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Baena-Chicón, Irene, Sebastián Gómez-Lozano, Lucía Abenza Cano, and Alfonso Vargas-Macías. "Pain catastrophizing in Flamenco dance students at professional dance conservatories." Archivos de Medicina del Deporte 38, no. 2 (April 26, 2021): 86–90. http://dx.doi.org/10.18176/archmeddeporte.00030.
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Introduction: Flamenco is marked by the deep emotional impression it creates and its percussive footwork steps, performed in traditional high-heeled shoes. It places high demands on the dancer which leads to risks of injury, pain and associated emotional repercussions. Catastrophizing is a key factor determining how the context is valued and pain is experienced. The objectives of this study were: firstly, to analyse the general incidence of catastrophizing among flamenco students and secondly, to determine the repercussion this has on catastrophizing in professional practice among dancers who perform on stage even though they are still students. Material and method: The sample analyses 70 students from the Conservatorios Profesionales de Danza de Andalucía (Andalusian Professional Conservatoires for Dance) (17.67±5.65 years old); 44.29% (n=31) also danced professionally. The dancers completed the Pain Catastrophizing Scale (PCS). Results: The results do not show significant differences in categories: rumination, magnification, nor in the overall catastrophizing of pain when comparing participants who were dance students with those who also danced professionally. However, in terms of helplessness, there is a significant difference between both groups, with those who danced both as students and professionals displaying higher levels of helplessness than those who were only students. Conclusions: The artistic professional development on stage before spectators can trigger anxiety states that can have a directly proportional association to the levels of catastrophism. Perhaps being a student at the same time as dancing professionally signifies a greater physical and mental load which can lead to certain psychological processes.
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S. Javina , MAED, Freddie. "STUDENTS AWARENESS AND PERFORMANCE INPHILIPPINE FOLK DANCES." International Journal of Advanced Research 9, no. 01 (January 31, 2021): 730–42. http://dx.doi.org/10.21474/ijar01/12350.
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This research aimed to determine the students level of awareness and performance in folk dance that served as basis of developing program for promotion of folk dancing skills in Bitin National High School for the school year 2017 to 2018.The descriptive research was used in the study using the Grade 9 students of Bitin National High School as the respondents. A self-made questionnaire and rubrics for dance performance were used to describe the level of awareness and dance performance skills of the respondents. Mean and standard deviation and Pearson r correlation using an alpha level of .05 were used as the statistical tools.The study revealed the following findings. Majority were 15 years old (90), followed by 14 years old (65), 16 years old (53), 17 years old (23) and the least 18 years old (10) with total number of 241.The over-all mean of 3.30 shows that the students are Moderately Interested about Philippine folk dances. For the Level of awareness of the students to folk dance related variables. In terms of the following variables: objectives, has an over-all mean (OM) of 3.30, strategies (OM=3.71), skills in folk dancing (OM=3.77), availability of dance materials (OM=2.88), and training (OM=3.12) were all interpreted as Moderately Aware. While exposure to Philippine folk dances (OM=3.43) shows that the students are somewhat awareto Philippine folk dances. Only the competence of the dance instructor was rated highly aware.With regard to the performance of the Grade 9 students in folk dancing fundamental skills, for the three categories given: poise and grace, timing and rhythm, interpretation of literature, most of the respondents were rated as Moderately Aware.The Correlation of folk-dance awareness variables as to poise and grace shows No Significant Correlation to folk dancing fundamental skills. The second category for folk dancing fundamental skills, timing and rhythm shows Negligible Correlation to folk dance awareness variables. The third category which is the interpretation of literature also shows Negligible Correlation to folk dance awareness related variables.
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Arifin, Mohammad Syamsul, and Setyo Yanuartuti. "Model Tarian Kreatif Dalam Pelajaran Seni Tari Pada Pelajar PGSD Univeritas Negeri Surabaya." JIKAP PGSD: Jurnal Ilmiah Ilmu Kependidikan 5, no. 1 (January 15, 2021): 10. http://dx.doi.org/10.26858/jkp.v5i1.18008.
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This study describes a creative dance model in dance lessons for PGSD students at the State University of Surabaya. The purpose of this research is to find out the making of dance for elementary school children, making elementary school children's dances through creative dance models, the process of making dance creations, developing an idea and being creative, as well as having the objective of analyzing creative dance models to create children's dances. Elementary school children in dance lessons. The creative dance model means a creative dance model. The research method uses qualitative research and descriptive analysis. Data collected from documentation, observations, and observations. The results of this study are the product of a lesson model for coaching guidelines and dance exploration for children for PGSD students at the State University of Surabaya.
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Gerdes, Ellen. "The Role of Technique in Dance Education: The Example of Tsoying High School, Taiwan." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 216–27. http://dx.doi.org/10.1017/s2049125500001138.
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Through questionnaire data, the dance students at Tsoying High School in Taiwan offer an important perspective on dance technique. Engaging with Melanie Bales's concept of the “eclectic” body in American contemporary dance practices, I explore both the historical underpinnings and the students' experience of a Taiwanese curriculum that focuses on ballet, modern dance, and Beijing opera movement. Our conceptions of dance technique and their related pedagogies not only affect the dancer but also affect the integration of dance technique with the rest of the dance field and, subsequently, the role of dance in the greater culture.
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Sari, Dyan Indah Purnama, and Poppy Indriyanti. "IMPLEMENTASI MODEL CREATIVE DANCE PADA PEMBELAJARAN SENI TARI MAHASISWA PGSD UNIVERSITAS SARJANAWIYATA TAMANSISWA." Taman Cendekia: Jurnal Pendidikan Ke-SD-an 3, no. 2 (December 6, 2019): 357. http://dx.doi.org/10.30738/tc.v3i2.5582.
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This article studied the creative dance model implementation in dance teaching for PGSD students, this article is formulated so that (1) PGSD Universitas Sarjanawiyata Tamansiswa students know how to create children dance, (2) PGSD Universitas Sarjanawiyata Tamansiswa students can create children dance by using creative dance model, (3) in the creation process, PGSD Universitas Sarjanawiyata Tamansiswa students can develop their creative idea, (4) PGSD students become active, creative, and innovative students in the process of creating children dances. Additionally, this article also aims at analyzing the role of creative dance model in the creation of children dance in Dancing Art teaching. The creative dance model is often referred to as creation model. The approach used in this research is qualitative research which applied a descriptive analysis method aimed at describing, summarizing various conditions, various situations, or various social reality phenomena in the community. The data collection was conducted by means of observation, interview, and documentation. The product of this research would be a teaching model that can be used as a guide or manual in the process of construction and exploration of children dance to be used by PGSD students, especially PGSD Universitas Sarjanawiyata Tamansiswa students.
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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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Alter, Judith B. "Why Dance Students Pursue Dance: Studies of Dance Students from 1953 to 1993." Dance Research Journal 29, no. 2 (1997): 70. http://dx.doi.org/10.2307/1478735.
