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Jubb, Caroline, Leann Bell, Sonja Cimelli, and Roger Wolman. "Injury Patterns in Hip Hop Dancers." Journal of Dance Medicine & Science 23, no. 4 (December 15, 2019): 145–49. http://dx.doi.org/10.12678/1089-313x.23.4.145.
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Hip hop dance is becoming increasingly popular. It is performed in a variety of environments and can be fused with other dance styles. There is limited research on this dance demographic. The object of this study was to record and assess the injury patterns and diagnoses of hip hop dancers who presented to a dancer injury clinic at the Royal National Orthopaedic Hospital (RNOH) in London over a 5-year period. Of the 800 patients who attended the clinic, 73 (28 males, 45 females) identified themselves as hip hop dancers. The mean age of these dancers was 26.1 years (± 6.59 years). The majority were professionals (49%) and the next largest group was students (31.5%). The most common site of injury was the knee (36%), followed by the lumbar spine (19%) and the foot and ankle (15%). The site of injury appeared to be influenced by the sub-style of hip hop the dancer performed. There were gender differences in knee injuries; male dancers predominantly sustained meniscal injuries (45%) and female dancers primarily sustained patellofemoral pain (60%). All lumbar disc injuries were at the L5/S1 level. These results are comparable to those of previous studies investigating injury in hip hop dancers. More research is needed to explore injury etiology, develop injury prevention measures, and increase awareness of the injury complexities in this dance population.
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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 (April 20, 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 really common for dancers who report injuries to lose time for work because of the physical limitation due to the injury. Based on the journals reviewed, factors that often caused dancers to suffer injuries include overuse (35.2%), lack of or not warming up before dancing (37%) fatigue and muscle stiffness in the lower extremity (51.6%), joint hypermobility (43 %), and using incorrect dancing techniques (49.1%). Conclusion: Based on literature reviews and the discussion in the journals discussed, the results show that fatigue and muscle stiffness were the common factors that caused lower extremity injuries in hip-hop dancers. Keywords: Risk Factors, Lower Extremity Injury, Hip-Hop Dancer
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Nur Amin, Takiyah. "Demystifying Hip Hop Dance?" Dance Chronicle 33, no. 3 (November 5, 2010): 490–93. http://dx.doi.org/10.1080/01472526.2010.517503.
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Byrnes, Jo. "Beginning Hip-Hop Dance." Journal of Dance Education 19, no. 1 (January 2, 2019): 42. http://dx.doi.org/10.1080/15290824.2018.1504200.
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Prates, Claudia Machado, Nefeli Tsiouti, Alex de Oliveira Fagundes, Thaís Reichert, Matthew Wyon, and Aline Nogueira Haas. "Hip Hop Party Dance: Cardiorespiratory Profile and Responses to a Predefined Sequence." Journal of Dance Medicine & Science 27, no. 1 (March 2023): 41–49. http://dx.doi.org/10.1177/1089313x231176627.
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Hip hop is a popular dance genre practiced worldwide that has gained popularity since the 1970s. Despite this, studies related to the area and its physiological demands are still scarce. The purpose of this study was to report the cardiorespiratory profile of a group of male and female hip hop dancers to determine the zones of intensity of a predefined hip hop party dance sequence. Eight Brazilian professional hip hop dancers, four women and four men, mean age 22 ± 2.3 years, participated in the study. Using a portable gas analyser (Cosmed K5) their cardiorespiratory variables were measured at two different times: first, during a maximal treadmill test and later during a predefined hip hop party dance sequence. Descriptive statistics (mean and standard deviation) were used for calculating the dependent variables: oxygen consumption (VO2), heart rate (HR), and the intensity zones for the predefined hip hop sequence. Data normality was verified using the Shapiro-Wilk test. The Mann-Whitney U-test was performed to check any sex-related difference (p < 0.01). No statistical difference between male and female dancers was found in the cardiorespiratory profile and responses to the predefined hip hop party dance sequence. On the treadmill, the participants’ VO2peak was 57.3 ± 12.7 ml·kg-1·min-1, and HRmax was 190.0 ± 9.1 b·min-1. The predefined hip hop party dance sequence was mainly (61%) performed in the moderate aerobic zone. However, when the dancers jumped, the intensity of the sequence increased. This information could be used to develop a specific supplementary training protocols for hip hop dancers to improve their physiological fitness parameters and reduce the incidence of injury.
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Hylton, Robert, and Jonathan Burrows. "Creativity, Skill, Integrity, Intelligence and Community: A Conversation on the Nature of Practice in Hip Hop." Dance Research 41, no. 2 (November 2023): 170–80. http://dx.doi.org/10.3366/drs.2023.0401.
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Robert Hylton is a first-generation UK hip hop theatre practitioner, who is currently writing a PhD at the Centre for Dance Research Coventry University on the nature of transmission of knowledge in black British Popping. Jonathan Burrows is a choreographer and Associate Professor at C-DaRE Coventry, who has worked for many years with hip hop artist Jonzi-D, mentoring hip hop artists interested in theatre practice. Robert and Jonathan have shared a long and ongoing conversation over many years about the nature of hip hop and its uneasy relationship to contemporary dance. The following text reflects that conversation, focussing specifically on the nature of practice in hip hop dance including transmission of physical and philosophical knowledge, respect for lineage, innovation and the relationship or not to academic research and the space of theatre.
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Huang, Po-Lung. "Japanese street dance culture in manga and anime: Hip hop transcription in Samurai Champloo and Tokyo Tribe-2." East Asian Journal of Popular Culture 7, no. 1 (April 1, 2021): 61–79. http://dx.doi.org/10.1386/eapc_00039_1.
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Street dance, one of the four most important elements of hip hop culture, was developed mainly by African American youths in the 1970s and imported to Japan in the 1980s. Since then, street dance has been diversified by local media such as manga/anime in Japan. This article therefore analyses how Japanese storytelling, exemplified by Shin’ichirō Watanabe’s anime Samurai Champloo (2004–05), Santa Inoue’s manga Tokyo Tribe-2 (1997–2005) and Tatsuo Satō’s anime adaptation Tokyo Tribes (2006–07), has transcribed the hip hop elements into the Tokugawa-Edo period’s art scenes and fictitious ‘Tōkyō’, and provides a basis for understanding hip hop culture in Japan by drawing on Charles Taylor’s ‘language of perspicuous contrast’ (1985). Although manga and anime quickly reflected popular cultural trends in Japan, hip hop elements did not manifest as main material until Tokyo Tribe-2 was released. Thus, there was apparently a prolonged interval between the arrival of hip hop culture in Japan and its representation by manga/anime after Japanese youths’ first fancied street dance. Therefore, street dance culture could have been transformed within the Japanese cultural context. This article also analyses the representation/transcription of street dance and hip hop in manga/amine by contextualizing the Japanese sociopolitical background to explain this prolonged interval.
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Bronner, Shaw, Sheyi Ojofeitimi, and Helen Woo. "Extreme Kinematics in Selected Hip Hop Dance Sequences." Medical Problems of Performing Artists 30, no. 3 (September 1, 2015): 126–34. http://dx.doi.org/10.21091/mppa.2015.3026.
