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Journal articles on the topic 'Danwer'

Author: Grafiati

Published: 28 May 2022

Last updated: 30 July 2025

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1

Surya, Windi Kartika, and Nerosti Nerosti. "Eksistensi Tari Andun Dalam Upacara Adat Perkawinan Di Kecamatan Seluma Kabupaten Seluma Provinsi Bengkulu." Jurnal Sendratasik 10, no. 4 (2021): 51. http://dx.doi.org/10.24036/js.v10i4.114175.

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This research has a problem regarding the formulation of "The Existence of Andun Dance in Seluma Marriage, Seluma Regency, Bengkulu Province". The purpose of this research is to describe and analyze the existence of Andun Dance in traditional wedding ceremonies in Seluma District, Seluma Regency, Bengkulu Province. This research uses descriptive qualitative analysis. Data collection techniques or through literature study, observation, interviews and documentation. The research found that the Andun Dance consists of two types, namely: (1) the Andun lelawanan dance which is danced in pairs and w

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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping." Baltic Journal of Sport and Health Sciences 1, no. 120 (2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.

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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and

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Gailīte, Elīna. "Tautas deju definēšanas problemātika mūsdienās Latvijā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 94–104. http://dx.doi.org/10.37384/aplkp.2021.26-2.094.

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The article “Problems of defining folk dance in Latvia today” examines the aspects that affect the current situation in Latvia, where folk dances are understood as both folk dances that have not been modified by choreographers, dances passed down through generations that can be danced every day, and stage folk dances, which are a type of art performed by folk dance ensembles, created by choreographers and dances adapted to the stage performance. The research aim is to identify and describe the problems that currently exist in the Latvian cultural space, where the definition of folk dances crea

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Hoppu, Petri. "Nordic Folk Dances as Imaginary Geographies." Congress on Research in Dance Conference Proceedings 2012 (2012): 76–80. http://dx.doi.org/10.1017/cor.2012.8.

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Geography is a feature that typically belongs to the realm of folk dance. Folk dances are often defined as belonging to a certain region, and it is seldom they are considered a result of artistic creativity. In the Nordic countries, folk dancers have co-operated intensively since the early twentieth century, sharing dances with each other. In this presentation, I am arguing that this co-operation has created imaginative geographies of the Nordic region, filled not with landscapes, terrains, or water systems, but with movements, holds, and music. As an example, I will present two Nordic folk da

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Wang, Ziqiao. "Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example." Journal of Educational Theory and Management 2, no. 3 (2018): 84. http://dx.doi.org/10.26549/jetm.v2i3.992.

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Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that t

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Kepekçi, Yalçın, Can Boğa, Zühey Günal, Hamza Çivi, and Emine Özmen. "MYOGLOBINURIA, HEMOGLOBINURIA AND BLOOD PRESSURE CHANGES iN TURKISH FOLK DANCERS." European Journal of Therapeutics 2, no. 1 (1991): 42–48. http://dx.doi.org/10.58600/eurjther.19910102-501.

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Turkish folk dancers hava won many international competitions i.e. first place in 1986 at Dijon, France; gold hatched in 1986 at Zakupane Poland. Turkish folk danca has almost the sama characteristics as other sports. Soma of the figures in the dances is characteristics as other sports. Soma of the figures in the dances is characterised by sudden movements of the feet to the ground. Rhabdomyolysis has been defined in skiers, football players, and in clay drum players according to previous reports. During the 1991 Turkish folk dance competition, the effects of physical activity and extremity co

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Langdon, Susan W., and Gina Petracca. "Tiny dancer: Body image and dancer identity in female modern dancers." Body Image 7, no. 4 (2010): 360–63. http://dx.doi.org/10.1016/j.bodyim.2010.06.005.

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York-Pryce, Sonia. "A body of work." Dance, Movement & Spiritualities 6, no. 1-2 (2020): 133–53. http://dx.doi.org/10.1386/dmas_00007_1.

