript of the first edition of Laban?s notation called Schrifttanz in German, as well as several unpublished manuscripts by Ljubica Jankovic. Even though the Jankovic sisters were familiar with kinetography Laban, they (especially Ljubica) were its great opponents. Instead of learning and using kin

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De Carvalho, Daniela Dias. "Urban design and architecture through notation." Ekistics and The New Habitat 73, no. 436-441 (December 1, 2006): 323–29. http://dx.doi.org/10.53910/26531313-e200673436-441133.

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The author attended Ginasiano Dance School in Porto, Portugal where she studied contemporary and classical Dance , and ESAP (College of Arts, Porto) where she graduated in Architecture. Seeking to congregate her experiences in architecture and dance, she developed her graduation thesis on Notation: Architecture and Dance. After graduation, she was invited to join two art research centers, Centro de Estudos Arnaldo Araújo and Instituto de História da Arte, as a researcher. As an architect, she worked in two offices of architecture - Noventa Graus and Off 4- for two years, on a project for the C

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Cerbino, Ana Beatriz. "Dance, Reconstruction, and Intellectual Property." Congress on Research in Dance Conference Proceedings 2016 (2016): 50–53. http://dx.doi.org/10.1017/cor.2016.9.

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The objective is to initiate a investigation between dance, authorship, intellectual property, and choreography. For this, a look at what is meant by authoring in dance with the publication of Chorégraphie, ou l'art de décrire la danse par caracteres (1700) by Raoul-Auger Feuillet and the dispute with Pierre Beauchamp for the authorship of dance notation and recent discussions about copyright and choreography will be made; I will also discuss some cases of revival/reconstruction. It's not only understanding such procedures as “embodied textual practices” (Thomas 2004), from the perspective of

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Fugedi, Janos. "Dance Notation and Computers." Yearbook for Traditional Music 23 (1991): 101. http://dx.doi.org/10.2307/768399.

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Lu, Mei-Chen. "The Dance Notation Bureau." Dance Chronicle 32, no. 2 (July 7, 2009): 291–301. http://dx.doi.org/10.1080/01472520902966062.

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Bercu, Alina. "Golden Era of Baroque Dance." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 30, 2021): 69–78. http://dx.doi.org/10.24193/subbmusica.2021.2.05.

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"The reign of Louis XIV marks an important milestone in the development of dance and art. Convinced that visual arts and music would significantly contribute to a monarch’s authority, image, and glory, the “Sun King” coordinated artistic activities through establishing a significant number of royal academies. Through the Académie Royale de Danse the art of dancing was given a proper language and notation system for the first time in history. On the other hand, the Académie Royale de Musique was tied to the birth of a national operatic style. Opera was the perfect tool for an idealistic and maj

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Filippidou, Eleni. "Dance Stereotypes. Reflection of gender relations in the ‘Karsilama’ dance in Greece." International Journal of Research and Innovation in Social Science 06, no. 11 (2022): 839–44. http://dx.doi.org/10.47772/ijriss.2022.61143.

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Τhe research field of this paper is the Greek dance ‘Karsilama’ as this is danced in the area of Thrace in Greece. More specifically, the research was carried out in the community of Nea Vyssa, which is located in the northern part of this country. The aim of this research is to study the dances of ‘Karsilama’ in Nea Vyssa, which have rhythm of nine beats (9/8), so that through the analysis of their form, it can be established whether these dances reflect stereotypes of the position of the two sexes in society. The collection of ethnographic data was based on the ethnographic method. Laban’s n

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McLean, Alex, and Kate Sicchio. "Live Notation for Patterns of Movement." TDR: The Drama Review 68, no. 1 (March 2024): 104–16. http://dx.doi.org/10.1017/s1054204323000576.

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If computer programming languages can be used to control the movement of robots, they can therefore be used as choreographic notations. Weaving, dance, and musical forms can be taken as places of inspiration for this, bringing together patterns, computation, movement, and notation in live telematic performance involving live coding of both audience and robots.

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Papp-Danka, Adrienn, and Nóra Oláh. "The Use of Digital Pedagogical Assessment in the Teaching of Dance Notation." Tánc és Nevelés 2, no. 2 (October 12, 2021): 17–30. http://dx.doi.org/10.46819/tn.2.2.17-30.

