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Journal articles on the topic 'Dance science'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (March 29, 2021): 218–26. http://dx.doi.org/10.46872/pj.258.

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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.

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Iyeh, Mariam A., and Godwin Onuche. "A syncretic analysis of the duality of dance as art and science." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 98–109. http://dx.doi.org/10.4314/ejotmas.v7i1-2.7.

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This paper examines the duality of dance as both art and science. It argues on the premise that only the manifestations of dance as an art form has been explored whilst its scientific manifestations have been arguably ignored. It avers that duality is seen in the processes involved in dance choreography. In doing this, it maintains that dance as an art often manifests in the intuition and creativity involved during the creation of dances while dance as science manifests itself during the execution of movements. It argues that the traditional practitioners of dance in Nigeria and Africa are generally aware of the scientific nature of dance, which they adhere to unconsciously while creating dances without knowing it has a scientific posturing. The article insists that intelligence displayed in dance choreographies attests to the above claims. The study uses syncretism and Humphrey-Weidman theory of dance composition as theoretical moorings to contend that the Agbaka dance of the Igala people of Kogi State in North Central Nigeria expresses and displays the scientific nature of dance. Consequently, the dance form is examined from the physiological, psychological and biomechanical perspectives, informing the conclusion that dance practitioners in Nigeria should engage in a conscious exploration and admittance of dance as both art and science. Keywords: Syncretism, Art, Science, Duality of dance, Biomechanics, Agbaka dance

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3

Kietzman, Parry M., and P. Kirk Visscher. "Follower Position Does Not Affect Waggle Dance Information Transfer." Psyche: A Journal of Entomology 2019 (March 3, 2019): 1–5. http://dx.doi.org/10.1155/2019/4939120.

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It is known that the honey bee waggle dance communicates the distance and direction of some item of interest, most commonly a food source, to nestmates. Previous work suggests that, in order to successfully acquire the information contained in a dance, other honey bees must follow the dancer from behind. We revisit this topic using updated methodology, including a greater distance from the hive to the feeder, which produced longer, more easily-read dances. Our results are not congruent with those of earlier work, and we did not conclude that honey bees must follow a dancer from behind in order to obtain the dance information. Rather, it is more likely that a follower can successfully acquire a dance’s information regardless of where she may be located about a dancer.

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4

Dunn, Jan. "Dance Science." Journal of Physical Education, Recreation & Dance 61, no. 9 (December 1990): 25. http://dx.doi.org/10.1080/07303084.1990.10604621.

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Koff, Susan R. "Dance Science Considerations for Dance Educators." Journal of Physical Education, Recreation & Dance 69, no. 5 (May 1998): 61–63. http://dx.doi.org/10.1080/07303084.1998.10605559.

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6

Flink, Carl, and David J. Odde. "Science+dance=bodystorming." Trends in Cell Biology 22, no. 12 (December 2012): 613–16. http://dx.doi.org/10.1016/j.tcb.2012.10.005.

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7

정승혜. "Why do we dance? Dance understanding brain science." Korean Journal of Dance Studies 60, no. 3 (June 2016): 139–42. http://dx.doi.org/10.16877/kjds.60.3.201606.139.

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8

Lavelle, M. "Last dance?" Science 348, no. 6241 (June 18, 2015): 1300–1305. http://dx.doi.org/10.1126/science.348.6241.1300.

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9

Cardinal, Marita K., Kim A. Rogers, and Bradley J. Cardinal. "Inclusion of Dancer Wellness Education Programs in U.S. Colleges and Universities: A 20-Year Update." Journal of Dance Medicine & Science 24, no. 2 (June 15, 2020): 73–87. http://dx.doi.org/10.12678/1089-313x.24.2.73.