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This article examines the paradigm of ageing regarding older professional dancers who prolong their careers, challenging the normative standards set down in western dance culture. With interest gaining momentum in introducing dance to an ever-increasing ageing population, it seems ironic that the older professional dancer continues to be undervalued or often invisible. The established aesthetics that persist within classical ballet, but less so within contemporary dance, supports the rejection of the bodies of these disenfranchised dancers, who embody a palimpsest of lived danced experience. I

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Elron, Sari. "Rina Nikova and the Yemenite Group: Between East and West, North and South." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 63–68. http://dx.doi.org/10.1017/s2049125500000121.

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Rina Nikova, a Jewish dancer, ballet master, and choreographer, was born in Russia around 1898 and died in Israel in 1974. Nikova established her Yemenite Singing Ballet in 1932. She trained her dancers—young Jewish emigrates from Yemen—with classical ballet technique augmented with various local and migrating influences. She gathered firsthand information on folk dances, music, and costumes by visiting Arab towns and villages and communities of Oriental Jews. Nikova combined those influences into an original creation that was to become a cornerstone of nation-building in Israel.

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Tang, Xuan, Boyu Shen, Youngsuk Kim, Xuan Qiu, Chaojie Wu, and Sukwon Kim. "Asymmetrical gait in young female dancers of different training styles." Molecular & Cellular Biomechanics 22, no. 1 (2025): 507. https://doi.org/10.62617/mcb507.

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Background: the objective of this study is to evaluate gait symmetry in female dancers of different dance styles aged 19–21 years. The findings would enable us to understand the effects of long-term training on dancers’ gait. Material and methods: 21 dancers (8 modern dancers, 6 ballet dancers, and 7 Korean dancers) and 15 normal participants completed three validated walking tests at normal speed on a 5 m × 1 m walking track. Results: The modern dancer group showed a significant difference from the control group in terms of step length symmetry index. The right hip sagittal plane ROM was smal

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Christensen, Julia F., Laura W. Wesseldijk, Miriam A. Mosing, et al. "The dancer personality: Comparing dancers and non-dancers in Germany and Sweden." Personality and Individual Differences 222 (May 2024): 112603. http://dx.doi.org/10.1016/j.paid.2024.112603.

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Dong, Shihao, Tao Lin, James C. Nieh, and Ken Tan. "Social signal learning of the waggle dance in honey bees." Science 379, no. 6636 (2023): 1015–18. http://dx.doi.org/10.1126/science.ade1702.

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Honey bees use a complex form of spatial referential communication. Their “waggle dance” communicates the direction, distance, and quality of a resource to nestmates by encoding celestial cues, retinal optic flow, and relative food value into motion and sound within the nest. We show that correct waggle dancing requires social learning. Bees without the opportunity to follow any dances before they first danced produced significantly more disordered dances with larger waggle angle divergence errors and encoded distance incorrectly. The former deficit improved with experience, but distance encod

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Jacintha Stella, Maria, Ni Luh Nopi Andayani, and I. Wayan Sugiritama. "Risk Factors for Lower Extremity Injuries in Hip-Hop Dancers." International Journal of Research and Review 11, no. 4 (2024): 358–62. http://dx.doi.org/10.52403/ijrr.20240440.

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Background: Hip-hop dance is one of many types of dances that is very popular in the international community. Dance is a profession that combines art with sports so it is very vulnerable to injury. Lower extremity injuries in dancers can occur due to muscle weakness, extreme movements, or overuse. Objective: To determine the risk factors that can cause lower extremity injuries in hip-hop dancers. Method: The method used is a literature review with a compilation of journals related to risk factors of lower extremity injuries in hip-hop dancers taken in the form of PubMed page. Results: It's rea

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Kariasa Putra, I. Komang, Tjokorda Udiana Nindhia Pemayun, and Gede Yosef Tjokropramono. "Sanghyang Dedari Dance as a Painting Creation Idea." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 2 (2022): 87–91. http://dx.doi.org/10.59997/citakara.v2i2.1849.