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Hip hop dance has many styles including breakdance (breaking), house, popping and locking, funk, streetdance, krumping, Memphis jookin’, and voguing. These movements combine the complexity of dance choreography with the challenges of gymnastics and acrobatic movements. Despite high injury rates in hip hop dance, particularly in breakdance, to date there are no published biomechanical studies in this population. The purpose of this study was to compare representative hip hop steps found in breakdance (toprock and breaking) and house and provide descriptive statistics of the angular displacements that occurred in these sequences. Six expert female hip hop dancers performed three choreographed dance sequences, top rock, breaking, and house, to standardized music-based tempos. Hip, knee, and ankle kinematics were collected during sequences that were 18 to 30 sec long. Hip, knee, and ankle three-dimensional peak joint angles were compared in repeated measures ANOVAs with post hoc tests where appropriate (p<0.01). Peak angles of the breaking sequence, which included floorwork, exceeded the other two sequences in the majority of planes and joints. Hip hop maximal joint angles exceeded reported activities of daily living and high injury sports such as gymnastics. Hip hop dancers work at weight-bearing joint end ranges where muscles are at a functional disadvantage. These results may explain why lower extremity injury rates are high in this population.
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Johnson, Adeerya. "Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South." Religions 12, no. 11 (November 22, 2021): 1030. http://dx.doi.org/10.3390/rel12111030.
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Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south feminism works to explore how agency, location, and Black women’s rap (lyrics and rhyme) and dance (twerking) performances in southern hip-hop are established under a contemporary hip-hop womanist framework. I critique the history of southern hip-hop culture by decentralizing male-dominated and hyper-masculine southern hip-hop identities. Second, I extend hip-hop feminist/womanist scholarship that includes tangible reflections of Black womanhood that emerge out of the South to see how these narratives reshape and re-inform representations of Black women and girls within southern hip-hop culture. I use dirty south feminism to include geographical understandings of southern Black women who have grown up in the South and been sexually shamed, objectified and pushed to the margins in southern hip-hop history. I seek to explore the following questions: How does the performance of Black women’s presence in hip-hop dance localize the South to help expand narratives within dirty south hip-hop? How can the “dirty south” as a geographical place within hip-hop be a guide to disrupt a conservative hip-hop South through a hip-hop womanist lens?
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Koutsougera, Natalia A. "“Out in the Streets”." Meridians 22, no. 1 (April 1, 2023): 204–28. http://dx.doi.org/10.1215/15366936-10220557.
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Abstract This article provides a socio-anthropological portrayal of the hip-hop narrational mosaics in Greece through the intertemporal exploration of two hip-hop scenes: the rap scene and the hip-hop dance scene. It explores the gray and contested zones of a local hip-hop culture—which reflect on global hip-hop imageries, norms, and antinomies–through permutations and manifestations of difference, hybridization and subcultural capital, and their subversive intersections with race, class, gender, and affective states in contemporary Greece in landscapes of crisis. Drawing on content analysis of rap lyrics and ethnographic fieldwork on rap and hip-hop dance performativities, resonating contemporary Greek society’s precarities, traumas, and ethics, this article explains why hip-hop and street cultures are so popular today in Greece. Furthermore, it highlights their global dynamics and their present and future potential as an empowering and emancipatory space for young generations.
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Johnson, Ariyan. "The overlooked contributions of African American women hip hop dancers to breaking and hip hop culture." Global Hip Hop Studies 4, no. 1 (June 1, 2023): 57–62. http://dx.doi.org/10.1386/ghhs_00076_1.
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In the late 1980s through 1990s shifts within the aesthetic of hip hop culture helped the sustainability of breaking. When the discussion of hip hop and its major contributors are mentioned, seldom is there any acknowledgement of African American women. Like many art forms, hip hop is male-dominated, which can eclipse narratives about African American women in early hip hop dance circles. African American women practitioners are rarely called upon to moderate panels, write or are acknowledged as true pioneers of the field. Many times, throughout hip hop, African American women kept the dance alive with their resiliency, becoming the catalyst from the streets that help preserve and continue its legacy. The question I ask is: How have these African American women impacted global hip hop culture and why are they unknown to us? The article will examine performance qualities within interdisciplinary practices that forged ahead hip hop culture with these under-represented New York hip hop female dancers. Insights about the experience of these African American female pioneers bring into light historical concerns of exploitation and representation right in time for the introduction of breaking in the 2024 Olympics.
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Sato, Nahoko, and Luke S. Hopper. "Judges’ evaluation reliability changes between identifiable and anonymous performance of hip-hop dance movements." PLOS ONE 16, no. 1 (January 25, 2021): e0245861. http://dx.doi.org/10.1371/journal.pone.0245861.
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Hip-hop competitions are performed across the world. In the recent inclusion in the 2018 Youth Olympic Games, the assessment of hip-hop performance is undertaken by a panel of judges. The purpose of this study was to determine the reliability of different visualisation tools utilised in the assessment of the hip-hop dance movements. Ten dancers performed basic rhythmic hip-hop movements which were captured using a motion capture system and video camera. Humanoid and stick figure animations of the dancers’ movements were created from the motion capture data. Ten judges then assessed 20 dance trials through observation using three different visualisation tools on a computer display, each of which provided different representations of a given hip-hop performance: (1) the actual video of the dancers; (2) an anonymous stick figure animation; (3) an anonymous humanoid animation. Judges were not informed that they were repeating an assessment of the performances across the three visualisation tools. The humanoid animation demonstrated the highest inter-class correlation coefficients among the three methods. Despite the stick figure animation demonstrating moderate to high reliability, both the humanoid animation and the video demonstrated very high reliability in the intra-class correlation coefficient. It is recommended that further research is undertaken exploring the use of humanoid animation as a formative assessment tool in the evaluation of hip-hop dance and the evolution of hip-hop into a respected artistic athletic discipline.
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Uršej, Eva, and Petra Zaletel. "Injury Occurrence in Modern and Hip-Hop Dancers: A Systematic Literature Review." Slovenian Journal of Public Health 59, no. 3 (June 25, 2020): 195–201. http://dx.doi.org/10.2478/sjph-2020-0025.
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AbstractIntroductionDance-related injuries have become a field of great interest to researchers, with the most commonly reported injuries being those sustained by ballet dancers. However, there is a lack of research into injuries sustained by those who perform modern and hip-hop dance.MethodsA systematic literature review using the MEDLINE research database was performed and a search carried out for full-text studies that investigate injuries in modern and hip-hop dance.ResultsWhile a total of 74 hits were obtained from various searches, only nine studies were included in the systematic literature review. Six of them examined modern dancers, two examined break dancers and one examined hip-hop dancers. The results show that hip-hop dancers (and especially break dancers) sustain more injuries in comparison to modern dancers. The most common injuries are in the lower extremities, with studies revealing that overuse injuries occur in up to 71% of cases.ConclusionsThe injury incidence rate in hip-hop dance seems to be higher compared to modern dance, chiefly because of the more demanding biomechanics involved and the dance techniques employed. Prevention management can have a positive effect on the number of injuries.
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George, Susan Annie, Akash M.L, and Jesvina Vincent Parambi. "Prevalence of Musculoskeletal Pain and Fatigue Among Amateur Hip-Hop Dancers: A Cross-Sectional Study." International Journal of Science and Healthcare Research 9, no. 1 (January 23, 2024): 40–43. http://dx.doi.org/10.52403/ijshr.20240107.