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During the 1990s dancer wellness education began to be codified and understood empirically in U.S. colleges and universities. Those efforts stemmed from a burgeoning knowledge base in dance medicine and science that continues to evolve. However, the current status of dancer wellness education remains largely undocumented. The purpose of this study was to explore the inclusion of dancer wellness education in U.S. colleges and universities. The results were derived from a cross-sectional study of 199 higher education dance administrators at 4-year institutions that were selected using stratified random sampling procedures with data collected through an online survey. Seventy-two participants (36.18%) completed at least part of the survey, and of those 62 (86.11%) completed the entire survey. The majority of dance programs were undergraduate-only (71%), not accredited by the National Association of Schools of Dance (67%), and emphasized dance performance and choreography (89%). Sixty percent offered a formal dancer wellness program, 70% had at least one dancer wellness specialist on faculty, and 20% offered training programs to become dancer wellness specialists. Fewer than half (42.19%) preferred their faculty to have college or university level study in dancer wellness, and only 17.19% required it. Of 11 possible curricular topics, the typical undergraduate program included 64.52% and the typical graduate program 51.87%. Regardless of program level, the top five topics were anatomy, kinesiology, somatics, dance conditioning, and dance injuries. The average school offered 58% of identified supplementary programs at "high levels." Only modest differences were found between programs based on degree level, accreditation status, or program affiliation. Although some positive trends in the evolution of dancer wellness education have occurred over the last two decades, there remains a need for ongoing advocacy and widespread implementation in U.S. colleges and universities.

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Kesiman, Made Windu Antara, I. Made Dendi Maysanjaya, I. Made Ardwi Pradnyana, I. Made Gede Sunarya, and Putu Hendra Suputra. "Revealing the Characteristics of Balinese Dance Maestros by Analyzing Silhouette Sequence Patterns Using Bag of Visual Movement with HoG and SIFT Features." Journal of ICT Research and Applications 15, no. 1 (July 6, 2021): 89–104. http://dx.doi.org/10.5614/itbj.ict.res.appl.2021.15.1.6.

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The aim of this research was to reveal and explore the characteristics of Balinese dance maestros by analyzing silhouette sequence patterns of Balinese dance movements. A method and complete scheme for the extraction and construction of silhouette features of Balinese dance movements are proposed to enable performing quantitative analysis of Balinese dance movement patterns. Two different feature extraction methods, namely the Histogram of Gradient (HoG) feature and the Scale Invariant Features Transform (SIFT) descriptor, were used to build the final feature, called the Bag of Visual Movement (BoVM) feature. This research also makes a technical contribution with the proposal of quantifying measures to analyze the movement patterns of Balinese dances and to create the profile and characteristics of dance maestros/creators. Eight Balinese dances from three different Balinese dance maestros were analyzed in this work. Based on the experimental results, the proposed method was able to visually detect and extract patterns from silhouette sequences of Balinese dance movements. Quantitatively, the pattern measures for profiling of Balinese dances and maestros revealed a number of significant characteristics of different dances and different maestros.

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Nolton, Esther C. "Dancer Wellness. By M. Virginia Wilmerding and Donna H. Krasnow." Medical Problems of Performing Artists 33, no. 1 (March 1, 2018): 72. http://dx.doi.org/10.21091/mppa.2018.1010.

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Dancer Wellness is a comprehensive text for dancers and dance educators to better understand health and wellness in the context of their craft. Though not intended for this purpose, this resource may also be a beneficial tool in allowing allied healthcare professionals to repackage knowledge that was obtained in a traditional (sports) medicine context to the otherwise unchartered world of dance medicine and science. As a former dancer turned sports medicine practitioner and researcher, I appreciate what this text has done to bridge the gap by transferring knowledge and skills across disciplines.

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12

Koff, Susan. "Science of Dance Training." International Journal of Sport Biomechanics 5, no. 3 (August 1989): 365–66. http://dx.doi.org/10.1123/ijsb.5.3.365.

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13

Lazou, Anna. "Ο χορός ως αντικείμενο επιστημονικής έρευνας και φιλοσοφίας. Προλεγόμενα." Epistēmēs Metron Logos, no. 3 (January 11, 2020): 60. http://dx.doi.org/10.12681/eml.22108.

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The art of dance is now studied in the sciences and philosophy. From the time of the ancient Greek thinkers to the modern era, dance has never ceased to be considered a way of expressing multiple potentialities of culture. The way that man danced in history is also a reflection on every era of man's relationship with nature, the universe and social structures.By selecting the most significant of all references to dance that the modern reader may encounter today, we locate the wealth and variety of information and approaches as well as the interdisciplinary nature of the studies provided. However, both the historical as well as the literary sources and the more recent ethnological and anthropological approaches do not cease to remain in an informational and encyclopedic field, without completing the theoretical explanation and understanding of the phenomenon unless and until specific philosophical questions are answered. These latter ones have to do with the identity of dance experience – based on data about the nature of learning, the relation of dance to language, science or sciences (history, philology, natural sciences), metaphysics and cosmology, the functionality and applicability of dance uses in society, religion and politics. Even the meaning of dance itself or the aesthetic principles as well as the moral and educational values of the ancient dance activity fall within traditional areas of philosophical contemplation or at least are not sufficiently systematized in the direction of methodical research unless they are subject to philosophical inquiry. We will focus on those facts which can show that orchesis/dance is treated by philosophy as an anthropological and at the same time cosmological concept referring to the relation of the human being to its inner psyche and to the environment. The "intelligence" of ancient Greek dance culture that has unfolded over many centuries, in various shapes and types of music poetry, but also with a rich social, educational and therapeutic functionality, is yet another discovery of the Greeks from their earliest history.