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The purpose of this study is to explore the relationship between digital technology and folk dance, highlighting the teaching methodology of the subject of Dance Notation. We first provide a brief insight into the history of teaching dance notation, followed by presenting its current educational practice. Related to this, we discuss the relationship between digital tools and dance education in a separate chapter. Pedagogical assessment plays a key role in our study, as we want to show how regular digital formative assessment makes the teaching of dance notation more effective and motivating. W

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Filippidou, Eleni. "The Sacred and The Secular in Dance: One Dance, Two Different Functions." European Journal of Theology and Philosophy 3, no. 4 (July 19, 2023): 1–7. http://dx.doi.org/10.24018/theology.2023.3.4.119.

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The aim of this paper is to highlight the "sacred" and "secular" character of the Xesyrtos or Gikna dance in the community of Asvestades in Thrace in Greece. In particular, this paper intends to highlight the difference between the "sacred" and the "secular" and the way this dichotomy is reflected in the dance under study. Data was gathered through the ethnographic method. The sacred/secular dichotomy, as proposed in Leach's (1976) theoretical model, is used to analyze the data. Further, Laban's notation system (Hutchinson, 2005; Koutsouba, 2005), was used to record the choreographic compositi

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van Zile, Judy. "What Is the Dance? Implications for Dance Notation." Dance Research Journal 17, no. 2 (1985): 41. http://dx.doi.org/10.2307/1478079.

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Watts, Victoria. "Dancing the Score: Dance Notation and Différance." Dance Research 28, no. 1 (May 2010): 7–18. http://dx.doi.org/10.3366/drs.2010.0002.

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This article moves towards an explanation of the kinds of meaning captured in dance notation, towards a critical reflection on linguistic accounts of meaning in dance, and towards a model of analysis that slips free from the dichotomy of theory versus practice, and its correlate of text versus experience. In following Derrida's argument about speech and writing, and through a re-reading of his account of the myth of Theuth, I suggest that dance notation sensuously illustrates the kind of binary-destabilising matter and movement that Derrida theorises variously as trace, différance, and arche-w

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Fügedi, János. "Movement Cognition and Dance Notation." Studia Musicologica Academiae Scientiarum Hungaricae 44, no. 3 (July 1, 2003): 393–410. http://dx.doi.org/10.1556/smus.44.2003.3-4.5.

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Herbison-Evans, Don. "Dance, Video, Notation and Computers." Leonardo 21, no. 1 (1988): 45. http://dx.doi.org/10.2307/1578415.

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Abe, Naoko, Jean-Paul Laumond, Paolo Salaris, and Florent Levillain. "On the use of dance notation systems to generate movements in humanoid robots: The utility of Laban notation in robotics." Social Science Information 56, no. 2 (March 20, 2017): 328–44. http://dx.doi.org/10.1177/0539018417694773.

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This article raises the issue of collaboration between the field of dance and that of robotics. Dance notation systems are developed in the choreographic field as a method to describe and record human movements. Translating movements into symbols is of particular concern for computer science and robotics, which are interested in generating anthropomorphic motions in robots or animated avatars. We examine different research projects on the use of Laban notation for this purpose, and present our own attempt at generating dance movements in a humanoid robot from a Laban score. We discuss the inte

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Lidbury, Clare. "Sigurd Leeder: A Forgotten Master?" Dance Research 41, no. 1 (May 2023): 113–35. http://dx.doi.org/10.3366/drs.2023.0392.

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This article acknowledges Sigurd Leeder (1902–1981) as a key figure in the dance scene in Europe and Chile from the 1920s through to the 1970s. Through reference to articles, reviews, letters, interviews, notation scores, performances and seminal texts his work as a visual artist, movement notator, dancer, choreographer and teacher is fully explored, and the influences of Rudolf Laban and Kurt Jooss on Leeder's life and work are examined. It is concluded that while he was of some significance during his lifetime, little of Leeder's legacy now survives.

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De las Heras Fernández, Rosa. "Teaching flamenco zapateado: a new notation-based methodology." ARTSEDUCA, no. 28 (December 28, 2020): 66–81. http://dx.doi.org/10.6035/10.6035/artseduca.2020.28.5.

