Relevant bibliographies by topics / Improvisation in dance

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Improvisation in dance'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Improvisation in dance"

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Han, Jihee. "Analysis of ‘Experience’ of Contact Improvisation through Dewey’s ‘Stuation’." Korean Society of Culture and Convergence 45, no. 7 (July 31, 2023): 757–67. http://dx.doi.org/10.33645/cnc.2023.07.45.07.757.

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The purpose of this paper is to show that contact improvisation is a vivid artistic presentation of what J. Dewey calls ‘experience’ by applying his concept of ‘situation’. Dewey's ‘situation’ is, first, a ‘recognized environment’ in which thoughts originate, second, ‘interaction’ between humans and people, things, etc around them takes place, and third, it is an unstable and dynamic field where problems occur and at the same time, problems are solved. The meaning of contact improvisation analyzed through this 'situation' is as follows. First, contact improvisation is a dance that the dancer immediately executes by focusing on the situation here and ‘thinking about the present’. Second, the dancer of improvisation dance communicates with his partner in order to connect with his or her movement. Third, the problem situation is solved by the dancer maintaining contact with the opponent and continuing the improvisation movement, resulting in ‘aesthetic experience’. In the above contact improvisation, the dancer's intellectually, emotionally, and practically integrated and completed dance corresponds to Dewey's ‘an experience’, an ideal form of aesthetic experience.
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Hermans, Carolien. "Oceanic feeling: Towards a fluid philosophy of moving bodies." Journal of Dance & Somatic Practices 13, no. 1 (December 1, 2021): 133–43. http://dx.doi.org/10.1386/jdsp_00042_1.

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In this article, I use Romain Rolland’s oceanic feeling as an entrance point to explore the transformative nature of dance improvisation. Oceanic feeling includes both a feeling of dissolution of the boundaries of the self and a feeling of unity, embracement and openness. The feeling of interconnectedness, with living and non-living entities, indeed with the cosmic world as such, is a vital force in dance improvisational practice. Dance improvisation is deeply relational: it is concerned with contact, with touching-the-world as well as being-touched-by-the-world. Through the synchronization of our moving bodies with others and the world, we feel a sense of connection, of parts that merge (temporarily) into wholes. In this article, I will elaborate further on Rolland’s notion of oceanic feeling and its relevance for dance improvisation. I suggest a fluid philosophy of moving bodies that is informed by eastern philosophy and poststructuralist theory.
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Carter, Curtis L. "Improvisation in Dance." Journal of Aesthetics and Art Criticism 58, no. 2 (2000): 181. http://dx.doi.org/10.2307/432097.

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CARTER, CURTIS L. "Improvisation in Dance." Journal of Aesthetics and Art Criticism 58, no. 2 (March 1, 2000): 181–90. http://dx.doi.org/10.1111/1540-6245.jaac58.2.0181.

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Шерегова, В., О. Бакланова, and К. Галимова. ""PROBLEMS AND METHODS OF DEVELOPMENT OF IMPROVISATION IN MODERN DANCE"." EurasianUnionScientists 1, no. 1(82) (February 15, 2021): 4–8. http://dx.doi.org/10.31618/esu.2413-9335.2021.1.82.1191.

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Improvisation in art can be perceived in different ways. There is an opinion that improvisation is a instantly reproducible finished work of creativity, which is characterized, among other things, by imagination and a state of creative search. With regard to the art of dance, improvisation has its own characteristics. We share the opinion that dance improvisation can be viewed as the performer's ability to independently create a dance directly in the process of its performance, guided by his dance temperament, subjective perception of music, character and sequence of actions. Dance improvisation is a special type of choreographic creativity, in which the composition takes place directly in the process of performance. Improvisation is inherent in the nature of dance art; dance itself was originally born from improvisation. There is an opinion that the main characteristic of improvisation in all types of art is freedom, which manifests itself in changing the standard based on the acquired experience. But the paradox is that, breaking away from the established standard, passing through chaos, freedom again leads to the establishment of order.
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Zheng, Yufei. "The Role of "Space Cutting" in Improvisation." Region - Educational Research and Reviews 3, no. 3 (October 2, 2021): 31. http://dx.doi.org/10.32629/rerr.v3i3.435.