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Background: Hip hop dance is one of the most physically demanding dance forms causing high incidence of pain and fatigue among amateur hip hop dancers. The pain and fatigue in turn causes them to adopt improper movement techniques and can lead to injuries which is one of the main factors that leads to short lived dance careers. Aim: The aim of this study was to find out the prevalence of musculoskeletal pain and fatigue among amateur hip hop dancers. Method: A cross sectional survey study was used. A purposive sample method composed of 103 amateur hip hop dancers between the ages of 10 to 30 years in and around Kerala. The outcome measures used were Modified Nordic Questionnaire for assessing musculoskeletal pain and Fatigue Assessment Scale for assessing the fatigue. Result: 70 people (67.9%) experienced musculoskeletal pain during the last 3 and 6 months. 34 (33%) people experienced low back pain, 25 people experienced neck pain (24.2%), 22 (21.3%) people have had pain in their wrist/hands, 18 people (17.4%) have had pain in their shoulder and ankle/feet, knee pain was felt by 17 (16.5) people. Using the fatigue assessment scale it was found out that 68 (66%) experienced moderate fatigue and 3(3%) experienced severe fatigue. Conclusion: From this study we concluded that there is a significant prevalence of musculoskeletal pain and fatigue among amateur hip hop dancers that interferes with their dance participation and makes their careers short lived. Keywords: Hip-hop dancers, Musculoskeletal pain, Fatigue, Modified Nordic Questionnaire, Fatigue Assessment Scale
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Zimányi, Gabriella, and Anita Lanszki. "The Influence of Social Media on Hip-Hop Dancers and their Classes." Tánc és Nevelés 1, no. 1 (August 17, 2020): 97–112. http://dx.doi.org/10.46819/tn.1.1.97-112.
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The popularity of social media has influenced the field of the arts including the world of hip-hop dance as well. The platforms allowed hip-hop dancers to reach entire crowds throughout the online surfaces. Choreographers and dancers became famous by their shared videos, which soon lead to the appearance of a growing number of edited, performance-like, therefore, manipulated class footages. These posts show a distorted image and unrealistic expectations regarding the purpose of taking classes. The influence of these videos has been unknown so far but it is a heated topic amongst hip-hop dancers. The relation of social media and hip-hop dance was studied through a qualitative research with participants from Budapest, London and Los Angeles (n=6). The results show that social media sometimes individually and other times regionally can be an advantage or a disadvantage both for hip-hop dancers and the classes that they take. The platforms also influence hip-hop teachers and their students mentally and physically, it effects their motivation, sponsorship and job opportunities as well.
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Prickett, Stacey. "Hip-Hop Dance Theatre in London: Legitimising an Art Form." Dance Research 31, no. 2 (November 2013): 174–90. http://dx.doi.org/10.3366/drs.2013.0075.
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Programming schedules in the West End and other prominent London venues are increasingly featuring hip-hop dance productions, marking innovative forays into the mainstream performance field by a former subcultural style. Choreography by Rennie Harris in the USA and Jonzi D, Kate Prince, Sandy ‘H20’ Kendrick and composer Michael ‘Mikey J’ Asante in London offers material through which to consider developments in the theatricalisation of hip hop culture. Discussion also centres on mass media dissemination through television talent shows, films and cultural festivals such as the Olympic Games ceremonies. Analysis of reviews by professional critics reveals how some stereotypes are disrupted as the cultural capital of hip-hop dance rises. Key themes, including the use of narrative, characterisation and the disruption of dominant gender expectations, are drawn from a Society for Dance Research Study Day on ZooNation Dance Company in 2011. *
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Damjanović, Snežana, Boris Popović, Ivana M. Milovanović, and Tijana Šćepanović. "Hip-hop from dancers’ viewpoint: Dance, lifestyle, and/or subculture?" Exercise and Quality of Life 14, no. 2 (December 11, 2022): 41–49. http://dx.doi.org/10.31382/eqol.221205.
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The paper presents the results of field research on the population of dancers – members of the hip-hop community who are “contestants” in battles. The field research was carried out in April 2022 on a sample of dancers aged 17 to 40 (N = 31). The research results indicate that the hip-hop community in Serbia is small, but that such battles in specific forms contribute to the community’s maintenance and expansion. Battles also play a significant role in the progression and expression of dancers as individuals. Dancers consider hip-hop to be not only an art form but much more, hip-hop is synonymous with a lifestyle and a “way of looking at the world” for dancers. Although the research was carried out on a small sample, it represents the author’s pioneering contribution to a deeper understanding of the hip-hop community in Serbian society. It also indicates the need to carry out compatible research in the future.
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Lewis, Lisa. "The Philippine “Hip Hop Stick Dance”." Journal of Physical Education, Recreation & Dance 83, no. 1 (January 2012): 17–32. http://dx.doi.org/10.1080/07303084.2012.10598705.
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Ojofeitimi, S., S. Bronner, and H. Woo. "Injury incidence in hip hop dance." Scandinavian Journal of Medicine & Science in Sports 22, no. 3 (August 30, 2010): 347–55. http://dx.doi.org/10.1111/j.1600-0838.2010.01173.x.
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Esaki, Kazuhiro, and Katashi Nagao. "An Efficient Immersive Self-Training System for Hip-Hop Dance Performance with Automatic Evaluation Features." Applied Sciences 14, no. 14 (July 9, 2024): 5981. http://dx.doi.org/10.3390/app14145981.
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As a significant form of physical expression, dance demands ongoing training for skill enhancement, particularly in expressiveness. However, such training often faces restrictions related to location and time. Moreover, the evaluation of dance performance tends to be subjective, which necessitates the development of effective training methods and objective evaluation techniques. In this research, we introduce a self-training system for dance that employs VR technology to create an immersive training environment that facilitates a comprehensive understanding of three-dimensional dance movements. Furthermore, the system incorporates markerless motion capture technology to accurately record dancers’ movements in real time and translate them into the VR avatar. Additionally, the use of deep learning enables multi-perspective dance performance assessment, providing feedback to users to aid their repetitive practice. To enable deep learning-based dance evaluations, we established a dataset that incorporates data from beginner-level dances along with expert evaluations of those dances. This dataset was specifically curated for practitioners in a dance studio setting by using a total of four cameras to record dances. Expert annotations were obtained from various perspectives to provide a comprehensive evaluation. This study also proposes three unique automatic evaluation models. A comparative analysis of the models, particularly contrastive learning (and autoencoder)-based expression learning and a reference-guided model (where a model dancer’s performance serves as a reference), revealed that the reference-guided model achieved superior accuracy. The proposed method was able to predict dance performance ratings with an accuracy of approximately ±1 point on a 10-point scale, compared to ratings by professional coaches. Our findings open up novel possibilities for future dance training and evaluation systems.
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SZYMANSKA, OLGA, and WOJCIECH WILINSKI. "Changes of temporospatial orientation in persons with intellectual disabilities who participate in modern dance workshops." Baltic Journal of Health and Physical Activity 12, no. 4 (December 30, 2020): 83–91. http://dx.doi.org/10.29359/bjhpa.12.4.08.