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Dance has traditionally been taught using a style based on teacher-pupil oral transmission, imitation and repetition. While there are notation methods for dance, few proposals for zapateado notation exist. This research develops a critical analysis not only of the currently existing notation systems for flamenco zapateado, but also of rhythmic notation systems for percussion based on the traditional Western system of musical notation, which form the basis of the foundations of the system of the method of notation presented here. The article shows that this flamenco zapateado notation system is

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De las Heras Fernández, Rosa. "Teaching flamenco zapateado: a new notation-based methodology." ARTSEDUCA, no. 28 (December 28, 2020): 68–83. http://dx.doi.org/10.6035/artseduca.2021.28.5.

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Dance has traditionally been taught using a style based on teacher-pupil oral transmission, imitation and repetition. While there are notation methods for dance, few proposals for zapateado notation exist. This research develops a critical analysis not only of the currently existing notation systems for flamenco zapateado, but also of rhythmic notation systems for percussion based on the traditional Western system of musical notation, which form the basis of the foundations of the system of the method of notation presented here. The article shows that this flamenco zapateado notation system is

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Caldwell, Mary Channen. "“The Place of Dance in Human Life”." Ethnologies 30, no. 1 (September 19, 2008): 21–40. http://dx.doi.org/10.7202/018833ar.

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Abstract This article provides a brief biographical sketch of Gertrude P. Kurath and introduces her as a central figure in twentieth century dance scholarship. Her role in the emergence of the field of dance studies in the academia is examined and her promotion of the connection between dance studies and anthropology and ethnomusicology is stressed. This article examines in detail two specific features of her scholarship: her forward-looking fieldwork and her innovation and use of movement notation. Both her fieldwork and her use of notation are contextualized within her extensive research on

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Gardner, Sally. "Noa Eshkol and the Idea of a Chamber Dance Group." Dance Research Journal 50, no. 1 (April 2018): 67–79. http://dx.doi.org/10.1017/s0149767718000049.

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Noa Eshkol (1924–2007) was an Israeli dance artist who developed a movement notation system in collaboration with her colleague, the architect Avraham Wachman. Consideration of Eshkol's dance values, particularly as they pertain to dance's basis in movement, understood as a material that can be “thought,” like music, by means of a notation system, and the role of the dancers as the work's primary audience, can contribute to the ongoing task of investigating dance modernism and its variety of authorship and spectatorship modes.

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Goff, Moira. "Leach Glover, ‘Dancing Master to the Royal Family’, Part Two: Teachers of Dancing." Dance Research 40, no. 1 (May 2022): 104–20. http://dx.doi.org/10.3366/drs.2022.0360.

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In 1738, Leach Glover (1697–1763) was appointed as a dancing master to Britain’s royal family. He had been a leading dancer in John Rich’s company for some twenty years, first at Lincoln’s Inn Fields and then at Covent Garden, and would retire from the stage in 1741. This article focusses on Glover’s work as a teacher of dancing, beginning with his training by the French dancer and member of the Paris Académie Royal de Danse Romain Dumirail, and revealing Glover’s later close relationship with him. The article investigates the role of a royal dancing master and discusses the context for Glover

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NYE, EDWARD. "‘Choreography’ is Narrative: The Programmes of the Eighteenth-Century Ballet d'Action." Dance Research 26, no. 1 (April 2008): 42–59. http://dx.doi.org/10.3366/e0264287508000054.

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In the 1760s, a change in the meaning of the French word ‘chorégraphie’, coined by Feuillet in 1700, coincides with the coming of age of the ballet d'action. At the time when Jean-Georges Noverre, Gasparo Angiolini and others are developing mime dance into a highly elaborate and aesthetically complex stage art, their contemporaries are beginning to use ‘chorégraphie’ to mean the dramaturgical structure of the work rather than a system of notation. The semantic shift suggests that drama is as fundamental to the ballet d'action as a Feuillet transcription is to danse noble. The analogy is someti

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Masing, Elo. "Movement in Sound/Sound in Movement: A Musician's Point of View." Congress on Research in Dance Conference Proceedings 2012 (2012): 97–102. http://dx.doi.org/10.1017/cor.2012.13.

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The paper provides an account of an innovative collaborative work between composer/violinist Elo Masing, choreographer/dancer Jean Lee, and the Kreutzer String Quartet. The project challenges the conventions of music and dance collaboration by proposing a fundamentally new way of working across disciplines, establishing a profound interrelation between movement and sound production.The work so far has mostly involved developing a new notation system for string instruments and dancer suitable for recording the sounds and movements the work in progress will primarily be based on. The paper will,

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Thom, Rose Anne, Ann Hutchinson Guest, and Julia McGuinness-Scott. "Dance Notation: The Process of Recording Movement." Dance Research Journal 19, no. 2 (1987): 48. http://dx.doi.org/10.2307/1478176.