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In this research, the improvisational dance creation was explored from the direction of choreography practice. In the study of improvisation, it is meaningless to have an idea without examples. Choreography is used to study this theme because through the practical study of dancers, the survey results can be obtained more intuitively, accurately, and in detail. Therefore, the article will focus on the practical research of the method of space design to stimulate the dancer's "vitality effect", and explore the role of this method in improvisational dance.
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Acton, Kelsie. "Stepping back: Reflecting on accessibility in integrated dance improvisation." Canadian Journal of Disability Studies 10, no. 2 (October 8, 2021): 68–92. http://dx.doi.org/10.15353/cjds.v10i2.791.

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Finding more accessible ways to train, create, perform and work is a major concern of researchers and practitioners (Ajula & Redding, 2013, 2014) of integrated and disability dance. In the spring of 2017 eight dancer/researchers from CRIPSiE, an integrated, disability and crip dance company located in Edmonton, came together to investigate their practices of timing through a participatory performance creation process. Participatory performance creation values researcher reflexivity (Heron & Reason, 1997). In this paper I reflect on the way that collaboratively building an improvisation score, a series of tasks and prompts that the dancer/researchers responded to (Gere, 2003), created inaccessibility for one of the dancers/researchers, Robert. At the time I assumed that improvisation itself was inaccessible. Upon reflecting I realized that the improvisation was accessible and that Robert was improvising in ways valued by both the integrated improvisation literature and the other dancers/researchers.
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Yessirkepova, Sh T. "MUSICAL COMPILATION OF ADAGIO'S WORKS AND THEIR IMPROVISATION TO ACCOMPANY THE DUETCLASSICAL DANCE LESSONS." ARTS ACADEMY 8, no. 4 (December 2023): 5–19. http://dx.doi.org/10.56032/2523-4684.2023.4.8.5.

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The presented article discusses the correct choice of Adagio compositions for accompaniment from a duet-classical dance lesson and their improvisation, from what points improvisation comes and the main elements of their correct use. In the process of 7 accompanying a duet-classical dance lesson, it is shown how to musically correctly compose an adagio, how they arise and many examples in this regard. Currently, the question of choosing the right duet-Adagio in classical dance lessons-is a very relevant, complex process. For this purpose, these methodological demonstrations are aimed at young professionals and those who have little experience. These data were taken from my own experience and from articles and books of Russian pianists, teachers and accompanists. At the end of the article, musical comparative improvisational examples and tricks from my own personal experience from classical dance lessons are given.
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Kariasa Putra, I. Komang, Tjokorda Udiana Nindhia Pemayun, and Gede Yosef Tjokropramono. "Sanghyang Dedari Dance as a Painting Creation Idea." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 2 (October 24, 2022): 87–91. http://dx.doi.org/10.59997/citakara.v2i2.1849.

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Balinese dance is a variety of dances originating from the island of Bali. Balinese dance does not always depend on the storyline. The main goal of Balinese dancers is to dance each stage of movement and sequence with full expression. Sang Hyang Dedari dance is a Balinese dance that is used as a religious tool. Balinese people still believe that when girls aged 9-12 years dance this dance, they will be possessed by the holy spirit of an angel. Usually, the Sang Hyang Dedari Dance is played or danced before the rice harvest around April to resist disease outbreaks, and this dance has been designated as an endangered cultural heritage. By taking the theme of Sanghyang Dedari Dance, it is hoped that it can represent ideas in the creation of painting. The writer's interest in this dance is because this dance is very sacred and unique because starting from the headdress and the clothes used are very simple, and the flowers used are also colorful and easy to get and so that the younger generation in particular to know and preserve Balinese culture, that in some areas still do this tradition. At the visualization stage, the author emphasizes the decorative flow. In addition, it also uses the method of creation, namely Exploration, Improvisation, Formation, and Final Completion. And through these stages, 6 works were created entitled: 1) "Sanghyang Dedari Dance", 2) "Ngukup", 3) "Dancer Possessed by Sanghyang Dedari", 4) "Sanghyang Dedari Dancer", 5) "Aci Bethara Sri", 6 )"Rolling". In the end, a work was created which was appointed to the title "Sanghyang Dedari Dance as an Idea for Painting Creation". The author hopes that the Balinese people are more familiar with the Sanghyang Dedari Dance.
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Ailamazjan, Aida M. "Free dance as a cultural-historical practice of improvisation." National Psychological Journal 41, no. 1 (2021): 175–92. http://dx.doi.org/10.11621/npj.2021.0114.