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Balinese dance is a variety of dances originating from the island of Bali. Balinese dance does not always depend on the storyline. The main goal of Balinese dancers is to dance each stage of movement and sequence with full expression. Sang Hyang Dedari dance is a Balinese dance that is used as a religious tool. Balinese people still believe that when girls aged 9-12 years dance this dance, they will be possessed by the holy spirit of an angel. Usually, the Sang Hyang Dedari Dance is played or danced before the rice harvest around April to resist disease outbreaks, and this dance has been desig

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Pruiksma, Rose. "Of Dancing Girls and Sarabandes." Journal of Musicology 35, no. 2 (2018): 145–82. http://dx.doi.org/10.1525/jm.2018.35.2.145.

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The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande’s rich history as a theatrical dance regularly performed by female dancers in French court ballets. The groups of girls and solo young women who danced it between 1651 and 1669 invite us to reshape our narrative of the sarabande in France. Both literary references and the theatrical context reveal how the sarabande resonated with layers of culturally inscribed me

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Zakiyati, Nur Muaffah, Agus Cahyono, and Syakir Syakir. "Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri." Catharsis 9, no. 1 (2020): 28–37. http://dx.doi.org/10.15294/catharsis.v9i1.39033.

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The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and inte

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Sidhi, I. Putu Gede Serana Asta, Ida Ayu Trisnawati, and Kompiang Gede Widnyana. "Tari Sesandaran Di Griya Delod Pasar Desa Adat Intaran; Kajian Bentuk, Fungsi Dan Makna." Jurnal Igel : Journal Of Dance 4, no. 1 (2024): 47–54. http://dx.doi.org/10.59997/jijod.v4i1.4196.

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The Sesandaran dance at Griya Delod Pasar is a bebali dance that is sacred to the people and was born in the Intaran Traditional Village. This Sesandaran Dance is the same as the Telek Dance which uses a white tapel or mask and has a subtle character. Of course, the Sesandaran Dance which is located at Griya Delod Pasar is created with its own characteristics and identity. These characteristics exist at the beginning, the form of the dance. This Sesandaran Dance Research uses a qualitative research method with a descriptive qualitative approach. The research data was obtained through several s

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Kaufmann, Judith-Elisa, Janine H. Stubbe, Rob GHH Nelissen, and Maaike GJ Gademan. "Perspectives of Ballet Dancers on Causes of Their Injuries and Implementation of Injury Preventive Measures by Ballet Teachers and Masters." Medical Problems of Performing Artists 39, no. 2 (2024): 93–107. http://dx.doi.org/10.21091/mppa.2024.2007.

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OBJECTIVES: Ballet dancers have a high injury risk. We aimed to gain insight into the causes for acute and overuse injuries in ballet dancers and the level of implementation of injury prevention by ballet teachers/masters, as perceived by dancers. METHODS: An international cross-sectional online-survey was based on the Fit-to-Dance Questionnaire and literature. Adult amateur, pre-professional, and professional ballet dancers reported the perceived causes of their injuries sustained in the previous 2 years. Multiple answers per injury were possible. Also, dancers rated the level of implementati

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Jagošová, Anna. "Slovácko Verbuňk as a Tradition and Performance." Národopisný věstník 82, no. 1 (2023): 29–40. http://dx.doi.org/10.59618/nv.2023.1.02.

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The Slovácko verbuňk is a solo male dance of jumping nature. Originally, it was part of military recruiting and was danced by soldiers or, much more often, by the recruiters. Verbuňk had many functions. Some of them, for example the psychological and the symbolic and social ones, have already disappeared, some others, such as the identification, erotic, and competitive ones have survived to date. It is due to the competitive feature of the dance that a “dance race” has been organized at the International Folklore Festival in Strážnice since its foundation; the Festival has given rise to the Co

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Welsh, Thomas M. "A Primer on Measuring Dancer Capacities." Journal of Dance Medicine & Science 7, no. 1 (2003): 5–9. http://dx.doi.org/10.1177/1089313x0300700101.