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Background: The aim of the study was to identify whether participation in a short series of modern dance (hip-hop) workshops could improve the level of temporospatial orientation in persons with moderate intellectual disabilities. Material and methods: The group consisted of 10 persons aged 14-23 (M=19.5, SD= 2.87). A quasi-experiment was prepared in a one-group plan which consisted of a series of nine modern dance workshops lasting 60 minutes each and held twice a week. The following test layout / testing regime was used: pretest–posttest to check the temporospatial orientation level of dance workshop participants before and after the workshop. A “ball run” spatial orientation test was used in the study. The test was adapted to the cognitive abilities of the subjects. Results: Student’s t-test for dependent samples showed that the mean level of temporospatial orientation in persons with moderate intellectual disabilities before their participation in nine hip-hop dance workshops (M=32.32; SD=3.98) is significantly higher than the mean level of temporospatial orientation (M=29.74; SD=5.45) after completion of workshops, t(9)=2.61; p<0.05 Conclusion: Modern dance (hip-hop) classes improve temporospatial orientation in persons with moderate intellectual disabilities.
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Dodds, Sherril. "Hip Hop Battles and Facial Intertexts." Dance Research 34, no. 1 (May 2016): 63–83. http://dx.doi.org/10.3366/drs.2016.0146.
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Hip hop dance battles are organized around a face-to-face danced exchange and, although dancers mobilize a diverse range of facial expression, scarcely any scholarly work addresses the face as a choreographic device. Several scholars, however, have noted that hip hip battles are dialogic or conversational in style, and I assert that dancers strategically employ facial expression to challenge and comment upon their opponents. In this article, I draw on the theory of intertextuality, and in particular Henry Louis Gates's concept of signifyin(g), to show how dancers deploy facial choreography as a mode of embodied articulation. Based on an ethnography of hip hop battles in Philadelphia, I examine the choreography of facial expression in four particular ways: as a strategy to signal generic particularity; to make commentary on the actions of other body parts; to create dialogic exchange between other faces at the battle event; and to reference facial intertexts from the broader popular culture.
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정지원. "Choreography with Hip-hop dance and Storytelling." Journal of Korean Dance 31, no. 1 (April 2013): 243–67. http://dx.doi.org/10.15726/jkd.2013.31.1.011.
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Setyobudi, Imam. "POLITIK IDENTITAS ANIMAL POP DANCE: Subbudaya dan Gaya Hidup Hibrid." Jurnal Sosiologi Reflektif 12, no. 1 (December 7, 2017): 55. http://dx.doi.org/10.14421/jsr.v12i1.1286.
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Post-colonial theories bear two perspectives. First, Said argues that the ideological and concrete framework of ideology and colonial knowledge stands firmly, neatly, and perfectly without any crack that remains entrenched. Bhabha argues that the building of ideology and colonial knowledge full of cracks necessitates the creative opportunity of creating hybrid traditions and cultures that are not merely extensions of the colonial army, but also not the real bumiputera: ambiguity and ambivalence.This article, tracking the identity politics that construct a subculture with a particular lifestyle through the creation of Animal Pop Dance choreography. An Indonesian hip hop which is a hybridization process of hip hop grown in the United States by Africa-America is mixed with three local Indonesian dance (Javanese, Sundanese, Papuan) traditions of animal behavior. The results show Animal Pop Dance is a hybrid tradition and culture that aspires to escape from the grip of dichotomous thinking patterns in post-colonial contexts.Teori paska-kolonial melahirkan dua perspektif. Pertama, Said berpendapat kerangka-beton ideologi dan pengetahuan kolonial berdiri kokoh, rapi, dan sempurna tanpa retakan yang masih bercokol utuh. Bhabha berpendapat bangunan ideologi dan pengetahuan kolonial penuh retakan meniscayakan peluang kreatif menciptakan tradisi dan budaya hibrid yang bukan sekadar kepanjangan tangan kolonial semata, akan tetapi juga bukanlah bumiputera yang sesungguhnya: ambiguitas dan ambivalen. Artikel ini, pelacakan terhadap politik identitas yang mengkonstruksi sebuah subbudaya dengan gaya hidup tertentu melalui penciptaan koreografi Animal Pop Dance. Suatu hip hop Indonesia yang merupakan proses hibridisasi hibrid dari hip hop yang tumbuh di Amerika Serikat oleh kalangan Africa-America dicampuradukan dengan tiga tari tradisi lokal Indonesia (Jawa, Sunda, Papua) bertema perilaku binatang. Hasil penelitian memperlihatkan Animal Pop Dance adalah tradisi dan budaya hibrid yang berhasrat melepaskan diri dari cengkeraman pola berpikir dikotomi dalam konteks paska-kolonial. Keywords: politic of identity, animal pop dance, subculture, lifestyle, hybrid
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Stewart-Reyes, Michelle Elena, Ángela Hernández Suárez, and Alejandra Romo-Araiza. "Anatomical zone where more injuries occur in four different dance styles: Hip-Hop, Classical Ballet, Contemporary dance and Irish dancing: a systematic review." Proceedings of Scientific Research Universidad Anáhuac. Multidisciplinary Journal of Healthcare 2, no. 4 (October 10, 2022): 29–41. http://dx.doi.org/10.36105/psrua.2022v2n4.04.
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Introduction: To this date there is no systematic study that reviews which anatomical zone has a higher incidence of injuries in four different dance styles: hip-hop, classical ballet, contemporary dance, and Irish dancing. Objective: Summarize and determine the incidence of injuries by anatomical zones in elite, pre-professional and professional dancers who practice one of the following dance styles: ballet, contemporary dance, hip-hop and Irish dancing. Methods: Articles were searched according to the following criteria: year of publication (between 2016 and 2022), observational and cohort studies published in English, full text available, and analysis of the incidence of injuries in the dance styles of hip-hop, classical ballet, contemporary dance, and Irish dancing. MESH terms and Boolean operators used for the search were “injury AND dancers AND incidence”. Data sources: Databases used were ProQuest, Pubmed, Google Scholar, Elsevier, Clinical Key and ScienceDirect. Results: A total of 511 records were identified, and only 19 were included for the analysis. The results of the reviewed literature revealed that the ankle was the anatomical zone with the highest incidence to suffer an injury (62.9%), overuse injuries had a higher incidence rate (63%), and the joint/ligament was the most common musculoskeletal type of injury (36.84%). Conclusion: Overall, the lower extremity had the highest injury incidence rate; even though the four different dance styles have different techniques and biomechanics, the most reported anatomical zone to suffer an injury was the ankle.
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Vukadinović, Maja S. "Subjective Time Experience, Bodily Sensations, and the Aesthetic Experience of Dance Choreographies." Tánc és Nevelés 5, no. 1 (May 5, 2024): 25–45. http://dx.doi.org/10.46819/tn.5.1.25-45.
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This study investigates the relationship between the subjective time experience and aesthetic experience, including bodily sensations, as observers view recordings of dance choreographies of contemporary and hip-hop dance. After watching each of the six different video-recorded dance choreographies, the participants (Serbian students N=122, aged between 17 and 27) rated their perception of time (i.e., duration, passage), their aesthetic experience, and bodily sensations. In regard to the duration aspect of time perception, the results indicated that the observers’ estimations of the duration of each choreography do not differ significantly from the objective duration of the observed choreography. In contrast, the results for the passage of time show that the participants perceived time as passing much faster when watching hip-hop choreographies. Specifically for hip-hop choreographies, Dynamism and Focus positively predict subjective time experience. In line with previous studies, these findings suggest that heightened focus on an aesthetic object, as well as immersion in an activity, tends to diminish awareness of the passage of time, leading to the sensation of time passing more quickly.
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WITHERS, Joseana Wendling, Sandra Baggio MUZZOLON, and Marise Bueno ZONTA. "Influence of adapted hip-hop dancing on quality of life and social participation among children/adolescents with cerebral palsy." Arquivos de Neuro-Psiquiatria 77, no. 10 (October 2019): 712–22. http://dx.doi.org/10.1590/0004-282x20190124.