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Wahyuni, Fitri, and Malta Nelisa. "Pembuatan Purwarupa Ensiklopedia Tarian Adat Minangkabau." Ilmu Informasi Perpustakaan dan Kearsipan 8, no. 1 (October 29, 2019): 476. http://dx.doi.org/10.24036/107302-0934.
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AbstractIn this paper we discuss Minangkabau traditional dances in the form of an encyclopedia prototype. The objectives of writing this paper are: (a) to describe the community's needs for information about Minangkabau traditional dances; (b) describes the process of making an encyclopedia of traditional Minangkabau dance prototypes; and (c) describe the constraints and efforts in making an encyclopedia prototype of Minangkabau traditional dance. This study uses a descriptive method with data collection techniques through direct observation and direct interviews with seven different professions, such as the community, students, students, tourists and owners of the Syofyani dance studio. Based on the analysis of the data it can be concluded as follows: First, the need for information about Minangkabau traditional dances is very minimal from the community, this can be seen from people who are not very interested in information about Minangkabau traditional dances because Minangkabau traditional dances are rarely performed and there are no information media which specifically discusses Minangkabau traditional dances. So that the Minangkabau traditional dance is shifted by outside dances such as dance and k-pop. Second, the making of an encyclopedia prototype of Minangkabau traditional dance through several stages, namely: (a) information needed about traditional Minangkabau dances; (b) data collection is done by interviewing techniques; (c) prototype product design encyclopedia of Minangkabau traditional dance using the Photoshop CS6 application; and (d) the resulting form is an encyclopedia prototype which contains information about the types of dance, dance philosophy, property used, music, clothing used in the dance, along with supporting images. Third, constraints and efforts in producing encyclopedias prototype products, namely: (a) resource persons who know about information about Minangkabau traditional dances are difficult to find and efforts to overcome them are done by making an appointment beforehand to the speakers; (b) data collection such as books on Minangkabau traditional dances is difficult to obtain and efforts to determine them are carried out by obtaining data from journals that discuss traditional dances.Keywords: Prototype, Encyclopedia, Minangkabau Indigenous Dance
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Küpana, M. Nevra. "DANCE STUDENTS’ ATTITUDE TOWARDS PIANO LESSON." E-journal of New World Sciences Academy 14, no. 3 (July 22, 2019): 237–46. http://dx.doi.org/10.12739/nwsa.2019.14.3.d0241.
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Bahtiar, Arief Rais, and Muhamad Azrino Gustalika. "Penerapan Metode System Usability Scale dalam Pengujian Rancangan Mobile Apps Gamification Tari Rakyat di Indonesia." JURNAL MEDIA INFORMATIKA BUDIDARMA 6, no. 1 (January 25, 2022): 491. http://dx.doi.org/10.30865/mib.v6i1.3510.
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Indonesia has many dances in each region. Traditional dance and folk dance are dances that existed in Indonesia before the development of contemporary dance. As one of the local cultures in each area, dance art is included in local content at the elementary to high school level. The changing curriculum has disrupted local cultural education in the world of education some time ago. In addition to these factors, the lack of interactive learning media at least affects. The purpose of this study is to develop a learning pattern for folk dance as a local culture in Indonesia through an interactive mobile application. In addition, this research is used to help preserve and introduce the folk dance arts of each region to students in Indonesia. Gamification can be an alternative for developing folk dance learning. What usually happens is the lack of innovation in conventional learning media to attract students' interest in studying local culture, especially folk dance as a local content subject. This activity is a folk dance education about history, regional origins and dance movements. The result of this application is a folk dance game in Indonesia. There are several levels that must be passed to be able to complete this game. Each season will be taken 3 people who get the reward. The rewards that we design are based on the prizes preferred by elementary, junior high and high school students. Based on the results of the System Usability Scale evaluation, the prototype designed got a score of 86.25% and was considered to have met the usability element.
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T. Lobo, Joseph. "Is Folk Dance Still Thriving? Personal Experience and Interest in Philippine Traditional Dances as a Basis on Strengthening the Love for Culture and the Arts." International Journal of Education and Humanities 2, no. 2 (June 8, 2022): 48–60. http://dx.doi.org/10.58557/ijeh.v2i2.82.
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A correlational study which aims to determine the relationship between the level of personal experience and level of interest of students taking BPEd and BPeA at City College of Angeles towards Philippine traditional Dances. Frequency and percentage were used to determine the number of students who answered the online survey questionnaire, while Pearson r was used to determine the relationship between personal experience and interest. The study findings shown that most of the respondents has an average experience in Philippine traditional dances. It was also found out that most of the respondents are interested in learning folk dance in respect to dance steps, music, costume and dance history. Lastly, it was found out that the level of personal experience and level of interest of students to Philippine traditional dances are significantly related to each other. Based on the findings of the study, proposed dance programs/activities will be provided which can be part of the projects of the institute, to intensify their appreciation to the culture and arts of the Philippines steered by one of the core values of the college – Patrimony. Limitation of this study is, it only focuses on BPEd and BPeA students. Additional respondents from other programs which are not part of this study is highly recommended
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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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Altun, Meryem, and Murat Atasoy. "The Effect of Various Local Dances on Prospective Physical Education Teachers’ Attitudes towards the Folk Dance Course." International Journal of Higher Education 8, no. 1 (January 7, 2019): 19. http://dx.doi.org/10.5430/ijhe.v8n1p19.
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In this study, the effect of various local dances on prospective physical education teachers' attitudes towards the folk dance course was examined. The research was conducted by using an experimental design with pre-test/post-test control group. A total of 46 female students, which includes an experimental group consisting of 23 students attended the folk dance class and a control group consisting of 23 students did not attend the folk dance class, who are studying at Niğde Ömer Halisdemir University, School of Physical Education and Sports in the Department of Teaching in the spring term of the 2017-2018 academic year and who are aged 20 years, voluntarily participated in the study. In this research, the Folk Dance Course Attitude Scale for Prospective Physical Education Teachers developed by Turan (2015) was used. In the experimental group, the folk dances training program, which continues for 14 weeks with the program of 2 days of a week for 2 hours at each day, was conducted. The data were analyzed by using SPSS 22 (Statistical Package for the Social Sciences) package program. In the analysis of data, dependent sampling t-test was used for examining the differences between experimental and control groups. As a result of the research, it was observed that there was a significant difference in favor of students who took the folk dance training. This result shows that various local dances are effective in developing a positive attitude towards this course.
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Sulistianingsih, Kadek Ferna, Made Rizky Krisna Desiana, Kadek Putri Suartini, and Kadek Suranata. "Meningkatkan Keterampilan Menari Bali Siswa Tunarungu dengan Media Kamus Tari Rejang Dewa." JURNAL PENDIDIKAN DASAR NUSANTARA 5, no. 1 (August 4, 2019): 47. http://dx.doi.org/10.29407/jpdn.v5i1.13018.