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Air, Mamie, and A. B. M. (Boni) Rietveld. "Dance-specific, Graded Rehabilitation: Advice, Principles, and Schedule for the General Practitioner." Medical Problems of Performing Artists 23, no. 3 (September 1, 2008): 114–19. http://dx.doi.org/10.21091/mppa.2008.3023.

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Dancers frequently experience lower-extremity injuries which require dance activity restriction, if not full “time off” and/or surgery. Recovering dancers are frequently over-eager to return to dance, but engaging in too high an activity level too soon can be detrimental. Currently, there are no formal guidelines for general physicians about advising injured or postoperative dancer-patients about when or how to return to dance activity. Socioeconomic hurdles further prohibit many dancers from seeking rehabilitative services from a dance physical therapist. Therefore, there is a need for physician education about general dance-rehabilitation principles, as well as access to a dance-specific structured rehabilitation program. We present here rehabilitation advice from an expert in dance orthopedic surgery and an example of a “preventive rehabilitation program” for injured or postoperative dancer-patients with lower-extremity injury.

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15

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 be expressed completely. Then, a two-way feature extraction network is designed, which extracts the details of the actions along the way and takes the sequence image as the input of the network. Then, in order to enhance the expression ability of attribute features, a multibranch spatial channel attention integration module (MBSC) based on an attention mechanism is designed to extract the features of each attribute. Finally, using the semantic inference and information transfer function of the graph convolution network, the relationship between attribute features and dancer features can be mined and deduced, and more expressive action features can be obtained; thus, high-performance dance motion recognition is realized. The test and analysis results on the data set show that the algorithm can recognize the dance movement and improve the accuracy of the dance movement recognition effectively, thus realizing the movement correction function of the dancer.

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Bohannon, John. "Can Scientists Dance?" Science 319, no. 5865 (February 15, 2008): 905.2–905. http://dx.doi.org/10.1126/science.319.5865.905b.

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17

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 dance but as objects to be danced. The use of metonymy to sort young dancers may undermine the development of healthy self-image, impede strong identity formation, and retard creative-artistic development. The paper concludes with a discussion of the influence of metonymy in dance and implications for dance educators.

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Ai, Hiroyuki, Ryuichi Okada, Midori Sakura, Thomas Wachtler, and Hidetoshi Ikeno. "Neuroethology of the Waggle Dance: How Followers Interact with the Waggle Dancer and Detect Spatial Information." Insects 10, no. 10 (October 11, 2019): 336. http://dx.doi.org/10.3390/insects10100336.

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Since the honeybee possesses eusociality, advanced learning, memory ability, and information sharing through the use of various pheromones and sophisticated symbol communication (i.e., the “waggle dance”), this remarkable social animal has been one of the model symbolic animals for biological studies, animal ecology, ethology, and neuroethology. Karl von Frisch discovered the meanings of the waggle dance and called the communication a “dance language.” Subsequent to this discovery, it has been extensively studied how effectively recruits translate the code in the dance to reach the advertised destination and how the waggle dance information conflicts with the information based on their own foraging experience. The dance followers, mostly foragers, detect and interact with the waggle dancer, and are finally recruited to the food source. In this review, we summarize the current state of knowledge on the neural processing underlying this fascinating behavior.

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19

Cone, Theresa Purcell. "Dance Integration: 36 Dance Lesson Plans for Science and Mathematics." Journal of Dance Education 15, no. 2 (April 3, 2015): 82. http://dx.doi.org/10.1080/15290824.2014.995459.

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CONROY, RENEE M., and JULIE C. VAN CAMP. "Introduction: Dance Art and Science." Journal of Aesthetics and Art Criticism 71, no. 2 (May 2013): 167–68. http://dx.doi.org/10.1111/jaac.12005.