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ABSTRACT To describe the influence of adapted hip-hop dancing on the quality of life (QoL) and biopsychosocial profile of children/adolescents with cerebral palsy (CP). Methods Pilot study including 18 children/adolescents with CP and Gross Motor Function Classification System levels I and II. Nine participants took part in an adapted hip-hop dance practice (study group; SG), and nine others served as the control group (CG). All participants were assessed with the Pediatric Outcomes Data Collection Instrument and the Child Behavior Checklist at baseline and after at least three months of dance practice and a public performance (SG) or a similar period without intervention (CG). Results Improvement in QoL was observed in the SG in the domains of transfer and basic mobility (p = 0.00*), sporting and physical function (p = 0.04*), and global function and symptoms (p = 0.01*). In the SG, there was a reduction in emotional and behavioral problems and an increase in social competence in the biopsychosocial profile. Greater participation in adapted hip-hop dancing was associated with a greater gain in the transfer and basic mobility domains (p = 0.05*) of the Pediatric Outcomes Data Collection Instrument and in the activities (p = 0.05*) and social (p = 0.04*) scales of the Child Behavior Checklist. Conclusions Children/adolescents with CP participating in adapted hip-hop dance practice showed improvement in QoL and biopsychosocial profile scores.
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Wood, Naomi P. "Bodily dichotomies: performing repression and freedom in brazilian feminist hip hop." Literatura e Autoritarismo, no. 2 (December 10, 2009): e8. http://dx.doi.org/10.5902/1679849x74663.
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This paper highlights the growing feminist hip hop movement in Brazil. While women have always been present in hip hop culture, this article analyzes two contemporary “texts” that illustrate the ways that current artists are using break-dance to combat gender oppression. The July, 2009 Hip Hop Mulher Forum held in São Paulo, Brazil and the 2006 Tata Amaral film Antônia provide examples of how contemporary female artists struggle to reconcile the ways that they have been socialized to perform their gender with the freedom that hip hop culture facilitates. This paper presents the “mis-performance” of gender and the possibilities for disciplined artists to improvise within a highly disciplined cultural context and artistic culture.
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Kempe, Marisa, and Thomas Heinen. "Aesthetic Perception of Stage Setups in Dance." European Journal of Sport Sciences 1, no. 4 (August 31, 2022): 29–35. http://dx.doi.org/10.24018/ejsport.2022.1.4.30.
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Dance as moving art is an adequate medium for exploring visual perception and the aesthetic value of movements. The aesthetic experience in dance movements and performances was investigated over the last two decades. Still, research on stage setups in dance is severely underrepresented despite their importance in dance choreographies. The study aimed to assess dancers (hip-hop and modern dance) and non-dancers' aesthetic evaluation of three different prototypical movements performed on five prototypical stage setups. N=27 dancers (hip-hop and modern) and non-dancers evaluated various movements performed on different stage setups on their perceived aesthetic. It was hypothesized that symmetrical stage setups and a fast movement or a movement with a wide form were generally preferred. It was furthermore expected that dancers and non-dancers, as well as dancers from different styles, differ in their aesthetic perception of stage setups and dance movements. Results revealed that the movement contract-release and the stage setup V were generally evaluated as most aesthetic. Nevertheless, while hip-hop dancers and non-dancers preferred a free stage setup as the least aesthetic, modern dancers preferred a bloc setup as the least aesthetic. It can be concluded that there is a general preference for movements comprising a large amplitude and range of motions and for stage setups that contain symmetry and a wide form. Thus, symmetry seems essential when developing stage setups in dance. This can be used as a tool trying to delight the observer as well as trying to play with contrast and convergence throughout a whole dance performance.
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Harrington, Heather. "«Get in Your Theatres; the Street is Not Yours»: The Struggle for the Character of Public Space in Tunisia." Nordic Journal of Dance 8, no. 2 (December 1, 2017): 54–69. http://dx.doi.org/10.2478/njd-2017-0012.
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Abstract How people move and appear in public spaces is a reflection of the cultural, religious and socio-political forces in a society. This article, built on an earlier work titled ’Site-Specific Dance: Women in the Middle East’ (2016), addresses the ways in which dance in a public space can support the principles of freedom of expression and gender equality in Tunisia. I explore the character of public space before, during, and after the Arab Spring uprisings. Adopting an ethnographic and phenomenological approach, I focus on the efforts of two Tunisian dancers – Bahri Ben Yahmed (a dancer, choreographer and filmmaker based in Tunis, who has trained in ballet, modern dance and hip hop) and Ahmed Guerfel (a dancer based in Gabès, who has trained in hip hop) – to examine movement in a public space to address political issues facing the society. An analysis of data obtained from Yahmed and Guerfel, including structured interviews, videos, photos, articles and e-mail correspondence, supports the argument that dance performed in public spaces is more effective in shaping the politics of the society than dance performed on the proscenium stage. Definitions and properties of everyday choreography, site and the proscenium stage are analysed, along with examples of site-specific political protest choreography in Egypt, Turkey and Tunisia. I engage with the theories of social scientist Erving Goffman, which propose that a public space can serve as a stage, where people both embody politics and can embody a protest against those politics.
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Abrianto, Chandra Okta. "HIP HOP “BERASA” JAWA (PROSES PENCIPTAAN MUSIK HIP-HOP KM 7 YOGYAKARTA)." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 1 (August 27, 2019): 44–53. http://dx.doi.org/10.33153/sorai.v12i1.2622.
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Boedi Pramono’s creativity as the creator of the Hip Hop KM 7 group is by combining Javanese traditional music with hip hop music. This paper reviews from the beginning of Boedi Pramono’s artistic career until the formation of Hip Hop KM 7. The problems that arise are (1) Revealing and explaining the formation and structure of Hip Hop KM 7’s music, (2) Explaining the creative process of Hip Hop KM 7’s music. To answer such problems, this research employs qualitative research methods by studying empiricism, trying to be able to express objectively which is more oriented towards the field of textual research, with the addition of Bambang Sunarto’s concept of the creative process in art. The creative process of art is the process of finding the constructive elements of art in regards with (1) the artist’s belief in creating the artwork, (2) the vocabulary and the artistic model, (3) the artistic concepts and (4) the artistic models, which are then used as means to create the artwork, thus answering the question. This article reveals that: firstly, the musical form presented by Hip Hop KM 7 is a digital-based music enriched with gamelan idioms and in general Javanese traditional music. Here, the musical structure is divided into two musical impressions, namely the West and the Traditional music. Secondly, Boedi Pramono with his musical creativity formed Hip Hop KM 7 from a thickly artistic environment and later included the traditional element and further the traditional dance to the hip hop music.Keywords: Hip-hop Jawa, Hip-hop Km 7, Hip hop Yogyakarta.
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Morgan, Marcyliena, and Dionne Bennett. "Hip-Hop & the Global Imprint of a Black Cultural Form." Daedalus 140, no. 2 (April 2011): 176–96. http://dx.doi.org/10.1162/daed_a_00086.