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Kato Westby, Syuko, and Ruairi Glynn. "Fabricating Performance: Reciprocal Constructs of Dance Notation." Nexus Network Journal 20, no. 1 (November 10, 2017): 75–94. http://dx.doi.org/10.1007/s00004-017-0353-9.

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Dania, Aspasia. "Analyzing the Aesthetics of Dance Instructional Design: An Example from Greek Traditional Dance Teaching." Congress on Research in Dance Conference Proceedings 2016 (2016): 116–26. http://dx.doi.org/10.1017/cor.2016.17.

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Within the context of dance education, the quality of students’ learning experiences during instruction affects their ability to coordinate body and mind effectively. The more these experiences are invested with emotionally motivated expectation, the more pervasive will students’ occupation with dance be. On this premise, the learning of dance is realized as a continuous process of aesthetic understanding, appreciation, and evaluation of the form of dance, as a learning object per se. Such a perspective upgrades instructional design to the level of art making, where every dancer can experience

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Rakocevic, Selena. "Contribution of Ljubica and Danica Jankovic to establishment of ethnochoreology in Serbia as an academic scholarly discipline." Muzikologija, no. 17 (2014): 219–44. http://dx.doi.org/10.2298/muz1417219r.

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The Jankovic sisters are pioneers of ethnochoreological research in Serbia. Their scholarly methodology is based on intenisve field research and their development of a unique system of dance notation, which enabled them to evolve a system of dance analysis. The year 2014 celebrates multiple anniversaries of Ljubica and Danica Jankovic, their lives and work, but most importantly, it marks the publication of the first of eight volumes of Narodne igre, beginning an eighty year tradition of scholarly investigation of traditional dances in Serbia. The aim of this article is to draw attention to the

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Chung, Kai-Han, and June-Hao Hou. "Mapping Indeterminacy and Chance through Movement Notation: A Study on Dance Improvisation." Leonardo 51, no. 3 (June 2018): 282–83. http://dx.doi.org/10.1162/leon_a_01570.

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A dance notation system is usually regarded as a representation tool rather than a creative tool. This paper uses the indeterminacy approach as a creativity method to assist body-based limb exercise and development. The movement notation system is constructed based on the effort action from Laban Movement Analysis. In-depth interviews provide a comprehensive insight into the choreographer’s perspective. The findings show that the notation system and body-based improvisation training are not mutually exclusive. Therefore, the use of a notation system gives dancers a better understanding of how

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Rainer, Yvonne. "Trio A: Genealogy, Documentation, Notation." Dance Research Journal 41, no. 2 (2009): 12–18. http://dx.doi.org/10.1017/s0149767700000619.

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I worked on Trio A alone for six months in 1965. The dance initially consisted of a five-minute sequence of movement that would eventually be presented as The Mind Is a Muscle, Part I at Judson Church (on January 10, 1966). There it was performed by me, David Gordon, and Steve Paxton simultaneously but not in unison. An interim version of an extended, but not complete, The Mind Is a Muscle (Judson Church, May 22, 1966) was performed by William Davis, David Gordon, and Steve Paxton. In the final section of this version, called “Lecture,” Peter Saul executed a balletic solo version—that is, with

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Filippidou, Eleni, and Irini Gialiti. "DIFFERENCES BETWEEN THE “FIRST” AND THE “SECOND” EXISTENCE OF DANCE IN THE GREEK ISLAND OF CRETE. THE EXAMPLE OF THE SYRTOS DANCE." International Journal of Education and Social Science Research 05, no. 03 (2022): 215–29. http://dx.doi.org/10.37500/ijessr.2022.5315.

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The ethnographic context of this research is the Syrtos dance, as it is danced in Rethymnon, in the island of Crete in Greece. Observing at first glance the Syrtos dance, as it is danced in social events in the area of Rethymnon and in dance performances on stage, some differences can be seen in it. The aim of this paper is to compare the Syrtos dance in its “first” and “second existence”, in order to ascertain the differences that took place in it, if any, in order to confirm or reject the empirical observation, which wants the two existences of Syrtos dance, the traditional and the fakelore

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van Camp, Julie. "A Note on Mr. Margolis and the Definition of Dance." East Asian Journal of Philosophy 2, no. 2 (April 17, 2023): 53–56. http://dx.doi.org/10.19079/eajp.2.2.53.