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21

Tautz, J. "Honeybee waggle dance: recruitment success depends on the dance floor." Journal of Experimental Biology 199, no. 6 (June 1, 1996): 1375–81. http://dx.doi.org/10.1242/jeb.199.6.1375.

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The waggle dance of the honeybee Apis mellifera, used to recruit nestmates to a food source, takes place on the surface of the combs in the dark hive. The mechanism of information transfer between dancer and follower bees is not entirely understood. The results presented here reveal a novel factor that must be brought into any consideration of this mechanism, namely that the nature of the floor on which the bees dance has a considerable influence on the recruitment of nestmates to a food source. Dancers on combs with open empty cells recruit three times as many nestmates to a food source as dancers on capped brood cells.

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Bowe;, M., J. R. Thomen;, S. Bryman;, and M. Lewin. "Too Soon to Dance?" Science 272, no. 5263 (May 10, 1996): 793c—797. http://dx.doi.org/10.1126/science.272.5263.793c.

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Bowe, M. "Too Soon to Dance?" Science 272, no. 5263 (May 10, 1996): 795a. http://dx.doi.org/10.1126/science.272.5263.795a.

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Thomen, J. R. "Too Soon to Dance?" Science 272, no. 5263 (May 10, 1996): 795b—796b. http://dx.doi.org/10.1126/science.272.5263.795b.

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Bryman, S. "Too Soon to Dance?" Science 272, no. 5263 (May 10, 1996): 796a. http://dx.doi.org/10.1126/science.272.5263.796a.

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Lewin, M. "Too Soon to Dance?" Science 272, no. 5263 (May 10, 1996): 796b. http://dx.doi.org/10.1126/science.272.5263.796b.

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Bohannon, J. "DANCE: PHYSICS: Dancing Einstein." Science 309, no. 5731 (July 1, 2005): 59. http://dx.doi.org/10.1126/science.1115767.

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Ash, Caroline. "To Make Aire Dance." Science 322, no. 5909 (December 19, 2008): 1792–93. http://dx.doi.org/10.1126/science.1168875.

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Mabingo, Alfdaniels. "Teaching African Dances in the Caribbean: Horizontal Interpenetration and Afrocentricity in Jamaica." Journal of Black Studies 49, no. 8 (June 17, 2018): 735–55. http://dx.doi.org/10.1177/0021934718780561.

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This article examines how pedagogy of African dances can act as a site where issues of Afrocentricity and horizontal interconnection can be activated, negotiated, and embodied. I draw on the selected reflections of the participants in dance workshops and my experiences as a teacher of Ugandan dances in Jamaica to demonstrate how pedagogy allowed the learners to embody, deconstruct, and conceptualize kinaesthetic, storied, and musicalized dance material as valued and valid knowledge that is anchored in the worldviews, dignities, and ontologies of indigenous Ugandan communities from where the dances originate. The article frames pedagogy of the dances as an epistemological and ontological framework through which the learners sought to know, think, do, question, connect, and become. For people of African descent, partaking in teaching and learning processes of the dances created possibilities for cultural connections through experiential, imaginative, participatory, and reflective dance activities. The analysis further reveals how teaching dances from African cultures, a subject that is treated as insignificant within academic and artistic thought, positioned me to en/counter, rationalize, and address the challenges, dilemmas, and anxieties surrounding Black dance scholarship. It is hoped that this article can expand discourses on how African dances can be engaged as valued and valid epistemological and ontological domains in scholarship and practice to pluralize creative and cultural thought and empower communities and liberate their bodies of knowledge that have been dispossessed by Western hegemonic epistemological canons.

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Dang, Yanan, Yiannis Koutedakis, and Matthew Wyon. "Fit to Dance Survey: Elements of Lifestyle and Injury Incidence in Chinese Dancers." Medical Problems of Performing Artists 35, no. 1 (March 1, 2020): 10–18. http://dx.doi.org/10.21091/mppa.2020.1002.