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Hip-hop, created by black and Latino youth in the mid-1970s on the East Coast of the United States, is now represented throughout the world. The form's core elements – rapping, deejaying, breaking (dance), and graffiti art – now join an ever-growing and diversifying range of artistic, cultural, intellectual, political, and social practices, products, and performances. The artistic achievements of hip-hop represent a remarkable contribution to world culture; however, the “hip-hop nation” has created not just art and entertainment, but art with the vision and message of changing the world – locally, nationally, and globally. International representations of hip-hop capture and reinterpret hip-hop's history by incorporating local as well as African American aesthetic, cultural, social, and political models. This essay examines the global movement of the hip-hop nation and its artistic incorporation into global youth culture. It considers how that movement is both a social and political process that integrates symbols of African American culture and political struggle.
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Zhang, Cenyan. "A Study of Subculture Based on Online Communication from the Perspective of Carnival Theory: Taking Hip-Hop Culture as an Example." Communications in Humanities Research 6, no. 1 (September 14, 2023): 371–77. http://dx.doi.org/10.54254/2753-7064/6/20230309.
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As a kind of subculture that is relatively popular among young people, hip-hop culture has been developing well in the past few years with the power of internet communication. Hip-hop culture includes street dance, rap, DJ and graffiti, and has a very rebellious spirit that advocates a free and equal relationship. As for China, hip-hop culture, as an imported product, was once excluded from the mainstream system and had been growing wildly "underground" for a long time. However, in recent years, along with the broadcast of some variety shows, hip-hop culture has been presented in the discourse system of mass media based on online communication, which has attracted widespread attention. The essay includes four parts. The first part starts from the respective concepts of hip-hop culture, subculture, and rave concept, and explains their definition and the process of development respectively. The second part explains the connotation and development of hip-hop culture and subculture from the perspective of rave theory. The third part describes how the online medium has influenced cultural communication. The last part describes the process of localization and transformation of hip-hop culture in China and its current development.
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Garcés Montoya, Ángela, Paula Andrea Tamayo, and José David Medina Holguín. "Como Un Tatuaje... Identidad y Territorios en la Cultura Hip Hop de Medellín." Educación Física y Deporte 25, no. 2 (November 29, 2009): 11–25. http://dx.doi.org/10.17533/udea.efyd.3088.
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El texto es una lectura descriptiva y reflexiva de la Cultura Hip Hop de la ciudad de Medellín, donde se indaga por el papel de los discursos de resistencia juvenil que logran los hoppers gracias a las diversas e imaginarias identidades narrativas, vinculadas a los cuatro elementos o expresiones constitutivas del Hip Hop: dee jay, graffiti, break dance, rap o mcing, entendidos como medios de comunicación que le permite a la Cultura Hip Hop confrontar los discursos hege- mónicos, especialmente los discursos publicitarios que consideran a la juventud como población inclinada al consumo irracional y compulsivo.
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Santos, David Freitas dos, and Nathália Mota Epifânio. "A CULTURA HIP-HOP COMO DISPOSITIVO PARA UMA EDUCAÇÃO NÃO-FORMAL, EMANCIPATÓRIA E LIBERTADORA." Revista de Estudos Interdisciplinares 6, no. 2 (June 19, 2024): 01–18. http://dx.doi.org/10.56579/rei.v6i2.1327.
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O Hip-Hop, como movimento híbrido cultural, transcende fronteiras e desafia estruturas sociais, políticas e culturais. Suas expressões artísticas, como grafite, “break dance”, “MC” e “DJ”, constituem um discurso produtivo que reflete sobre temas como urbanidade, negritude e resistência. Portanto, objetivou-se investigar, através de uma pesquisa bibliográfica, o potencial do movimento cultural do Hip-Hop como dispositivo para uma educação emancipatória e libertadora, realizada de maneira não-formal. Os principais resultados evidenciam que por meio do Hip-Hop, os educadores podem explorar temas relevantes à realidade dos educandos de forma interdisciplinar e contextualizada com a vivência do educando, promovendo uma educação mais inclusiva e emancipatória. Entretanto, poucos são os estudos que se apropriam do Hip-Hop como ferramenta didática. Ao reconhecer o potencial pedagógico do Hip-Hop, especialmente em contextos escolares diversificados, abre-se espaço para uma reflexão crítica sobre poder, identidade e transformação social, contribuindo para a construção de uma sociedade mais justa e democrática.
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de Paor-Evans, Adam. "The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture." Arts 7, no. 4 (November 16, 2018): 80. http://dx.doi.org/10.3390/arts7040080.
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Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.
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KUZMENKO, Marianna Viktorovna, and Vera Borisovna BOLDYREVA. "DEVELOPMENT OF PSYCHOMOTOR SKILLS OF TEENAGERS USING BREAKDANCE." Tambov University Review. Series: Humanities, no. 177 (2018): 129–36. http://dx.doi.org/10.20310/1810-0201-2019-24-179-129-136.
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Choreography in sports has long been established as a means of specialized training of athletes, helping to make the composition more vivid, original, expressive, spectacular. The term “choreography” generalizes both the art of dance creation and all kinds of dance and mimic art. Among the many forms of aesthetic education of the younger generation, choreography occupies a special place. Dance classes teach not only to understand and create beauty, they develop creative thinking and imagination, give a harmonious plastic development. At present, with the appearance and development of fitness in our country and abroad, a large number of modern dance trends have emerged that attract teenagers. One of such trends is hip-hop. Hip-hop dancing is a unifying term for several dance styles and directions. Most of the coaches we interviewed note that teenage female gymnasts are not very enthusiastic about classical choreography classes, and this in turn is confirmed by the opinion of the female gymnasts themselves. As well as 90 % of our coaches and choreographers do not deny the fact that the use of dance elements in the style of hip-hop in the choreographic training of young female gymnasts, will significantly increase interest in choreography and expand the volume of their motor skills. Adolescence is usually characterized as a “critical period of childhood”. Adolescents are characterized by increased criticality, and in this regard, there may be a sense of anxiety, increased excitability, reduced self-esteem. It becomes extremely important to stand out from the crowd, to express their individuality and the most common way to do this is in different types of modern dance.
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Bonny, Justin W., Jenna C. Lindberg, and Marc C. Pacampara. "Hip Hop Dance Experience Linked to Sociocognitive Ability." PLOS ONE 12, no. 2 (February 1, 2017): e0169947. http://dx.doi.org/10.1371/journal.pone.0169947.
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Alves, Flávio Soares, and Yara Aparecida Couto. "Reflexões sobre dança na educação física escolar." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 4, no. 3 (December 18, 2020): 311–20. http://dx.doi.org/10.29181/2594-6463-2020-v4-n3-p311-320.