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I demur to Margolis’ insistence that we form a generalized concept of art before the formation of a definition of specific art forms. I consider the elements proposed for a definition of “dance” by Margolis, including “dance notation, dance style, and dance as the expression of a contingent culture.” I note the problems with the third element, especially the blind spot shared by many of us to anything other than Western culture.

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Riggs Leyva, Rachael. "Texts, Bodies, Multimodality: Dance Literacy in Context." Congress on Research in Dance Conference Proceedings 2015 (2015): 89–94. http://dx.doi.org/10.1017/cor.2015.16.

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Crossing between texts, bodies, and the senses, dance literacies bring fresh perspectives on how new literacies can function, especially non-alphabetic or non-text-based literacies. Reading and writing in an expanded understanding of literacy are interpretive means of interacting with texts, of embedding and discerning meaning, of making sense of movement or choreographic information, of composing and performing, and of creating documentation and archive. Makers and viewers of dances act as readers, and writers, and authors. These roles are permeable in dance literacy, shifting with the contex

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Fugedi, Janos. "Computer Applications in the Field of Dance Notation." Studia Musicologica Academiae Scientiarum Hungaricae 39, no. 2/4 (1998): 421. http://dx.doi.org/10.2307/902546.

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Pierce, Ken. "Dance notation systems in late 17th-century France." Early Music XXVI, no. 2 (May 1998): 286–99. http://dx.doi.org/10.1093/earlyj/xxvi.2.286.

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Pierce, K. "Dance notation systems in late 17th-century France." Early Music 26, no. 2 (May 1, 1998): 286–99. http://dx.doi.org/10.1093/em/26.2.286.

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Jensen, Rebecca. "Deep Sea Dances." Choreographic Practices 13, no. 1 (July 1, 2022): 97–115. http://dx.doi.org/10.1386/chor_00043_3.

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Ubiquitously used as an analogy for something we do not understand, the deep sea signifies paradox, terror, hope and potential. Largely undiscovered it is inhabited by our ancestors whom we shared paths with until relatively recently, as we moved towards the beach and they towards the blackness of primaeval night in which the ocean came into being. This text is a form of visual and written notation for Deep Sea Dances, an improvised group work created across 2015‐17 and performed in Dance Massive Festival, Melbourne 2017. This notation can be interpreted to re-enact excerpts from the work and

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Guado, Mark Jason D. "Characterization of Pinilisa Dance Using the Dance Protocol as Performed by A Local Community in Isabela." International Journal of Multidisciplinary: Applied Business and Education Research 5, no. 5 (May 22, 2024): 1601–11. http://dx.doi.org/10.11594/ijmaber.05.05.12.

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This study aimed to characterize the Pinilisa dance using the dance protocol as performed by a local community in Isabela and to create instructional materials as well as to improve the Pinilisa dance movement. Using ethnographic and narrative inquiry in the data gathering through a Focus Group Discussion (FGD), observation, structured interview guide, and documentation, this study documented, notated, and analyzed the Pinilisa dance as a reflection of the Ilocano culture, as well as the costumes, props, accessories, movement or dance pattern, dance notation, staging (formation) and performanc

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Goldstein, Jennie. "Dance History in Contemporary Visual Art Practice: Kelly Nipper’s Weather Center." TDR/The Drama Review 60, no. 2 (June 2016): 103–21. http://dx.doi.org/10.1162/dram_a_00550.

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Kelly Nipper’s video installation Weather Center (2009) is emblematic of the presence of dance in recent visual art. Nipper’s persistent fascinations with Mary Wigman, Laban Movement Analysis, and expansive notation practices result in live performances, moving-image installations, and photographs, creating visual art that reveals how dance and its particular histories can function as malleable material within the museum.

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Carter, Selene B. "Rudolf von Laban’s Concepts in Embodiment." Theatron 15, no. 4 (2021): 45–53. http://dx.doi.org/10.55502/the.2021.4.45.

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I will present the foundations of Laban Movement Studies and its theoretical framework as theorized by Hungarian dancer-scientist-artist Rudolf von Laban (1879-1958). The four centers of his work that systemize and articulate human movement in relationship to the mover’s environment; the body, effort (antrieb), shape and space, aided by members of the Indiana University Contemporary Dance Theater. I will explicate his notation system for movement, Labanotation, and provide an historic locus for his work in the context of the Hungarian avant-garde.