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The Fit to Dance survey has been conducted using primarily Western participants and has provided foundation data for other studies. The purpose of the current study was to replicate the Fit to Dance 2 survey focusing on features of health and injuries in pre-professional and professional Chinese dancers of different genres. The survey was translated into Chinese with several new and modified questions. The survey was posted online for a 3-month period. A total of 1,040 individuals (82.8% female) completed the questionnaire, including 871 dance students (83.7%) and 169 professional dancers (16.3%), with focus in Chinese folk dance (44.4%), Chinese classical dance (25.6%), ballet (10.2%), and contemporary dance (9.8%). Compared to the Fit to Dance 2 survey, alcohol consumption (29% vs 82%; p<0.01) and smoking (13% vs 21%; p<0.05) were significantly less in Chinese dancers, but a higher percentage reported using weight-reducing eating plans (57% vs 23%; p<0.01) or having psychological issues with food (27% vs 24%; p<0.05). Reported injuries in a 12-month period prior to data collection were significantly lower in Chinese dancers (49% vs 80%; p<0.01). The type of injury (muscle and joint/ligament) and perceived cause of injury (fatigue, overwork, and reoccurrence of an old injury) were the same in both the current and previous survey. Mean injury rate ranged from 4.9 injuries/dancer (contemporary) to 3.4 injuries/dancer (Chinese folk dance), which is comparable to previously reported data on Western dance populations. This report provides the first comprehensive data on the health and injury incidence of Chinese dancers.

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Arrey, Sally. "The art and science of dance/movement therapy: life is dance." Body, Movement and Dance in Psychotherapy 12, no. 4 (June 29, 2017): 290–92. http://dx.doi.org/10.1080/17432979.2017.1345791.

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Lukina, Angelina. "Osuokhai, The Yakut Circle Dance." Sibirica 17, no. 3 (December 1, 2018): 60–67. http://dx.doi.org/10.3167/sib.2018.170306.

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A circle dance, a fundamental element of many traditional cultures, exists in many parts of the world. Scholars have been fascinated by historical and contemporary, mythical and cultural, ritual and semantic aspects of circle dances. The article discusses the Yakut circle dance, osuokhai, influenced by ancient practices and religious ideas of Eurasian nomads. The article reflects on the historical transformations and on the semantics of the osuokhai.

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Stolberg, Tonie L. "Communicating Science through the Language of Dance: A Journey of Education and Reflection." Leonardo 39, no. 5 (October 2006): 426–32. http://dx.doi.org/10.1162/leon.2006.39.5.426.

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Bharatanatyam, the classical dance style of South India, is adept at conveying complex, multilayered narratives. This paper documents and reflects upon the interactions between the author, a scientist and educator, and a professional dance company as they strive to develop and produce a dance-drama about the carbon cycle. The author examines the process by which scientific ideas are shared with the artists and the way a scientific narrative becomes one with an artistic meaning. The paper also examines areas for possible future science-dance collaborations and explores the necessary features for a collaborative science-dance pedagogy.

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ÖZTÜRKMEN, ARZU. "ANTHONY SHAY, Choreographic Politics: State Folk Dance Companies, Representation and Power (Middletown, Conn.: Wesleyan University Press, 2002). Pp. 290. $65.00 cloth; $19.95 paper." International Journal of Middle East Studies 35, no. 4 (November 2003): 642–44. http://dx.doi.org/10.1017/s0020743803270264.

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Anthony Shay's Choreographic Politics fills an important gap in the research of the history of folk dancing, a gap opened by the controversial status of “state folk dance ensembles,” whose performances have often been neglected or despised by folklorists and dance scholars. Staged folk dances have always charmed audiences with the energy they embed in their performances but they have also puzzled them, because it is clear that they are more of a “representation” than a true reflection of a locality's reality. The analysis of “state folk dance ensembles,” then, moves on the edges of folklore and “fake lore,” the art of dance and the ethnography of dance. Choreographic Politics touches on this very sense of illusion and disillusion, focusing on the politics of state folk dance ensembles, a cultural product of the post-war era.

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Clements, Lucie, and Rebecca Weber. "Making Space for the Psychology of Creativity in Dance Science." International Journal of Art, Culture and Design Technologies 7, no. 1 (January 2018): 30–45. http://dx.doi.org/10.4018/ijacdt.2018010103.

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Creativity is commonly recognized as a complex phenomenon; one which entails a range of debates around definition, process and product, domain specificity, cross-discipline generalisability, and appropriate testing measures. The psychology of creativity appears to find a fitting home in dance science, a field concerned with understanding and enhancing dancers' health and performance. Yet dance psychology has been predominated by research which focuses on the mental processes underpinning optimal skill execution and technical performance. This paper outlines an argument for a greater focus on the creative demands of dance within dance science, highlighting some the challenges of, and barriers to, research in the psychology of creativity in dance, before making a number of recommendations to encourage the growth of this important research area.