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This study aims to improve the dancing skills of deaf students with the help of a medium of Balinese dance dictionary for class IV students of SD Negeri 2 Bengkala. This type of research is qualitative research. Data collection of this research is carried out through a process of documentation, interviews and tests in the form of practice. Based on the results of the final analysis that has been done, it can be seen that the percentage of the dancing skills of the two deaf students is different. Research using the Dictionary of Dance Media can greatly provide a positive influence in improving dancing skills in deaf students. This can be seen from the contents of the dance dictionary inserting interesting images and codes that make it easier for students to understand the application of dance. In the media this dance dictionary will contain an image of the movements that exist in the dance that will be danced, namely the Rejang Dewa dance. The pictures of the movement will be made and displayed in stages in accordance with the flow of movement in the dance. In addition to images, in this dictionary will also contain writing like the codes in each of these movements. For deaf children, to master the elements of motion, space, energy, time, and expression, which includes position, level, range, direction, position, and speed of movement and formation, is not too difficult. By looking at the model (dance teacher) they can gradually imitate well. One of the main difficulties that is often faced is the fact that children find it difficult to adjust precisely between movements and rhythms Through the media the dance dictionary is expected to have the ability of students to develop their interests and talents in teruma dance in deaf children, but in practice, researchers find differences the ability of students' interests and talents is very different in two deaf students. The difference is seen from the enthusiasm and interest of deaf students to take part in the application of the Rejang Dewa Dance. So, there is an increase in the dancing ability of deaf students with the help of the Rejang Dewa Dance Dictionary which uses hand and foot codes in its application
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David, Ann R., and Nilima Devi. "“Even the dinner ladies are teaching dance!” Pedagogic Explorations of South Asian Dance in Britain." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 181–87. http://dx.doi.org/10.1017/s2049125500001072.
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This lecture-demonstration examines some of the tensions and contradictions found in the teaching of South Asian dance in Britain through using a demonstration by Leicester Kathak dancer Nilima Devi and evidence gleaned from Ann David's ethnographic research amongst dance students and teachers in Hindu communities in Leicester. It considers how issues of tradition and change within an arena seen as “cultural heritage” are incorporated into pedagogic practice. It questions different perceptions of dance by teenage students and their teachers, as well as articulating some of the problematic areas in the teaching of classical and popular dance forms, such as Kathak, Bharatanatyam, and Bollywood.
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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 the aesthetically acceptable and “beautiful” while participating in dance lesson activities. The review of relevant literature shows that the application of solely reproductive practices in dance teaching cannot support the establishment of a learning environment that is rich in aesthetic experiences.The aim of this paper is to analyze those principles that should govern dance lesson design so that dance teaching can have the impact of an aesthetically elevated experience on every student dancer. With Greek traditional dance at the background and under the prism of modern socio-cognitive and aesthetic theories, the attributes of aesthetic teaching practices are reviewed. The design and implementation of a newly established method, the Laban Notation method for Teaching Dance, is used as an example. The author's objective is to add a new perspective to the design of dance teaching-a perspective that will balance student dancers' potential between passion for performance, conceptual appraising and personal identity.
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Li, Lin, Yuanyuan Liu, Yue Gu, and Zhe Zhu. "Application of Heart Rate Combined with Acceleration Motion Sensor in Sports Dance Teaching." Journal of Sensors 2022 (October 6, 2022): 1–11. http://dx.doi.org/10.1155/2022/6410339.
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Because of the large amount of exercise, sports dance has the characteristics of good viewing and strong movement, and has gradually entered the campus in recent years. However, sports dance is not only difficult, but also has a wide variety of categories except modern dance and Latin dance. In addition to these two categories, there are 10 kinds of dances in total. Therefore, in teaching, schools have no choice, and students cannot understand which dance styles are most effective for students’ physical exercise. In order to solve the problem that there are many kinds of sports dance and the effect of students’ exercise is unclear, this paper studied sports dance teaching based on heart rate combined with acceleration motion sensor, and obtained the energy consumption in sports dance teaching by using this measurement method. After comparing the effects, four kinds of dance activities, namely quickstep, waltz, rumba, and samba, which are more conducive to physical exercise, were screened out for students in the complex sports dance. In addition, in order to confirm the experimental results of the article, after the teacher improved the physical dance teaching according to the content of the article, it was found that before the experiment, the average scores of the two groups of subjects were 17.5 points and 16.75 points. After the experiment, the scores of the two groups increased by 3.5 points and 2.8 points, respectively. Through the experimental results and data, it can be shown that the research in this paper has played a good role in the improvement of sports dance teaching.
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Misbahudholam AR, Muhammad, Framz Hardiansyah, and Sama’ Sama’. "Bentuk Penyajian Dan Nilai Filosofi Tari Muwang Sangkal Sumenep Untuk Anak Kelas VI Di sekolah Dasar." Edumaspul: Jurnal Pendidikan 5, no. 1 (March 1, 2021): 759–67. http://dx.doi.org/10.33487/edumaspul.v5i1.2808.
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The philosophy and values of the Muwang Sumenep Dance were studied in this study for the sixth-grade students of SDN Pandian V Sumenep. In this study, Grade VI students of SDN Pandian V Sumenep will learn about the Dance Philosophy of Muwang Sangkal Sumenep. It uses a descriptive method that focuses on describing what is described. Observational structured interviews and documentation approaches were taken to collect data for this study. According to the findings, dance classes are held twice a week at SDN Pandian V Sumenep. For students of SDN Pandian V Sumenep, dance classes are held to hone and develop their talents. In addition, they can see how the philosophy is presented and how important it is overall. To perform the Muwang Sangkal dance, children only need to learn the sequence of movements. Meanwhile, children can learn in detail and clearly about the philosophical values of Muwang Sangkal dance, such as the requirements for a Muwang Sangkal dancer to be pure and not menstruating and to be humble and not arrogant. For elementary school students, Muwang Sangkal dance theory is the same as Muwang Sangkal dance theory in general. Makeup and fashion are just two of the many differences between men and women. The Sumenep Muwang Sangkal dance has been recognized as a symbol of the Sumenep Regency by the Sumenep community and has become a source of pride for the Sumenep people.
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Adlin, Dilinar, Ruth Hertami, and Aqsa Mulya. "Characteristics of East Sumatran Malay Dance as a New Dance Creation Engineering Foundation." Britain International of Linguistics Arts and Education (BIoLAE) Journal 4, no. 2 (August 13, 2022): 115–22. http://dx.doi.org/10.33258/biolae.v4i2.706.