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Resumo Esse ensaio debate alguns desacertos envolvendo a dança na Educação Física Escolar. Para tanto, parte de uma experiência didática envolvendo o ensino das danças no contexto do Mestrado Profissional (ProEF). Neste contexto de partida, recolocam-se questões acerca da dimensão educativa atribuída à dança na escola, o que exige a busca de compreensões mais amplas acerca da dança – aqui instaladas a partir do enfoque da Dança Criativa e dos estudos Labanianos – bem como, a afirmação de uma aposta – aqui apoiada na dança da cultura Hip-hop – que, enquanto tal, oportunize sempre de modo reflexivo, crítico e situado, a mobilização de maiores relações de sentido no encontro entre estudantes, a dança e a Educação Física Escolar.Palavras-chave: Ensino. Dança. Mestrado Profissional. Educação Física Escolar. Reflections about dance in scholar physical education Abstract This essay debates some mistakes involving dance in the Scholar Physical Education. For this, it starts from a didactic experience involving the teaching of dances in the Professional Master´s context (ProEF). In this context of departure, questions are raised about the education dimension attributed to dance at school, which requires the search for broader understandings about dance – installed here from the Creative Dance focus and Labanian studies – as well as the affirmation of a bet – supported here in the dance of Hip-hop culture – that, as such, makes possible in a reflective, critical and situated way, to the mobilization of greater relations of meaning in the meeting between students, dance and Scholar Physical Education.Keywords: Teaching. Dance. Professional Master. Scholar Physical Education. Reflexiones sobre la danza en la educación física escolar Resumen Este ensayo debate sobre algunos desaciertos relacionados com la danza en la Educación Física Escolar. Para tanto, se parte de uma experiencia didáctica que implica la enseñanza de danzas en el contexto del Máster Profesional (ProEF). En este contexto de partida, se plantean interrogantes sobre la dimensión educativa atribuída a la danza en la escuela, que requiere la búsqueda: de entendimientos más amplios sobre la danza – instalados aqui desde el enfoque de la Danza Creativa y los estudios Labanianos – así como la afirmación de uma apuesta – apoyada aqui en la danza de la cultura Hip-hop – que, como tal, aprovecha siempre de manera reflexiva, crítica y situada, la movilización de mayores relaciones de sentido en el encuentro entre los estudiantes, la danza y la Educación Física Escolar.Palabras clave: Enseñanza. Danza. Máster Profesional. Educación Física Escolar.
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Alves, Flávio Soares, and Yara Aparecida Couto. "Reflexões sobre dança na educação física escolar." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 4, no. 3 (December 18, 2020): 311. http://dx.doi.org/10.29181/2594-6463.2020.v4.n3.p311-320.
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ResumoEsse ensaio debate alguns desacertos envolvendo a dança na Educação Física Escolar. Para tanto, parte de uma experiência didática envolvendo o ensino das danças no contexto do Mestrado Profissional (ProEF). Neste contexto de partida, recolocam-se questões acerca da dimensão educativa atribuída à dança na escola, o que exige a busca de compreensões mais amplas acerca da dança – aqui instaladas a partir do enfoque da Dança Criativa e dos estudos Labanianos – bem como, a afirmação de uma aposta – aqui apoiada na dança da cultura Hip-hop – que, enquanto tal, oportunize sempre de modo reflexivo, crítico e situado, a mobilização de maiores relações de sentido no encontro entre estudantes, a dança e a Educação Física Escolar.Palavras-chave: Ensino. Dança. Mestrado Profissional. Educação Física Escolar.Reflections about dance in scholar physical educationAbstractThis essay debates some mistakes involving dance in the Scholar Physical Education. For this, it starts from a didactic experience involving the teaching of dances in the Professional Master´s context (ProEF). In this context of departure, questions are raised about the education dimension attributed to dance at school, which requires the search for broader understandings about dance – installed here from the Creative Dance focus and Labanian studies – as well as the affirmation of a bet – supported here in the dance of Hip-hop culture – that, as such, makes possible in a reflective, critical and situated way, to the mobilization of greater relations of meaning in the meeting between students, dance and Scholar Physical Education.Keywords: Teaching. Dance. Professional Master. Scholar Physical EducationReflexiones sobre la danza en la educación física escolarResumenEste ensayo debate sobre algunos desaciertos relacionados com la danza en la Educación Física Escolar. Para tanto, se parte de uma experiencia didáctica que implica la enseñanza de danzas en el contexto del Máster Profesional (ProEF). En este contexto de partida, se plantean interrogantes sobre la dimensión educativa atribuída a la danza en la escuela, que requiere la búsqueda: de entendimientos más amplios sobre la danza – instalados aqui desde el enfoque de la Danza Creativa y los estudios Labanianos – así como la afirmación de uma apuesta – apoyada aqui en la danza de la cultura Hip-hop – que, como tal, aprovecha siempre de manera reflexiva, crítica y situada, la movilización de mayores relaciones de sentido en el encuentro entre los estudiantes, la danza y la Educación Física Escolar.Palabras clave: Enseñanza. Danza. Máster Profesional. Educación Física Escolar.
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Marini, Sarwindah, Yurindra, Kiswanto, and Anthonia Julia Cancera. "Website Administrasi Dance Sanggar Senam Dengan Model FAST." JURNAL FASILKOM 12, no. 1 (May 1, 2022): 8–13. http://dx.doi.org/10.37859/jf.v12i1.3527.
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Modern dance or dance today, is developing very quickly along with the times. Modern Dance originated in Europe, in 1930. The United States became the center of Modern Dance for experimentation. Modern Dance has several types of movements such as: Break Dance, Hip - Hop Dance, Popping Dance, Locking Dance, Ballroom Dance, and Shuffle Dance. These types of dances are different but after being performed, they are almost the same. Although the movements created have no explanation when expressed, many people like the movement. Dance Dances which are trending among young people are much liked by the public. At the sportsman level, there is a big influence in Indonesia. One of the popular enthusiasts in the community such as Modern Dance. The problems that often occur in Modern Dance are many people, namely information about how the lack of promotion so that many people do not know information about Dance. So we need a website to create a Dance information system. The goal is to facilitate the promotion of dance information. In developing this Dance information system website, it is necessary to analyze and design a website using the UML concept, Database Design with MySql. The result to be achieved is to implement a Dance Information System Website
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Vasil, Martina. "Hip-Hop and Haring: Pop Culture and Interdisciplinary Learning for the General Music Classroom." General Music Today 34, no. 1 (February 6, 2020): 6–13. http://dx.doi.org/10.1177/1048371320901541.
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Teachers are searching for accessible, relevant, and engaging lessons for students as elementary classrooms grow more diverse and high-stakes testing constrict curricula and recess time. General music teachers may consider implementing lessons that blend popular culture with collaborative, interdisciplinary projects. Artist Keith Haring was inspired by 1980s hip-hop music and drew break dancing figures in much of his artwork. Both Haring’s artwork and hip-hop culture have broad appeal and are accessible to students. The purpose of this article is to share an exploratory series of lessons that used hip-hop music and dance in conjunction with the artwork of Haring. The author provides a brief background on 1980s hip-hop music and break dancing and the artwork of Haring, then delves into the details of the collaborative art and music project completed with grades K–5. Tips for bringing popular culture into the general music classroom are offered.
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Tjukov, Olga, Tobias Engeroff, Lutz Vogt, Winfried Banzer, and Daniel Niederer. "Injury Profile of Hip-Hop Dancers." Journal of Dance Medicine & Science 24, no. 2 (June 15, 2020): 66–72. http://dx.doi.org/10.12678/1089-313x.24.2.66.