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Menzel, Randolf. "The Waggle Dance as an Intended Flight: A Cognitive Perspective." Insects 10, no. 12 (November 25, 2019): 424. http://dx.doi.org/10.3390/insects10120424.

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The notion of the waggle dance simulating a flight towards a goal in a walking pattern has been proposed in the context of evolutionary considerations. Behavioral components, like its arousing effect on the social community, the attention of hive mates induced by this behavior, the direction of the waggle run relative to the sun azimuth or to gravity, as well as the number of waggles per run, have been tentatively related to peculiar behavioral patterns in both solitary and social insect species and are thought to reflect phylogenetic pre-adaptations. Here, I ask whether these thoughts can be substantiated from a functional perspective. Communication in the waggle dance is a group phenomenon involving the dancer and the followers that perform partially overlapping movements encoding and decoding the message respectively. It is thus assumed that the dancer and follower perform close cognitive processes. This provides us with access to these cognitive processes during dance communication because the follower can be tested in its flight performance when it becomes a recruit. I argue that the dance message and the landscape experience are processed in the same navigational memory, allowing the bee to fly novel direct routes, a property understood as an indication of a cognitive map.

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Matt, Pamela. "“Critical Thinking” in Dance Science Education." Journal of Dance Education 3, no. 4 (October 2003): 121–30. http://dx.doi.org/10.1080/15290824.2003.10387245.

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Bohannon, J. "The Science Dance Match-Up Challenge." Science 324, no. 5925 (April 17, 2009): 332b. http://dx.doi.org/10.1126/science.324.5925.332b.

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Burg, Jennifer, and Karola Luttringhaus. "Entertaining with science, educating with dance." Computers in Entertainment 4, no. 2 (April 2006): 7. http://dx.doi.org/10.1145/1129006.1129018.

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Purvis, Denise. "Dance Science: Anatomy, Movement Analysis, Conditioning." Journal of Dance Education 16, no. 4 (October 2016): 157. http://dx.doi.org/10.1080/15290824.2016.1143789.

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Kish, Robin L., Janice Gudde Plastino, and Bethany Martyn-Stevens. "A Young Dancer Survey." Medical Problems of Performing Artists 18, no. 4 (December 1, 2003): 161–65. http://dx.doi.org/10.21091/mppa.2003.4029.

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The purpose of this study was to determine, through self-reporting techniques, the training and injury rates among students studying dance in the private sector. The private studio provides the major venue for students to study dance. This is especially true for young students (ages 8–18) who study ballet, jazz, and tap and who participate in dance competitions. A private dance studio is defined as a studio open to the community with no audition requirements for entry that teaches various technique styles. Private studio dancers are not training specifically to be professional dancers in major ballet companies. Few data exist regarding the training or injury rates of these students in part because of difficulties with access and compliance. To date, 3,700 surveys have been distributed (January 2001-present) to students training in private studios throughout California. Information was requested concerning current and past injuries, dance training history, and competition schedules. This ongoing investigation currently has examined 173 (male = 6 and female = 167) completed surveys. The mean age of dancers who responded to the survey was 15.2 years. Of the dancers surveyed, 93% study at private dance studios, and 67% have studied in high school dance programs. The number of injuries reported (n = 226) included fractures, strains, sprains, and tendinitis. The ankle, knee, and back were found to be the most frequent injury sites. Correlations between the number of different techniques studied and the total hours danced, the number of different techniques studied and number of injuries for each individual, and the number of injuries for each individual and total hours danced all were significant at 0.01. Initial results support that dancers in the private dance studio are susceptible to injuries similar to those experienced by dancers in elite training centers.

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&NA;. "The Art and Science of Dance-Movement Therapy: Life Is to Dance." Journal of Nervous and Mental Disease 198, no. 3 (March 2010): 235. http://dx.doi.org/10.1097/01.nmd.0000369413.51011.d3.

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Lavine, Marc S. "Do as I dance." Science 352, no. 6290 (June 2, 2016): 1186.5–1187. http://dx.doi.org/10.1126/science.352.6290.1186-e.

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Bohannon, J. "Why Do Scientists Dance?" Science 330, no. 6005 (November 4, 2010): 752. http://dx.doi.org/10.1126/science.330.6005.752-b.