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Malay Dance is one of the local content dances from North Sumatra Province - Indonesia. It is important that Malay dance is well understood by various groups, both students and the general public as art connoisseurs. Understanding of Malay dance aims to increase insight and comprehensive knowledge related to Malay dance and its characteristics. Thus, through a deep understanding of the characteristics of Malay dance, the skills to create new dances become more creative. This study aims to formulate or formulate the characteristics of Malay Dance as the foundation for engineering new dance creations. The results showed that the characteristics of Malay dance were grouped intointo three major parts, namely: a) head movement group which includes four (4) kinds of motion; b) group of hand movements which includes fourteen (14) kinds of motion; and c) group of footwork which is divided into eleven (11) kinds of motion. All of these characteristics become the foundation for engineering the creation of a new Malay dance by using the elements of energy, space, and time as a foothold.
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Hebert, Carolyn. "Mini & Macho, Small & Sexy: The Perpetuation of Heteronormativity, Hegemonic Masculinity, and Femininity Within the Culture of Competitive (Jazz and Hip-Hop) Dance." Congress on Research in Dance Conference Proceedings 2016 (2016): 208–16. http://dx.doi.org/10.1017/cor.2016.28.
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This paper critically assesses the expectations of competitive jazz dance adjudicators and the effects of these expectations on the presentation of gendered and sexualized dance choreographies by private dance studios. Expectations for competitive dance students with regard to technical ability, execution of choreography, and age/gender (in)appropriateness are unclearly articulated by competitions and adjudicators throughout Canada and the United States. Nevertheless, parents and students enter into private dance studios with pre-conceived notions of what it takes to “win” at competition and demand that their training and choreography reflect this. The onus is on dance teachers and choreographers, then, to adhere to this rapidly evolving culture of dance competition, or otherwise risk losing customers and funds.This paper critically examines current trends in competitive jazz and hip-hop dance through interviews and conversations with three professional competition dance adjudicators. As a competitive dance studio choreographer and researcher, I question the role that competitive dance culture plays in the gendering and sexualization of amateur dancing bodies. Ultimately, what are the implications of the perpetuation of heteronormativity, hegemonic masculinity, and femininity through the dances created for competition on adolescent dancing bodies? What other options are available for private competitive dance studios wishing to simultaneously participate in and disrupt this culture without losing their businesses?
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Georgios, Lykesas, Dania Aspasia, Koutsouba Maria, Nikolaki Evgenia, and Tyrovola Basiliki. "The Effectiveness of a Music and Movement Program for Traditional Dance Teaching on Primary School Students’ Intrinsic Motivation and Self - Reported Patterns of Lesson Participation." Mediterranean Journal of Social Sciences 8, no. 1 (January 26, 2017): 227–36. http://dx.doi.org/10.5901/mjss.2017.v8n1p227.
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Abstract Research evidence on traditional dance teaching has shown how important it is for primary school education to institute reforms and present new ways of intervention in order to contribute effectively to the overall development of the child's personality. The aim of this research is a) to demonstrate the effectiveness of a music and movement instructional program on traditional dance learning, in terms of primary school students patterns of self-reported positive learning experiences and active lesson participation and b) to examine its impact on students’ internal motivation to play and dance with a more enjoyable and creative mood. During a period of six months 80 students (34 boys and 46 girls) aged between 9-10 years old, took part in the research. They were divided into two groups, the experimental group (N = 40) and control group (N = 40). The experimental group was taught Greek traditional dances according to a Music and Movement teaching model, while the control group was taught the same dances with a direct teaching model. The impact of the two models on students’ motivation to participate actively during the lesson was tested with the use of the Intrinsic Motivation Inventory (IMI). The results showed that the use of Music and Movement teaching models can have a positive impact on students’ intrinsic motivation and active participation in the course of traditional dance.
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Dolly, Dike Septia, and Susmiarti Susmiarti. "MINAT SISWA TERHADAP EKSTRAKURIKULER TARI DI SMP NEGERI 34 PADANG." Jurnal Sendratasik 9, no. 1 (February 13, 2020): 9. http://dx.doi.org/10.24036/jsu.v8i3.108103.
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Abstract This research aims to determine and describe students' interest in dance extracurricular activity at SMP Negeri 34 Padang. This type of research was a qualitative study with using descriptive method. The instrument in this study was the researcher. The additional instrument used the questionnaire. Techniques of Data collection were carried out by taking observation, questionnaires, documentation and practicing motion. The types of data in this study were primary and secondary data. Data were analyzed by using the percentage formula. The results show that students' interest in dance extracurricular activity at SMP Negeri 34 Padang is relatively good. The percentage of the students feeling happy in dance extracurricular is 52.78% that is classified as moderate, students' interest in dance extracurricular is 48.33% that is moderate, the student’s attention on dance extracurricular is 45.56% that is classified as moderate and the student's interest towards dance extracurricular is 47, 78% that is classified as moderate. It can be concluded that the students' interest in dance extracurricular activity in SMP Negeri 34 Padang is good with an average value is 64.81%. There are several things that need to be organized in this dance extracurricular activity so that students' interest in this activity will increase even more in terms of material and method. Keywords: students’ interest, extracurricular activities, dance
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Main, Lesley. "The Pedagogic Significance of Modern Dance Training on the Twenty-First-Century Dancing Body, with Reference to Doris Humphrey's Dance Technique and Movement Philosophy." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 47–53. http://dx.doi.org/10.1017/s2049125500000893.
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A primary issue for dance education and training is ensuring that the “trained body” is equipped for the range of activity today's dance practitioner will encounter. Modern dance techniques offer a breadth of knowledge on numerous and inter-related levels, encompassing the physical, physiological, artistic, historical, musical, and analytical. This paper will consider the relevance and benefits that “traditional” modern dance training can have on today's dancer. Issues addressed will include what our students are using technique for; what a codified dance technique can offer; and the progression to a “trained body” and how this can be achieved.
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Rothmund, Irene Velten. "Daring in dance–Bachelor Students in Dance Developing Life Skills for the 21st Century." Nordic Journal of Dance 11, no. 2 (December 1, 2020): 30–40. http://dx.doi.org/10.2478/njd-2020-0011.
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Abstract This article investigates how to find connections between dance education and the development of life skills for the 21st century by interpreting students’ experiences of daring in dance. The article draws on a section of my PhD thesis that focuses on BA students’ lived experiences in modern and contemporary dance. The project is informed by hermeneutic phenomenology, and the material consists of eleven students log books and interviews. One of the main themes in the material is daring in dance, which is connected to a transformative learning process. In this article I dig more deeply into the embodied dimension of such learning process and discuss how the result of this process can be interpreted as developing life skills for the 21st century. The analysis shows that becoming a professional dancer is a vulnerable process, encompassing both fear of failure and learning to trust one’s own competencies. Several of these competencies point toward skills recognised as important to learning in the 21st century, such as flexibility, problem solving, self-direction and social skills. By focusing on everyday embodied experiences of daring in dance, this research provides one example of the development of life skills in higher education based in empirical research.
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Nevile, Jennifer. "Dance Lessons, Mirrors and Minuets: Martin Engelbrecht's Engraving Das Tantzen / La Danse." Dance Research 40, no. 2 (November 2022): 206–26. http://dx.doi.org/10.3366/drs.2022.0369.