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The reliable, valid, and sensitive measure-ment of dancer capacities is essential to dance medicine and science research, clinical practice, and dancer training. The unique nature of dance and the unusual demands it places on dancers present spe-cial challenges for measuring dancer ca-pacities. The contributions in this and the next issue review measurement strategies for several capacities important to dancers. This article describes measurement characteristics common to the variety of disciplines encompassed by dance medicine and science. It concludes with a description of possible benefits

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Samodra, Lutvi Dwi, Liza Murniviyanti, and Nugroho Notosutanto Arhon Dhony. "Aspek Penari Dalam Koreografi Kelompok Tari Satu Padu Di Sanggar Belisa Palembang." Jurnal Pendidikan dan Penciptaan Seni 2, no. 2 (2022): 73–81. http://dx.doi.org/10.34007/jipsi.v2i2.286.

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The purpose of this study was to determine the dancers' aspects in Satu Padu dance, whether Satu Padu dance has dancer aspects according to the theory used in the study. The theory used in this study is the theory of Y Sumandiyo Hadi regarding the aspects of dancers in group choreography which has 3 elements, namely: 1) Aspects of the number of dancers, 2) Aspects of gender and body posture of dancers, 3) Aspects of the unity of group composition, (a) Aspects of the direction facing the dancers, (b) Aspects of the distance between dancers, (c) Aspects of Key dancers. The research method used i

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Braun, Linda. "Dancing in Step with Society." Body Politics 4, no. 7 (2017): 41–62. https://doi.org/10.12685/bp.v4i7.1482.

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English abstract: This article analyzes the urban body in Imperial Germany through the lens of an integral part of night life: popular dancing. In the first decade of the twentieth century, American popular dances appeared in Berlin and other European metropoles. The cakewalk and various step dances replaced the established tradition of popular dancing: In general, American popular dances did not follow a choreography but instead allowed the leading (usually male) dancers to experience more autonomy and combine figures more freely. The dancing bodies moved into more directions than previously

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Teodorus, Reynald Adril, and Sisca Aulia. "Personal Branding Dancer Laki-laki di Media Sosial TikTok." Koneksi 9, no. 1 (2025): 20–28. https://doi.org/10.24912/kn.v9i1.27783.

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A dancer, regardless of gender, must do personal branding on social media. This research wants to know the strategies male dancers use in building personal branding and the impact of personal branding on male dancers' career opportunities. The method used in this research is descriptive qualitative. The data collection methods are interviews, observation, literature study, and documentation. The results show the strategies used by male dancers in this study when building personal branding, namely being consistent and committed to maintaining quality, collaborating with brands, and uploading co

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Hoppu, Petri. "The Polska: Featuring Swedish in Finland." Congress on Research in Dance Conference Proceedings 2014 (2014): 99–105. http://dx.doi.org/10.1017/cor.2014.13.

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The paper examines the Swedish polska as a special case of movementscape in Finnish folk dance. The research is based on ethnographic fieldwork among Finnish folk dancers in 2013. Since the 1970s, the polska has been popular in Swedish folk dance, and this versatile dance form can be seen as emblematic to Swedish folk dance culture. During the last 30 years, Finnish folk dance groups have also eagerly adopted it: not only the dance itself, but a whole new style and embodiment of dancing with improvisation as an important element. Although there have been vernacular polska forms in Finland, as

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Nugroho, Slamet. "Makna Tarian Sufi Perspektif Komunitas Tari Sufi Dervishe Pekalongan." JOUSIP: Journal of Sufism and Psychotherapy 1, no. 1 (2021): 69–84. http://dx.doi.org/10.28918/jousip.v1i1.3880.

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 Spiritual dance has a deep meaning. One of the Sufi dancers from Dervishe Pekalongan revealed that there are many meanings contained in the dance, one of which is love. The dancer must present love in his heart and in every breath only for Allah, from feelings of love it is hoped that all Sufi dancers can accept and live all life in the world with great love for Allah. Based on this, it is studied about the Meaning of Sufi Dance from the Perspective of the Sufi Dance Community Dervishe Pekalongan. This research is a type of qualitative research. The main target of the research is how to

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Nunally, KD, LJ Micheli, E. Zheng, et al. "SURGICAL TREATMENT OF PATELLAR INSTABILITY IN ADOLESCENT DANCERS." Orthopaedic Journal of Sports Medicine 9, no. 7_suppl3 (2021): 2325967121S0012. http://dx.doi.org/10.1177/2325967121s00120.