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Dils, Ann. "Preface." Dance Research Journal 24, no. 2 (1992): 17–18. http://dx.doi.org/10.1017/s0149767700012031.

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These papers were originally given as a panel entitled What Constitutes a Dance at the 1989 Congress on Research in Dance Conference in Williamsburg, Virginia. Panelists selected Antony Tudor's 1937 Dark Elegies as a case study and basis for examining general questions regarding elements to be considered in identifying a dance work. Several issues and occurrences inspired panel members, such as recent interest in revivals of dance works from the beginning of this century and scholarly debate about issues related to directing dance from Labanotation scores. While Nelson Goodman's 1968 book Lang

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Fitriani, Tri Sat, and Asep Saepudin. "MIDI SEBAGAI INOVASI DAN ALTERNATIF MUSIK IRINGAN TARI DI MASA PANDEMI." Melayu Arts and Performance Journal 5, no. 1 (April 29, 2022): 85. http://dx.doi.org/10.26887/mapj.v5i1.2518.

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This paper discusses MIDI innovation for dance accompaniment needs. MIDI or Musical Instrument (with) Digital Interface, is a revolution in the development of music. Presentation of dance accompaniment using MIDI has several advantages in a technological update. MIDI innovations in this study are discussed using descriptive analysis methods. The dance accompaniment in question is a dance accompaniment that usually uses gamelan devices can be denoted in software in a system called MIDI. This topic is taken from the phenomenon that occurs in the Yogyakarta ISI Dance Department. With MIDI, a comp

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Ryman, Rhonda, and Ann Hutchinson Guest. "Dance Notation, the Process of Recording Movement on Paper." Dance Research: The Journal of the Society for Dance Research 4, no. 1 (1986): 80. http://dx.doi.org/10.2307/1290676.

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Guest, Ann Hutchinson. "Conference on the Coordinate Method of Dance Notation (CMDN)." Dance Research Journal 20, no. 1 (1988): 63–64. http://dx.doi.org/10.1017/s014976770001038x.

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Wilke, Lars, Tom Calvert, Rhonda Ryman, and Ilene Fox. "From dance notation to human animation: The LabanDancer project." Computer Animation and Virtual Worlds 16, no. 3-4 (2005): 201–11. http://dx.doi.org/10.1002/cav.90.

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Van Zile, Judy. "Approaches to Dance (3): Naïveté and Curiosity." Dance Research 39, no. 2 (November 2021): 264–73. http://dx.doi.org/10.3366/drs.2021.0346.

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Part autobiography, memoir, and autoethnography, this essay sketches a pathway that zig-zags and follows switchbacks as it moves from childhood ballet lessons to a profession in academic teaching and research. The path embraces dance notation, Korean dance, movement analysis, history, iconography, aesthetics, language, and communication as it continues beyond university employment into retirement, revealing the evolution of thought processes and the intertwining of the personal and professional.

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Gratsiouni, Dimitra, Maria Koutsouba, Foteini Venetsanou, and Vasiliki Tyrovola. "Learning and Digital Environment of Dance – The Case of Greek Traditional Dance in Youtube." European Journal of Open, Distance and E-Learning 19, no. 2 (December 1, 2016): 80–95. http://dx.doi.org/10.1515/eurodl-2016-0009.

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Abstract The incorporation of Information and Communication Technologies (ICT) in education has changed the educational procedures through the creation and use of new teaching and learning environments with the use of computers and network applications that afford new dimensions to distance education. In turn, these emerging and in progress technologies, render new practices in many fields including the field of dance offering a fertile quest to everyone involved in the dance. Yet, a critical evaluation of the content of YouTube dance videos has not been carried out though what is eventually l

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Birringer, Johannes. "Dance and Interactivity." Dance Research Journal 36, no. 1 (2004): 88–111. http://dx.doi.org/10.1017/s0149767700007580.

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A growing number of practitioners in the international community of choreographers and performers has begun to experiment with computer-assisted work linking dance and new technologies. This hardly comes as a surprise, since dance-on-film and videodance had already attracted considerable attention, at least since the 1980s. Earlier experiments, such as the astonishing films by Maya Deren, take us back to the 1940s, and today's motion capture-based animations find their historical roots in late nineteenth century motion studies in chronophotography and early cinema (Muybridge, Marey, Méliès). F

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