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Martin Engelbrecht’s hand-coloured engraving Das Tantzen / La Danse c. 1730 depicts a dance lesson where the dancing master is teaching five students. The engraving is detailed and accurate in what it portrays: the clothes of the six gentlemen, the room itself with an expensive and luxurious mirror and large glass windows, the dance being taught and the posture of the dancing master and his students. The wealth of detail reveals a great deal about the social mores of the period, and the cultural expectations that surrounded dance teaching. This article, therefore, begins with an overview of the state of print publishing in Augsburg and the place Martin Engelbrecht had in it, who might have been the potential buyers for such a print, and their reasons for purchasing it, before examining the image itself, and the elements that make up the image and their significance: the glass windows and mirrors, the French and German texts in praise of dancing, the clothes worn by the dance master and his students, and finally the dance information depicted in the engraving.
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МОВА, Людмила. "Contemporary dance as a component of students’ physical education." EUROPEAN HUMANITIES STUDIES: State and Society 3, no. I (September 27, 2019): 16–29. http://dx.doi.org/10.38014/ehs-ss.2019.3-i.02.
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Today in the modern world the basic human need for the development of one's own body and keeping it healthy and fit is a topical issue. Health is one of the most important prerequisites for harmonious, full-fledged life and personal self-realization. And it is precisely physical education that is aimed at the formation of a healthy, physically complete personality and the functional improvement of the organism. Dance is an integral part of a human plastic culture. The danceplastic culture education begins with the knowledge and development of the musculoskeletal system of a dancer. First and foremost, students need to learn how to perform basic dance exercises and movements efficiently, anatomically competently and consciously. In our understanding, the contemporary dance technique (post-postmodern) is the technique based on the natural laws of the body functioning with regard to the organization of movement and breathing. Muscles’ release from excessive tension and the activation of the faction level in movement organization, the natural anatomical work of joints and their strengthening, the structure of the body interrelations - all of the abovementioned should precede the technical dance mastery as a high-quality physical training of a student for further mastering of professional disciplines. That is why, in our opinion, a modern student-dancer should be knowledgeable about the body by the following parameters: how human movement is organized, structural peculiarities of the skeletal mobile zones (joints), the understanding what makes the body move in space, what is the center of the body gravity, how the movement of a person from the lower tier to the upper tier in space is organized, what is primary for understanding and training your body and why breathing is acknowledged as the number one item in teaching contemporary dance, what are fasciae and why the experienced dancers-teachers talk so much about them during their classes, how the floor plays the role of a partner and allows you to feel the zones with excessive tension in your body during movement, what BF (Bartenieff Fundamentals) and LMA (Laban Мovement Аnalysis) are and more.
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Buck-Pavlick, Helen. "Engaging Virtual Dance Students Using Social Media Dances and Technology." Dance Education in Practice 7, no. 4 (October 2, 2021): 15–20. http://dx.doi.org/10.1080/23734833.2021.1988288.
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Jackson, Paul R. W. "Dorothy Madden (1912–2009), American Revolutionary. A Centenary Tribute." Dance Research 31, no. 2 (November 2013): 191–207. http://dx.doi.org/10.3366/drs.2013.0076.
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Dorothy Madden was an inspirational dancer, teacher, writer and choreographer; she studied with many of the great figures of American modern dance including Holm, Nikolais, Graham, Humphrey and Limón, and in particular Louis Horst, whose protégé she became. In the early 1960s she was invited to the UK by the Ministry of Education to introduce her approach to American modern dance into the British education system. As is noted in Valerie Preston-Dunlop and Luis Espana's film The American Invasion 1962-72, her work was seminal to the development of contemporary dance in the UK. Her students who include choreographers Rosemary Butcher, Sue Maclennan and Janet Smith as well as educationalists June Layson, David Henshaw and Stuart Hopps, helped shape British contemporary dance. This essay is based on interviews made with Madden in the late 1990s, research into her archive held at Trinity Laban, and interviews with her colleagues and students. It provides a historical overview of her work and explores her lasting, though largely forgotten, influence on the development of contemporary dance in the UK.
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Taryana, Tatang, Agus Budiman, Dewi Karyati, and J. Julia. "Enhancing students' understanding and skills on dance music: An action research." Cypriot Journal of Educational Sciences 16, no. 5 (October 31, 2021): 2621–39. http://dx.doi.org/10.18844/cjes.v16i5.6334.
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Dance students in university tend to have minimum understanding and skills in processing music to address the creativity needs in new dance works. Therefore, effective and critical learning strategies are needed so they are able to process music to create dance works. This research aims at enhancing dance students’ understanding and skills to process music in creating new dance works in the future. It was conducted using an action research design involving 30 dance students at one of the universities in Indonesia. The results showed that, in terms of skills and understanding of music, students were not used to processing music for their dance works, since they were mostly assisted by music stylists. Through internal and external music exploration learning, the musical dance students’ skills could be improved. Therefore, the findings of this research are recommended to be used as an alternative learning in enhancing dance students’ musical ability.
Keywords: Dance Music, Movement Exploration, External Music, Internal Music, Dance Creativity.
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Ruiz, Michael J. "Students dance longitudinal standing waves." Physics Education 52, no. 3 (March 30, 2017): 033006. http://dx.doi.org/10.1088/1361-6552/aa648e.
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Salus, Carol. "Poetic Transformations in Matisse's Earliest Dance Images." Dance Research 39, no. 1 (May 2021): 6–32. http://dx.doi.org/10.3366/drs.2021.0320.
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Matisse's early dance paintings Joy of Life, Dance (I), and Dance (II) appear in countless art books in which their public receptions are repeatedly treated in a superficial manner. The fame of these works needs to be understood in a fuller context for students of dance and art. Matisse's early dance paintings are carefully examined in terms of their historical influences. His exposure to Isadora Duncan, Loïe Fuller, and the Ballets Russes is considered. The frequent citation of specific folk dances Matisse saw at the time he created these works is challenged. What becomes significant is how poetically Matisse transformed the many sources he absorbed into his own reductive style. Matisse's decades-long interest in dance is demonstrated by select examples from his dance oeuvre. Even as an invalid, Matisse continued to work with dance themes. His joy in watching dance and making dance works, including those for ballet, reflected his passion for colour, motion, and expression of the liveliness he saw in dance. It is hoped that this article can lead to more interdisciplinary scholarship and teaching between dance studies and art history.
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Mitchell, Robert W., and Matthew C. Gallaher. "Embodying Music: Matching Music and Dance in Memory." Music Perception 19, no. 1 (2001): 65–85. http://dx.doi.org/10.1525/mp.2001.19.1.65.