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Background: Adolescent dancers may be a high-risk population for patellofemoral instability (PFI), but the condition remains under-investigated, to date, in this sub-group of athletes. Purpose: The purpose of this study was to (1) investigate the descriptive epidemiology of PFI in adolescent dancers, (2) analyze the efficacy of various patellar stabilization procedures within this population, and (3) compare PFI in dancers to a larger control group of matched, non-dancer athletes. Methods: A retrospective review of athletes, ages 10 to 19, who presented to a single tertiary care center with PF

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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 (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

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Gurung, Raj Kumar. "A Comparative Study of Ghā̃tu Performance and Balan Dance." JODEM: Journal of Language and Literature 13, no. 1 (2022): 120–31. http://dx.doi.org/10.3126/jodem.v13i1.47468.

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The study employs the performance theory to analyze Ghā̃tu performance and Balan dance. They are popular cultural activities because of the beauty of artistic presentations with historical values. This bond symbolizes the harmonious relations of human beings. The network of dance masters, dancers, and audiences plays a vital role in performance. They are bound in such a way that they cannot get separated. Because of such cultural activities, man-to-man relations become strong in village life compared to urban life. After the dance masters begin to sing, the dancers begin dancing in full accord

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Hiraga, Cynthia, Camila Siriani, Paulo Ricardo Higassiaraguti Rocha, Débora Alves Souza, and José Angelo Barela. "Pirouette Vertical Ground Reaction Force of Ballet Dancers and Non-Dancers." Brazilian Journal of Motor Behavior 14, no. 2 (2020): 53–61. http://dx.doi.org/10.20338/bjmb.v14i2.159.

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BACKGROUND: Different amounts of force are needed to produce an effective turn for the pirouette, especially vertical force. AIM: To examine the vertical force produced by the supporting leg during the execution of a pirouette en dehors of ballet dancer and non-dancer participants. METHOD: The participants included five ballet dancers who composed the ballet dancer group and eight girls without previous experience of dance training who composed the non-dancer group. The participants were invited to execute the pirouette en dehors on a force platform with each leg as the supporting

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I N. N, Yadnya, Ramendra D. P., and Utami I.A.M.I. "JARGONS USED BY MALE BALINESE DANCER AT SANGGAR SENI MANIK UTTARA SINGARAJA." International Journal of Language and Literature 3, no. 1 (2019): 17. http://dx.doi.org/10.23887/ijll.v3i1.20602.

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This study aimed at analyzing forms, meaning, and function of jargons used by male Balinese dancer at Sanggar Seni Manik Uttara Singaraja. This study was conducted in descriptive qualitative method. the subject of this study were 2 dancers of Traditional Balinese Dance especially male dancer in Sanggar Seni Manik Uttara Singaraja. In this study, the methods of data collection were observation and interview. The result of this study represents there are 22 jargons used by male Balinese dancer at Sanggar Seni Manik Uttara Singaraja in which jargons were classified and investigated based on word

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Kadel, Nancy J., Emily A. Donaldson-Fletcher, Lynda F. Gerberg, and Lyle J. Micheli. "Anthropometric Measurements of Young Ballet Dancers." Journal of Dance Medicine & Science 9, no. 3-4 (2005): 84–90. http://dx.doi.org/10.1177/1089313x05009003-404.

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Previous studies have examined the physical characteristics of adolescent and adult ballet dancers, but there is little information in the literature about the child dancer. The purpose of this case control study was to compare body composition, sexual maturity, flexibility, and joint range of motion measurements between child ballet dancers and age-matched, non-dancer controls. Subjects included 43 female dance students from a school affiliated with a nationally known ballet company and 43 female age-matched students from local public schools, ranging in age from eight to thirteen years. Heig

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Crow, Susie. "Developing Craft in the Ballet Class." Dance Research 39, no. 2 (2021): 147–57. http://dx.doi.org/10.3366/drs.2021.0340.

