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Journal articles on the topic 'Hip-hop dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Jubb, Caroline, Leann Bell, Sonja Cimelli, and Roger Wolman. "Injury Patterns in Hip Hop Dancers." Journal of Dance Medicine & Science 23, no. 4 (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

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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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Nur Amin, Takiyah. "Demystifying Hip Hop Dance?" Dance Chronicle 33, no. 3 (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 (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 (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

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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 (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 ref

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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 (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’,

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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 (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 displacement

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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 (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 a

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Koutsougera, Natalia A. "“Out in the Streets”." Meridians 22, no. 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 o

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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 (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 a

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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 (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 tr

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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 (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 litera

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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 (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 y

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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 (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 dancer

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Prickett, Stacey. "Hip-Hop Dance Theatre in London: Legitimising an Art Form." Dance Research 31, no. 2 (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 cer

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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 (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 synonym

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Lewis, Lisa. "The Philippine “Hip Hop Stick Dance”." Journal of Physical Education, Recreation & Dance 83, no. 1 (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 (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 (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

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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 (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

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Dodds, Sherril. "Hip Hop Battles and Facial Intertexts." Dance Research 34, no. 1 (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

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정지원. "Choreography with Hip-hop dance and Storytelling." Journal of Korean Dance 31, no. 1 (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 (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

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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 (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 s

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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 (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 o

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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 (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

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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-performanc

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Kempe, Marisa, and Thomas Heinen. "Aesthetic Perception of Stage Setups in Dance." European Journal of Sport Sciences 1, no. 4 (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

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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 (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,

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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 (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 tex

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Morgan, Marcyliena, and Dionne Bennett. "Hip-Hop & the Global Imprint of a Black Cultural Form." Daedalus 140, no. 2 (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 – loca

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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 (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

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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 (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 irraciona

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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 (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

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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 (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-

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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 i

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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 (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 (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 reflex

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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 (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 reflexi

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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 (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 t

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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 (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

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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 (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

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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 (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 t

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Cardozo, Elloit. "‘The Sagacity of Words’." Exchanges: The Interdisciplinary Research Journal 8, no. 3 (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 t

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Prickett, Stacey. "Defying Britain's Tick-Box Culture: Kathak in Dialogue with Hip-Hop." Dance Research 30, no. 2 (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 rhyth

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Setyobudi, Imam. "POLITIK IDENTITAS ANIMAL POP DANCE: SUBBUDAYA DAN GAYA HIDUP HIBRID." Jurnal Sosiologi Reflektif 12, no. 1 (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

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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 (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 (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

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