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We examined the ability to detect a match between a piece of music and a dance intended to express it. We used three pieces of music and three dances, and we presented these under the four following conditions. (1) Sequential selection: participants were presented with a piece of music and then selected, from among three sequentially presented dances, the one that best matched the music; or they were presented with a dance and then selected, from among three sequentially presented musical pieces, the one that best matched the dance. (2) Sequential judgment: participants were presented with a piece of music followed by a dance, or with a dance followed by a piece of music, and decided how well these matched. (3) Simultaneous judgment: participants were presented simultaneously with a piece of music and a dance and decided how well these matched. (4) Isolated presentation: participants were presented with either a dance or a musical piece and answered questions about its characteristics and their responses to it. Participants in the first three conditions answered similar questions about how they made their decision about the match between music and dance. A total of 942 university students participated. In the sequential selection condition, participants successfully matched the music with the dance intended to express it. In the sequential judgment and simultaneous judgment conditions, participants acknowledged matches between congruent music and dance, but also noted matches between music and dance not intended to be congruent. The various means by which participants detected a match between music and dance are examined.
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Bashkir, Olha, and Oksana Kovalenko. "Educational Potential of Folk-Stage Dance in Educational Institutions of the People's Republic of China." Professional Education: Methodology, Theory and Technologies, no. 14 (November 30, 2021): 90–107. http://dx.doi.org/10.31470/2415-3729-2021-14-90-107.
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The article is devoted to the educational potential of folk dance stage adaptation in educational institutions of the People's Republic of China. The purpose of the article is to identify and analyze the educational potential of folk-stage dance in educational institutions of the People's Republic of China. In the article, on the basis of theoretical (study, analysis and generalization of pedagogical literature for comparing and contrasting different views on the selected problem, consideration of theoretical issues in order to determine the basic concepts) and systemic (abstraction and concretization for mentally highlighting a certain property or feature of the subject of research with the aim of more deep study of it and the provision of the subject of concrete expression) research methods the educational potential of folk dance stage adaptation in educational institutions of the People's Republic of China (PRC) was identified and analyzed. The results. Teaching choreographic art in the PRC involves the implementation of students' own potentials in folk art and communication, the formation of needs for positive self-realization. In this regard, the author presents four stages of educating the student’s personality in folk-stage dance classes in educational institutions of the PRC:
the formation of schoolchildren value orientation in the process of their awareness of the goals of folk stage dance adaptation (during choreography classes, namely artistic and stage dance, children values are formed reflecting the value attitude to themselves, to the country in which they live and to other nationalities and states, to labor, history and traditions);
the assimilation of social experience, knowledge, values of universal and national culture through folk-stage dancing classes (Chinese folk-stage dances are valued all over the world because of the exemplary imitation of national traditions and experience, which makes them identical with authentic, folklore and folk dances);
the formation of individual’s views, beliefs, attitudes to the norms, rules of behavior in the process of preparing and performing folk dance stage adaptation (the traditions laid down in the folk stage dances of the PRC presuppose strict adherence to the norms and rules of behavior that form young dancers’ feelings like respect, honor, devotion, which are traditional for Chinese people);
the stimulation of students to self-improvement by means of folk-stage dance (through folk-stage dances, the individual’s self-knowledge of both its physical endurance and moral stamina is realized contributing to constant self-improvement).
The authors concluded that folk-stage dance is bright, expressive and attractive event that arouses the interest of people of all ages, and due to its deep philosophical content it is considered to be effective means of educating students.
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Banevičiūtė, Birutė. "Aspects of Dance Teacher Education: Analysis of Students’ Dance Education Research." Pedagogika 117, no. 1 (March 5, 2015): 110–17. http://dx.doi.org/10.15823/p.2015.071.
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Learning paradigm orients teacher to be a consultant, assistant, researcher ready to apply evidence based teaching. To prove research competence future dance teachers have to perform a dance education research. This study revealed pedagogical problems which interest future dance teachers: attitudes and motivation, dance in schools, dance teacher education, dance for people with special needs. Choise of research methods shift from quantitative towards qualitative.
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von Rosen, Astrid. "Bildaktivism i dansarkivet: Betydelsen av Anna Wikströms Akademi för dans." Nordic Journal of Dance 11, no. 1 (June 1, 2020): 4–15. http://dx.doi.org/10.2478/njd-2020-0002.
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AbstractThe article combines Critical Archival Studies theory about agency and activism with an empirical exploration of dance history in Gothenburg, Sweden’s second city. It focuses on Anna Wikström’s Academy for Dance (1930-1965), an education which has not been explored in previous research. A previous member of The Swedish Ballet, Wikström offered her students courses in artistic dance, dance as physical exercise, pedagogy, and social dancing. Thereby, her broad education differed from the narrow, elitist Ballet School at The Stora Teatern. The article accounts for how the collaboration between choreographer and dancer Gun Lund and Astrid von Rosen, scholar at the University of Gothenburg, contributes new knowledge about the local dance culture. It is argued that archival and activist approaches make it possible for more voices, bodies, and functions to take place in dance history. As such, the exploration complements previous postmodern dance historiography (see for example Hammergren 2002; Morris och Nicholas 2017) with a Gothenburg example.
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Kim, Hye-ryeon. "Factors of Dance Majoring University Students’ Dance Teaching Style Preference." Dance Research Journal of Dance 75, no. 4 (August 30, 2017): 29–50. http://dx.doi.org/10.21317/ksd.75.4.3.
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Dewi, Jauhari Kumara. "Nilai-nilai Pendidikan Karakter dalam Gerak Dasar Tari Kejei Bagi Anak Usia Sekolah Dasar." AR-RIAYAH : Jurnal Pendidikan Dasar 6, no. 1 (June 30, 2022): 115. http://dx.doi.org/10.29240/jpd.v6i1.4992.
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Education is one of leading sectors in the development of student character. Specifically, it aims to identify character values and integrate them into elementary school’s life. Kejei dance is one of the dances in which there are character values that have a role in shaping elementary school students’ character with God, themselves, others, and their nationality which expressed in every movement of the Kejei dance. The purpose of this study was to discover the meaning contained in the various basic movements of the Kejei dance in the process of shaping elementary students’ character. This research belonged to qualitative research with a narrative approach. Primary data sources are taken from observing the variety of movements of the Kejei dance. In other words, the data were collected through observation and interviews. Afterwards, the data gathered were analyzed through data reduction and conclusions. The results showed that the Kejei dance contains the meaning and value of character education which is reflected in several types of movements including Sembah Menari movement, Bederap Salah Pinggang movement, Metik Jari movement, Mateak Dayung movement, Sembah Penyudo movement, and Mendayung movement. In sum, the overall meanings of the basic movements of the Kejei dance show religious values, tolerance, discipline, and communication.
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Septiani, Indah, Fuji Astuti, and Herlinda Mansyur. "¬MENANAMKAN KARAKTER PERCAYA DIRI SISWA MELALUI KEGIATAN PENGEMBANGAN DIRI SENI TARI DI SMP NEGERI 2 BUKITTINGGI." Jurnal Sendratasik 8, no. 3 (March 1, 2019): 8. http://dx.doi.org/10.24036/jsu.v7i3.103449.