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The ballet class is a complex pedagogical phenomenon in which an embodied tradition is transmitted in practice from one generation to the next, shaping not just the dancing but the attitudes and perceptions of dancers throughout their careers. This paper emerges from observations and experience of recent and current ballet class practice, and theoretical investigations into embodied learning in the arts. It outlines the influential role of large hegemonic institutions in shaping how ballet is currently taught and learned; and the effect of this on the class's evolving relation to ballet's repe

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Adela Rosyadi, Suci, and Desfiarni Desfiarni. "Estetika Tari Piriang di Ateh Kaco Karya Syofyani Pada Sanggar Syofyani Kota Padang." Jurnal Sendratasik 11, no. 2 (2022): 264. http://dx.doi.org/10.24036/js.v11i2.114320.

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This study aims to reveal and describe the aesthetic value of the Piriang Dance at Ateh Kaco by Syofyani at the Syofyani Studio, Padang City. This type of research is qualitative research using a descriptive method. The main instrument in this study is the researcher himself and is assisted by supporting instruments such as writing instruments, photo cameras and audio conversion tools. This type of data uses primary data and secondary data. Data collection techniques were carried out employing library research, observation, interviews and documentation. The steps to analyze the data are data r

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Jamilah, Jamilah, Heriyati Yatim, and Andi Padalia. "FORM OF PRESENTATION OF UMAPOS DANCE IN BALANTAK TRIBAL COMMUNITY." JURNAL PAKARENA 7, no. 1 (2022): 26. http://dx.doi.org/10.26858/p.v7i1.33132.

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This study aims to find out and describe the Form of Presentation of Umapos Dance in the Balantak Tribe Community in Luwuk Banggai Regency, Central Sulawesi. This research uses a descriptive qualitative approach, focusing on the Form of Umapos Dance Presentation in the Balantak Tribe Community in Luwuk Banggai Regency, Central Sulawesi. Data are obtained through observation or observation, interviews, and documentation. Data analysis is carried out by reducing the data and inferring the data correctly. The results showed that the form of presentation of Umapos Dance in the Balantak Tribal Comm

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Musil, Pamela S. "Book Review: The Dancer Within—Intimate Conversations with Great Dancers." Journal of Dance Education 9, no. 4 (2009): 129–30. http://dx.doi.org/10.1080/15290824.2009.10387398.

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Pagilla, Prabhakar R., Ramamurthy V. Dwivedula, Yongliang Zhu, and Lokukaluge P. Perera. "Periodic Tension Disturbance Attenuation in Web Process Lines Using Active Dancers." Journal of Dynamic Systems, Measurement, and Control 125, no. 3 (2003): 361–71. http://dx.doi.org/10.1115/1.1590678.

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This paper investigates the role of active dancers in attenuation of web tension disturbances in a web process line. A general structure of the active dancer is considered; governing equations for web spans upstream and downstream to the dancer roller are developed. A structural limitation that facilitates efficient design of the active dancer system for web tension disturbance attenuation is derived and discussed based on the developed model. An open-architecture experimental web platform is developed for conducting real-time control experiments using the active dancer system. The active danc

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Gardner, Sally. "Beyond anthropomorphism: Odissi and the botanical." Studies in South Asian Film & Media 4, no. 2 (2012): 157–65. http://dx.doi.org/10.1386/safm.4.2.157_1.

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Drawing on experiences that have entailed watching and learning forms of so-called ‘Indian dance’ (Bharata Natyam and Odissi), and watching Odissi dancers performing in various locations in Orissa’s ‘sacred triangle’ (Puri, Konark, Bhubaneswar), and against my own background in contemporary dance, I propose that the difference of the Odissi body is that the dancer dances with his or her feet in more than one kingdom – that is, he or she maintains a link between human bodies and the bodies of plants. Such a perception can help to displace questions of the dancer’s spatiality and representations

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Liska, Suzanne. "Somatic ethnographic research: A choreographic process informed by Alexander Technique." Choreographic Practices 11, no. 1 (2020): 75–99. http://dx.doi.org/10.1386/chor_00013_1.