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Hutcheson, Maury. "Memory, Mimesis, and Narrative in the K'iche' Mayan Serpent Dance of Joyabaj, Guatemala." Comparative Studies in Society and History 51, no. 4 (September 17, 2009): 865–95. http://dx.doi.org/10.1017/s0010417509990168.

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It seemed to me a simple question. “What happens in this dance-drama? What is the storyline, the narrative?” I am met by puzzlement. The dancer explains that each such dance has its own set of instruments, its own special costumes and masks. For this one they use a simple, one-man marimba and the costumes come from the nearby town of Chichicastenango.

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Mengelkoch, Larry J., M. Jason Highsmith, and Merry L. Morris. "Comparison of the Metabolic Demands of Dance Performance Using Three Mobility Devices for a Dancer with Spinal Cord Injury and an Able-Bodied Dancer." Medical Problems of Performing Artists 29, no. 3 (September 1, 2014): 163–67. http://dx.doi.org/10.21091/mppa.2014.3033.

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Mobility devices for dancers with physical mobility impairments have previously been limited to traditional manual or power wheelchairs. The hands-free torso-controlled mobility chair is a unique powered mobility device which allows greater freedom and expression of movement of the trunk and upper extremities. This study compared differences in energy expenditure during a standardized dance activity using three mobility devices: the hands-free torso-controlled mobility chair, a manual sports wheelchair with hand-arm control, and an electric power chair with hand-joystick control. An experienced dancer with C7 incomplete spinal cord injury (SCI) and an experienced able-bodied dancer were recruited for testing. Three measurement trials were obtained for each chair per subject. Oxygen uptake (VO2) and heart rate (HR) were measured continuously during the dance activity. Immediately following the dance activity, subjects rated perceived exertion. Significant differences (p≤0.05) and similar linear patterns in VO2 and HR responses were observed between chairs for both dancers. When the hands-free mobility chair was used, the dance activity required a moderate level of energy expenditure compared to the manual sports chair or electric power chair for both dancers. Higher ratings of perceived exertion were observed in the manual chair compared to the other chairs for the dancer with SCI, but were similar between chairs for the able-bodied dancer. These results suggest that for a dancer with high-level SCI, the hands-free torso-controlled mobility chair may offer improved freedom and expressive movement possibilities and is an energy-efficient mobility device.

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Taubes, G. "Making a Robot Lobster Dance." Science 288, no. 5463 (April 7, 2000): 82. http://dx.doi.org/10.1126/science.288.5463.82.

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Service, R. F. "NOBEL PRIZES:A Winning Flash Dance." Science 286, no. 5440 (October 22, 1999): 667b—669. http://dx.doi.org/10.1126/science.286.5440.667b.

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Laughlin, G. "A Dance of Extrasolar Planets." Science 330, no. 6000 (September 30, 2010): 47–48. http://dx.doi.org/10.1126/science.1196505.

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Echegoyen, Soledad, Eugenia Acuña, and Cristina Rodríguez. "Injuries in Students of Three Different Dance Techniques." Medical Problems of Performing Artists 25, no. 2 (June 1, 2010): 72–74. http://dx.doi.org/10.21091/mppa.2010.2014.

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As with any athlete, the dancer has a high risk for injury. Most studies carried out relate to classical and modern dance; however, there is a lack of reports on injuries involving other dance techniques. This study is an attempt to determine the differences in the incidence, the exposure-related rates, and the kind of injuries in three different dance techniques. A prospective study about dance injuries was carried out between 2004 and 2007 on students of modern, Mexican folkloric, and Spanish dance at the Escuela Nacional de Danza. A total of 1,168 injuries were registered in 444 students; the injury rate was 4 injuries/student for modern dance and 2 injuries/student for Mexican folkloric and Spanish dance. The rate per training hours was 4 for modern, 1.8 for Mexican folkloric, and 1.5 injuries/1,000 hr of training for Spanish dance. The lower extremity is the most frequent structure injured (70.47%), and overuse injuries comprised 29% of the total. The most frequent injuries were strain, sprain, back pain, and patellofemoral pain. This study has a consistent medical diagnosis of the injuries and is the first attempt in Mexico to compare the incidence of injuries in different dance techniques. To decrease the frequency of student injury, it is important to incorporate prevention programs into dance program curricula. More studies are necessary to define causes and mechanisms of injury, as well as an analysis of training methodology, to decrease the incidence of the muscle imbalances resulting in injury.

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