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AbstractThis article aims to describe the planting of students' self-confidence characters through the self-development of dance in Bukittinggi 2 Public Middle School. This type of research is Qualitative Descriptive Research. The object of research is students of class VII and VIII in Bukittinggi Middle School 2 who participated in Self Development as many as 12 people. The research instruments were researchers as teachers and observers as well as school principals and art and culture teachers at Bukittinggi Middle School 2. Furthermore, data is collected by observation, interviews and documentation. The results of the study showed that the planting of students' self-confidence characters carried out during 6 meetings went well and smoothly. It turned out that through the Pasambahan dance it was able to instill the character of self-confidence of students in Bukittinggi Middle School 2, where in the Pasambah Dance itself students were required to focus and have self-confidence in performing each of the movements of Pasambah with the complexity of martial arts movements at the opening of Pasambahan Dance, for road techniques for carano carrier and motion at the closing of Pasambah Dance and the use of changing floor patterns, so that students' confidence can be embedded through this Pasambah Dance. It was proven at each meeting that students experienced an increase in self-confidence by referring to six indicators of self-confidence and categorization, namely self-confidence in good categories, feeling self worthy in good categories, not relying on other people with good enough categories, not boasting with categories good, not hesitant in the good category and have the courage to act in a fairly good category, so that at the end of the process students are shown in the opening ceremony of the seminar at IAIN Bukittinggi also looks good. Thus it can be concluded that the Pasambah Dance that was passed on the Self Development of Dance was able to instill the Student's Confident Character in Bukittinggi Middle School 2 well.Keywords: character confident and self development dance art
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이주연. "The Relationship of Dance Confidence, Dance Flow and Dance Ability Achievement of University Students Majoring in Dance." Official Journal of the Koeran Society of Dance Science 33, no. 2 (April 2016): 29–40. http://dx.doi.org/10.21539/ksds.2016.33.2.29.
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Sitti Rahmah, Yusnizar Yusnizar, and Tuti Rahayu. "Packaging Audio Visual Media in Tatak Tintoa Serser in Learning of Dairi Dance." Britain International of Linguistics Arts and Education (BIoLAE) Journal 1, no. 2 (November 23, 2019): 153–59. http://dx.doi.org/10.33258/biolae.v1i2.68.
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Tatak Tintoa Serser is one of the traditional dances of the Pakpak Dairi community which illustrates the mutual cooperation attitude in the lives of farmers in farming. Tatak is a term used to refer to dance to the Pakpak Dairi community. This study focuses on the preparation of instructional media in the form of VCDs from the Serser Tintoa Tatak which is closely related to the social understanding of the Dairi community. The objectives of this study are (1) Identifying the artistic structure of dance as outlined in the show (2) Arranging dance learning media in the form of VCD. This study uses a qualitative approach, by conducting interviews with informants (artists, art practitioners, community leaders, academics) because it deals with meaning and context, data collection and analysis that take place simultaneously. The program, with research subject Tatak Tintoa Serser, which is packaged in the form of Audio Visual, the research sample is Dance Education Study Program students who are used as models in making media. This research produces a VCD media product that contains the techniques of motion in the Tatak Tintoa Serser, terms in motion, and the meaning of dance that can be a source of learning in learning Dairi Dance. Product validation is carried out by media expert validation and material expert validation which shows the product's feasibility, and has been tested with Dance Education Study Program students in the Pakpak Dairi Dance course TA 2018/2019
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Rogers, Catherine, David Leventhal, Leah Apple, Katrina Kostro, Andrew Sudler, and Rita Charon. "Observing the World as Dancers Do: Teaching Dance to Medical Students." TDR/The Drama Review 64, no. 3 (September 2020): 67–78. http://dx.doi.org/10.1162/dram_a_00943.
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On a sunny day in a studio overlooking the Hudson River, a Mark Morris dancer guides a group of medical students in choreographing their patients’ stories. This class in narrative medicine provides a safe laboratory where doctors-to-be learn to view their relationships with future patients as an improvisatory partnered dance in which the choreography adjusts moment to moment as new challenges, details, and possibilities for healing emerge.
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Lee, Myung-Ja. "The Relationships among Dance Major Students’ Dance Emotional Intelligence, Narcissistic Personality and Dance Flow." Journal of Sport and Leisure Studies 73 (August 31, 2018): 137–50. http://dx.doi.org/10.51979/kssls.2018.08.73.137.
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Lee Young il. "The Impact of the Dance Major Students’ Dance Emotional Expressiveness on Their Dance Achievement." Journal of Korean Dance 35, no. 4 (December 2017): 301–19. http://dx.doi.org/10.15726/jkd.2017.35.4.012.
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Kvas, Olena, and Magdalyna Marushka. "Teaching Ukrainian folk dances to children and youth in Galicia (1919–1939)." Visnyk of Lviv University. Series Pedagogics, no. 35 (2021): 102–9. http://dx.doi.org/10.30970/vpe.2021.35.11310.
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The article is devoted to the peculiarities of teaching Ukrainian folk dances to children and youth in Galicia (1919-1939), when it was important to preserve national identity, and the study of folk choreography was one of the means of national-patriotic education and cultural development. The authors argue that the interest in folk dance was revived under the influence of a choreographer Vasyl Avramenko’s performing skills and pedagogical activity. Vasyl Avramenko ystematized the theory and practice of folk dances teaching and opened the first school of Ukrainian national dances. The school functioned in various cities of Galicia. It is emphasized the role of cultural, educational and sports societies and organizations in popularizing the art of folk dance among children and youth. Thus, folk dances were taught at various courses, clubs and societies such as «Prosvita», «Ukrainska Zakhoronka», “Ridna shkola”, gymnastics societies «Sokil», «Luh» etc. It is discovered that at concerts on various holidays children and youth performed Ukrainian folk dances and music performances based on folk motifs interpreted by Vasyl Avramenko, Oksana Sukhoverska, Volodymyr Terletskyi, Yaroslav Bulka, Petro Lazoryshchak and other choreographers. The most popular folk dances were: «Kolomyika», «Arkan», «Kateryna», «Chumak», «Kozachok», «Hopak», «Zhuravel». Dancers performed them solo, in pairs or in groups. Although the methodolody of dance teaching was not systematized and well-developed, students developed a sense of rhythm and harmony, grace, plasticity, artistry. This was confirmed by numerous positive reviews on the performances of young Ukrainian dancers in the press of the time. Keywords: folk dance, folk dance courses, cultural and educational organizations, youth societies.
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Hanna, Katherine, Anne Hanley, Avril Huddy, Michael McDonald, and Fiona Willer. "Physical Activity Participation and Nutrition and Physical Activity Knowledge in University Dance Students." Medical Problems of Performing Artists 32, no. 1 (March 1, 2017): 1–7. http://dx.doi.org/10.21091/mppa.2017.1001.