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I write from the perspective of a dance artist interested in reflecting on and sharing my experiences of applying the Alexander Technique (AT) to a choreographic process. The inquiry was framed by dance ethnography, and I choreographed, danced, interviewed and performed with emerging to established dance artists specializing in Contact Improvisation, and interviewed and participated in lessons and workshops with AT teachers. During each phase of the research, I asked: why and how does AT guide me to embody my practice as a choreographer and dancer? This self-ethnographic research outlines an A

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Triana Titania Manuaba, Ida Ayu, I. Wayan Dibia, and I. Ketut Sariada. "A Dance Work Representing Ida Bagus Blangsinga’s Life Journey (The Maestro of Kebyar Duduk Dance in Blangsinga Style)." Journal of Aesthetics, Creativity and Art Management 1, no. 1 (2022): 31–36. http://dx.doi.org/10.59997/jacam.v1i1.1594.

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This work aims to represent the figure of Ida Bagus Blangsinga, a master of the Kebyar Duduk dance in Blangsinga style. The method of creation used in this work uses the creation method which includes assessment, experimentation, and formation. This method is easily understood by the stylist to express and visualize several scenes in the work. The form of the chosen work is a new creation dance, because it provides space for development according to the wishes of the stylist. This work is danced by six female dancers and one male dancer using soft make-up and fashion that supports each part of

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Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.

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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographe

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Haikal, Lara, Ève Boissonnault, Mathieu Boudier-Revéret, and Jehane H. Dagher. "Dancers’ Perceptions of Accessibility and Quality of the Relationship with Healthcare Professionals in Quebec." Medical Problems of Performing Artists 36, no. 4 (2021): 245–62. http://dx.doi.org/10.21091/mppa.2021.4028.

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OBJECTIVE: To understand dancers’ perception of accessibility to care and quality of the relationship with healthcare practitioners in Quebec; to identify the key elements of an optimal dancer–physician relationship; and to propose recommendations for improvement. METHODS: An online questionnaire consisting of multiple choice, “yes/no,” and short answer questions was sent to professional dance organizations, companies, agencies, and schools in Quebec, Canada. Information regarding the dance artists’ sociodemographics, dance background, dance-related injuries, and access to a primary care physi

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FERATAN, MUHARREM, and ERHAN SOLMAZ. "ANADOLU DANS GELENEĞİNDE TÜRK DİNÎ DANSLARI VE HAYVAN SEMBOLİZMİ." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 106 (June 20, 2023): 319–36. http://dx.doi.org/10.34189/hbv.106.015.

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Dance, which emerged as an entertainment element today, was seen as an element of worship in primitive times. The dances, which were performed to please the gods or to protect them from their wrath in the first years, aimed to reach the god and become one with him in the following years. In order to achieve this goal, people imitated nature and animals in their religious dances. People observing the behavior of animals sometimes felt fear and sometimes admiration for them. This feeling of fear and admiration has revealed the human effort to identify with the animal and acquire its virtues. The

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CRISAN, Raluca. "The effects of dancing on young people with down’s syndrome." SERIES VII - SOCIAL SCIENCES AND LAW 13(62), no. 1 Special Issue (2021): 41–48. http://dx.doi.org/10.31926/but.ssl.2020.13.62.3.5.

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Dance and movement therapy is about the creative use of movement and dancing in a therapeutic alliance. The present study analysis semi-structured interviews from people connected to young people with Down’s syndrome. Our subjects practiced dances like ballet, zumba, vals, tango and also therapeutic movement. Some of them proved their skills in events specially organized for people with disabilities, but also in inclusive events, where they danced together with professional dancers, in Romania, Republic of Moldavia and Italy. The effects of dancing include increased self- esteem, relaxation, s

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Vladova, Ina, and Yiğit Ünlü. "ON THE IMPORTANCE AND NEED OF FLEXIBILITY AND STRENGTH REFINEMENT AS AN ELEMENT OF DANCERS' TRAINING." Journal of Applied Sports Sciences 1 (July 14, 2017): 31–45. https://doi.org/10.37393/JASS.2017.01.4.