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This study assessed the injury incidence, mechanisms, and associated potential risk factors for hip-hop, popping, locking, house, and breaking dance styles. Data were collected from June to November 2015. The retrospective cohort study included 146 dancers (female: N = 67; age = 20 ± 4.2 years; males: N = 79; age = 22.9 ± 5.8 years) who completed a questionnaire that collected data concerning training hours, injuries, self-reported injury causes, treatment, and recovery time over the last 5 years. For the last 5 years, 52% (N = 76) of the dancers reported 159 injuries and, in the year prior to the survey, 31.5% (N = 46) reported a total of 75 injuries. Overall, 0.61 injuries (5 years) and 1.156 injuries (1 year) per 1,000 hours exposure time occurred. For breaking, 1.286 injuries (5 years) and 2.456 injuries (1 year) per 1,000 hours exposure time were calculated, while the other dance styles accumulatively reached 0.151 injuries (5 years) and 0.318 injuries (1 year) per 1,000 hours of exposure time. Breakers reported most injuries at the upper extremities, followed by the lower extremities, trunk, and head and neck region. Most injuries in hip-hop occurred at the lower extremities, mainly affecting the knees, followed by groin and ankle. Injuries experienced by popping and locking dancers only involved the lower extremities. In house, the lower extremities were affected most frequently, followed by the trunk. A total of 65.3% of the dancers experienced time loss, with a duration of 12.7 ± 21.3 weeks. Breakers experience significantly more injuries than dancers of the other styles. Injury risk among dancers of all the styles studied can be considered low compared to soccer players, swimmers, and long-distance runners.
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Setyawati, Naris Eka. "HIP HOP AS A REFLECTION OF AMERICAN VALUES: A SEMIOTICS ANALYSIS ON SAVE THE LAST DANCE AND STEP UP MOVIES." Rubikon : Journal of Transnational American Studies 3, no. 2 (July 18, 2019): 29. http://dx.doi.org/10.22146/rubikon.v3i2.34268.
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This study examines seven movies that are based on characters created by Duane Adler. They are two Save the Last Dance and five Step Up movies. This discussion is a library research which is conducted within the framework of American Studies approach under the scope of history, social, and culture. This research uses Barthes’ semiotics theory on myth to analyze the depiction of American phenomena in the movies.The objectives of this study are to examine the portrayal of Hip Hop in United States of America and to analyze the reflection of American values through movies. The discussions on the topic reveal that Hip Hop becomes the source for movies’ narratives. It is manifested in hip hop related scenes of the movies. They portray signs of rebellion and juvenile delinquency in the first order-semiological system. These portrayals reflect American values of rebellion and freedom. Moreover, life struggle and American belief in the land of opportunity play the signs in Barthes’ second order-semiological system. The American values reflected through the discussions are competitiveness, hard work, determined, optimism, and materialism.Keywords: Hip Hop, hip hop, popular culture, semiotics, American values
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Cardozo, Elloit. "‘The Sagacity of Words’." Exchanges: The Interdisciplinary Research Journal 8, no. 3 (May 6, 2021): 1–12. http://dx.doi.org/10.31273/eirj.v8i3.652.
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Best known for his ideas of ahimsa and satyagraha, Mohandas Karamchand Gandhi was a prominent figure in the Indian freedom movement. Even today, he is highly revered for his philosophy of non-violence which was also an integral part of India’s freedom struggle. Gandhi was responsible for making non-violent protests an important part of the movement. Now famous as a global expressive culture including forms of dance and music, Hip Hop, too, was conceived as a reaction to the violence that pervaded the gang culture of the late-1960s to early-1970s in The Bronx, New York City. Drawing from this thread of similarity, this article fleshes out parallels between the ideas of Gandhi and Hip Hop culture. Divided into three sections, it begins by establishing the cultural linkages between Gandhi, the Gandhian foundations of Hip Hop, and marking out the rationale of the study. The following section goes on to discuss the intertwining strings between Gandhi’s perceptions of knowledge and the significance of knowledge in Hip Hop culture. Finally, the third section discusses references to and representations of Gandhi in selected works of 21st century Hip Hop. In doing so, the article posits that Gandhism and Hip Hop culture belong to a similar lineage of ideas, if not the same one.
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Prickett, Stacey. "Defying Britain's Tick-Box Culture: Kathak in Dialogue with Hip-Hop." Dance Research 30, no. 2 (November 2012): 169–85. http://dx.doi.org/10.3366/drs.2012.0045.
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With questions of identity and multiculturalism remaining at the centre of debates in the press, political and academia arenas, a dance production tackles these issues head on in a surprisingly humorous and accessible way. Birmingham-based Sonia Sabri Company's Kathakbox is a collaborative production exploring the theme of ‘ticking boxes’ which sets out to challenge preconceptions about identity. Four specialists in kathak, hip-hop, African Caribbean and contemporary dance are joined by three musician-vocalists who eschew instruments, utilising their voices and bodies to create a vibrant rhythmic score influenced by a cosmopolitan mix of styles. Aesthetic and ideological meeting points occur onstage in the critically praised hour-long show, while counter-hegemonic possibilities emerge in associated workshops. The article explores how the narrative potential of kathak opens the way for Muslim women participants to delve into movement possibilities and improvisational potential of both the South Asian dance form and hip-hop.
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Setyobudi, Imam. "POLITIK IDENTITAS ANIMAL POP DANCE: SUBBUDAYA DAN GAYA HIDUP HIBRID." Jurnal Sosiologi Reflektif 12, no. 1 (December 7, 2017): 55. http://dx.doi.org/10.14421/jsr.v11i2.1286.
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Post-colonial theories bear two perspectives. First, Said argues that the ideological and concrete framework of ideology and colonial knowledge stands firmly, neatly, and perfectly without any crack that remains entrenched. Bhabha argues that the building of ideology and colonial knowledge full of cracks necessitates the creative opportunity of creating hybrid traditions and cultures that are not merely extensions of the colonial army, but also not the real bumiputera: ambiguity and ambivalence.This article, tracking the identity politics that construct a subculture with a particular lifestyle through the creation of Animal Pop Dance choreography. An Indonesian hip hop which is a hybridization process of hip hop grown in the United States by Africa-America is mixed with three local Indonesian dance (Javanese, Sundanese, Papuan) traditions of animal behavior. The results show Animal Pop Dance is a hybrid tradition and culture that aspires to escape from the grip of dichotomous thinking patterns in post-colonial contexts.
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Mironova, Marina V. "THE TERM SYSTEM OF HIP-HOP DANCE IN FRENCH." Bulletin of the Moscow State Regional University (Linguistics), no. 5 (2020): 43–57. http://dx.doi.org/10.18384/2310-712x-2020-5-43-57.
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Engel, Lis. "BODY POETICS OF HIP HOP DANCE STYLES IN COPENHAGEN." Dance Chronicle 24, no. 3 (November 30, 2001): 351–72. http://dx.doi.org/10.1081/dnc-100108563.
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Ramadhan, Luthfadery. "AMERICAN SUBCULTURE: AN IDENTITY TRANSFORMATION OF HIP HOP." Rubikon : Journal of Transnational American Studies 10, no. 2 (October 29, 2023): 190. http://dx.doi.org/10.22146/rubikon.v10i2.87302.
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Hip-hop has become a global phenomenon, transcending cultural boundaries and influencing artists and communities worldwide. It came from the Black community’s idea of creativity concerning their lifestyle and how they dress—starting from their youth’s energy of creativity to represent their community identity in a larger dominant culture of the US. It transforms the identity of the Black people community into a hip-hop subculture. Through literature analysis, the process of breaking all the challenges and contradictions from the mainstream culture is explained in this paper. Moreover, Burke’s social identity theory and identity theory are utilized in this research. Identity transformation of hip hop to a subculture cannot be separated from its core elements, i.e., music with its poetic and rhyme wordings, unique fashion to emphasize their presence in society, dance as the platform of freedom activity, and language as the tool to convey their identity. These elements are the core of hip-hop in forming self-identities and collective identity, as well as providing a platform for self-expression, storytelling, and cultural exchange.