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OBJECTIVE: To assess participation in physical activity and knowledge of general nutrition and current public health messages about the health benefits of physical activity in university dance students, and to investigate differences between first-year and later-year students and between students in dance and dance performance course groups. METHODS: This cross-sectional study recruited 67 participants from dance undergraduate degrees in a university in Australia. Nutrition knowledge was assessed using the General Nutrition Knowledge Questionnaire. Physical activity participation and awareness of its benefits were assessed using the Active Australia Survey. RESULTS: Results indicate low nutrition knowledge among dance students, with 47% and 52% of responses correct in dance and dance performance students, respectively. Nutrition knowledge did not vary between students in first or later years. Self-reported participation in moderate and vigorous physical activity varied substantially and met or exceeded recommendations based upon duration and frequency for 98% of participants. However, awareness of physical activity messages varied, with dance students more likely to disagree about the level of activity needed for health benefits. CONCLUSIONS: Dance students report varying levels of physical activity that usually met or exceeded recommendations; however, knowledge of general nutrition and physical activity benefits was low. Improved knowledge could contribute to changes in behavior that improve health status in this population.
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Talpă, Svetlana, and Mariana Vacarciuc. "5. Artistic Expressiveness - Exhaustive Component in the Teaching-Learning Process for “Dance” Specialty Students." Review of Artistic Education 1, no. 23 (April 1, 2022): 152–62. http://dx.doi.org/10.2478/rae-2022-0020.
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Abstract The given paper elucidates one of the main professional skills of a dancer / performer - artistic expressiveness. Following the analysis of several studies in the field of choreographic art dedicated to expressiveness and methods of its development in choreographic creation, the concept of expressiveness is revealed by defining it in different types of art, cultural studies, philosophy, etc. The most complex description of the component of artistic expressiveness is present in classical, folk and modern dance, where the conditions of its formation and development are exposed in the practical classes of classical, folk and modern dance. The stated issue was researched in a study was conducted over three years of university studies at cycle I (Bachelor).
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Fretland, Reidun Nerhus. "«Når noko rart blir naturleg» Ungdomsskuleelevar si oppleving med deltaking i eit kunstnarisk danseprosjekt." Nordic Journal of Dance 8, no. 2 (December 1, 2017): 42–53. http://dx.doi.org/10.2478/njd-2017-0011.
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Abstract In this article, the focus is on creative dance in school, democratic teaching and co-determination. Teaching dance in Norway has a low standing and corresponds to a small fraction of the curriculum’s intentions and goals. However, research indicates that students have a desire for greater involvement. The study, therefore, investigates what happens when secondary school students participate in an artistic dance project led by professional dance instructors. The students were expected to be active participants in the creation and performance of dance art. There was a particular focus on whether the students experienced co-determination, whether the pedagogical approach could be characterised as democratic teaching as well as what this meant for the students’ learning in the process. The methodological approach was qualitative, comprising personal interviews with 17 students who participated in the project. The analysis shows that most students had little experience with creative dance prior to the start of the project. They experienced the project as «strange and unusual» at first and «natural, fun and educational» thereafter. All students experienced co-determination. The dance project can be an example of democratic teaching, whereby students express an enhanced sense of opinion and attitude towards dance as an art form. It also indicates a possible way in which to realize the curriculum’s goals and intentions regarding dance as creative and aesthetic expression.
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Rothmund, Irene Velten. "Dance Technique–Meanings and Applications." Nordic Journal of Dance 6, no. 2 (December 1, 2015): 12–23. http://dx.doi.org/10.2478/njd-2015-0012.
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Abstract This article explores nuances in the meanings and applications of the term ‘dance technique’, by looking at how students in modern and contemporary dance articulate their understanding of the term, and by discussing this in relation to dance research articles on the theme. The article draws on a section of my on-going PhD project on the experiences in modern and contemporary dance of students at the Norwegian College of Dance. The project is informed by hermeneutic phenomenology (van Manen 1997), based on students’ logbooks and interviews. In one set of interviews, the students were asked to define the term ‘dance technique’. I have analysed the answers and discerned five approaches to the term: As a system, as knowledge or practical skills, as something set, as goal-oriented work and as ‘only technique’. The conjoining of students’ experiences with dance research articles shows both similarities and differences in comprehension of the term. I suggest that there is an ambiguity in the understanding of the term, touching upon different dichotomies existing in dance, and with parallels to a change between a modern dance tradition and a contemporary dance tradition. Clarifying taken-for-granted concepts can be of value for both dance education and dance research.
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C. B. Raya, Victor, Rolland E. Fanggidae, and Apriana J. Fanggidae. "Modern dance commodification strategy in tourism promotion (Study on the modern dance community in Kupang city)." Journal of Sustainable Tourism and Entrepreneurship 1, no. 4 (June 25, 2020): 333–47. http://dx.doi.org/10.35912/joste.v1i4.507.
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Purpose: This study aimed to describe the modern dance commodification strategy in promoting cultural tourism in East Nusa Tenggara Province. Research methodology: The research method used in this research is a qualitative method. Respondents used in this study were 15 people. Data processing was performed using a SWOT analysis. Results: According to the analysis results, the most appropriate strategy for the modern dance community in developing cultural tourism in East Nusa Tenggara is to work together with various parties, create online competitions, innovate with culture, and organize independent events by the dancer community. Limitations: This study only discusses the strategy of the commodification of modern dance in tourism promotion in East Nusa Tenggara. Contribution: This research can become scientific information for students specifically studying tourism. Keywords: Modern dance commodification, Tourism promotion
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Alistiana, Lisa. "Proses Kreativitas dan Apresiasi Seni Dalam Pembelajaran Seni Tari Bagi Mahasiswa PIAUD UIN Sunan Ampel Surabaya." Attadrib: Jurnal Pendidikan Guru Madrasah Ibtidaiyah 3, no. 2 (September 29, 2020): 19–25. http://dx.doi.org/10.54069/attadrib.v3i2.106.
Full textAbstract:
This study aims to develop creativity and appreciation of art in learning dance for students of UIN Sunan Ampel Surabaya PIAUD. Learning dance is very useful for PIAUD students because it can improve the ability to learn dance in art appreciation activities. Creativity in this research is to create a new thing in individual learning. In general, creativity and appreciation lead to the process of moving that drives someone in an action. Desires that must continue to be fostered for the process of learning dance one of them with a form of appreciation, because in the form of appreciation of art contains a beauty or aesthetic dance moves, as well as expression in learning dance know that dance creation also contains a beauty. The process of dance work will be an aesthetic experience for students who are in line with their educational interests through learning dance. This process is carried out continuously so that the appreciation of PIAUD students towards dance as expected and will increase and have creativity towards learning dance when they become kindergarten teachers.