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Contemporary professional dance art is close, to a great extent, to sport of excellence. The requirements to performers are constantly increasing and hence the need of properly organised specialised training, including a system of drills, stretching and dance exercise for developing their motor skills. The aim of this empirical study is to establish the need of including a specialised methodology for the development of the motor skills in the dance practice in the Republic of Turkey – strength and flexibility for the dancers of Turkish folk dances. The tasks are: to study the dance practice in

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Berdnik, M. "The Impact of Historical Choreographic Origins on Forming Emotional Content in Latin American Ballroom Dance." Culture of Ukraine, no. 80 (June 30, 2023): 76–81. http://dx.doi.org/10.31516/2410-5325.080.09.

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Modern ballroom dance is actively developed as a sport whereas the art of dancing, which is characterized by emotions, is disappearing now. The causes are dealt with the low level of performing Latin American ballroom dance as an art and the necessity to develop the origins of this dance. It is also important to perform a particular Ballroom dance emotionally considering its historical roots. It is fact that now the great number of competitive dance couples give a lot of attention to the physical training of choreographic compositions with a large number of acrobatic tricks and little re

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Mironov, S.N. Danshina S.D. Timoshina M.D. Sevbitova M.A. Kiselman N.S. "FEATURES OF DENTAL STATUS IN BALLET DANCERS." INDO AMERICAN JOURNAL OF PHARMACEUTICAL SCIENCES 06, no. 01 (2019): 1–4. https://doi.org/10.5281/zenodo.2529608.

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<em>The profession of a ballet dancer is a complex and difficult, but at the same time fascinating profession, which carries a lot of dangers and diseases. The dancer is subject to the conditions in which he is forced to work, they directly affect him, sometimes causing harm. The most common diseases of the musculoskeletal system, feet, joints and muscles, as well as diseases of the teeth and organs of the oral cavity are those of ballet dancers.</em> <strong>Key words:</strong> <em>ballet dancers, dental status, ballet medicine.</em>

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Swandewi, Catur Karina. "Reconstructing Norms and Values in Gandrung Dance for Halal Tourism in West Nusa Tenggara." International Journal of Multicultural and Multireligious Understanding 6, no. 3 (2019): 382. http://dx.doi.org/10.18415/ijmmu.v6i3.837.

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This study examines the norms and values in Gandrung Dance and how they can be reconstructed for the needs in halal tourism industries. The dance performance usually brings negative impacts of stigmatized identities of the dancers particularly the female dancers. The study focuses on dancers in Lombok, NTB, where in around 1965 the dance had been criminalized as immoral and sexual. The study aims at establishing whether the dance can be reconstructed and whether the reconstructed gestures are powerful enough to prevent sexual harassment associated and resulting from the gestures. The study par

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Weiss, David S., Selina Shah, and Raoul J. Burchette. "A Profile of the Demographics and Training Characteristics of Professional Modern Dancers." Journal of Dance Medicine & Science 12, no. 2 (2008): 41–46. http://dx.doi.org/10.1177/1089313x0801200201.

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Modern dancers are a unique group of artists, performing a diverse repertoire in dance companies of various sizes. In this study, 184 professional modern dancers in the United States (males N=49, females N = 135), including members of large and small companies as well as freelance dancers, were surveyed regarding their demographics and training characteristics. Te mean age of the dancers was 30.1 ± 7.3 years, and they had danced professionally for 8.9 ± 7.2 years. Te average Body Mass Index (BMI) was 23.6 ± 2.4 for males and 20.5 ± 1.7 for females. Females had started taking dance class earlie

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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 (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 experience

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ALLEN, J. ANTHONY. "Playing with fire: an unexpected collaboration." Organised Sound 9, no. 3 (2004): 229–32. http://dx.doi.org/10.1017/s135577180400041x.

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Working with dancers to generate musical material has been the interest of many composers since such technologies became available. My work focuses on a particular kind of dance – a fire dancer – to generate sonic material. Working with a fire dancer in a collaborative environment creates a unique set of difficulties with rewarding outcomes.

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