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Background. Plastic, expressive aspects of human behaviour remain underresearched by psychologists. The focus on practices of improvisation is determined by the fact that they show most vividly how expressive movement comes into being. Objective. The aim of the study is to provide psychological analysis of improvised dance action, to identify the conditions of its generation. The hypothesis put forward concerns the formation of overall personal attitude that makes one ready to perform expressive movement in the context of musical-motional improvisation. It seems probable that the principles of movement organisation within free dance practices concern the formation of attitude that lets one perceive spontaneous, involuntary impulses to movement, changes of tonus and breath. Design. The study is a piece of theoretic-psychological analysis of improvisation dance practice. In terms of methodological and theoretical basis the study relies on cultural-historical psychology and theory of action, as well as on N.A. Bernstein’s conception of movement building. There theories allow to reconstruct the conditions of expressive movement generation in the context of musical-motional improvisation. Results. The analysis performed has shown that the principles of movement organisation, the technical aspects of the practices studied are aimed at increasing the degree of freedom of movement. It allows to enhance the receptivity to spontaneous reactions and impulses and to widen the orientation within the context of musical-motional improvisation. It makes one move in a more meaningful way and to integrate the personality into improvisation. Conclusions. Alongside with the practices of structured dances and reproductive approaches to mastering expressive movement, there are cultural-historical practices of improvisation dances. The analysis of such practices allows to single out psychological conditions and and peculiarities of movement organisation that make one generate spontaneous actions, find and try new objectives, plastic forms. Generation of spontaneous movement and musical-plastic improvisation are possible due to tuning up the whole human personality. Openness as personal attitude has its meaningful as well as motional component.
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Dissertations / Theses on the topic "Improvisation in dance"

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Thorndike, Ashley P. "Articulating Dance Improvisation: Knowledge Practices in the College Dance Studio." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275069682.

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McLeod, Shaun, and shaun mcleod@deakin edu au. "Chamber: Dance improvisation, masculine embodiment and subjectivity." Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.114658.

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Parrish, Mila. "Discover dance CD-ROM for dance education : digital improvisation and interactive multimedia /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203857248275.

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Sears, Linda R. (Linda Roseanne). "Women and Improvisation: Transgression, Transformation and Transcendence." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935798/.

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This feminist study examines women's use of improvisation in discovering, creating, and articulating various self-identities. To create a theory of identity formation, two feminist theoretical position, essentialism and poststructuralism, are analyzed and merged. This hybrid theory addresses the interplay between the self and society that women must recognize in order to form satisfying identities. Improvisational practices, involving bodily awareness and movement, are demonstrated to have the potential for helping women to actualize themselves in these various identities. For this study, the writer uses her experience as an improviser and interviews three women who use improvisation in their choreographic processes. She also discusses performers whom she has seen and performers about whom feminist performance critics have written. This study examines improvisation in dance and performance art from a feminist perspective. I clarify what improvisation entails and, by doing so, illustrate how improvisational movement in dance and performance art can enhance the lives of women as viewers and performers. Through exploring improvisation from this feminist perspective, I demonstrate the psychological insights I have gained from practicing improvisation and document performances that have been improvisationally inspired by women who feel dissatisfied with the manner in which this society shapes and limits their identities.
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Łucznik, Klara. "Shared creativity and flow in dance improvisation practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11608.

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This thesis investigated shared creative processes and the role of flow experience in group dance improvisation. A literature review suggested that dancers associate high-quality performance with 'being in the flow', and that group flow is a peak experience when a group is performing at its highest level. The first study explored the role of flow in dance creative practice and improvisation through qualitative content analysis of individual interviews with six dancers. Absorption with activity and enjoyment were themes in dancers' reports of flow. Group improvisation facilitated flow and creativity through maintaining desired focus for longer, lowering self-judgment and inspiring novel solutions. The second study investigated the occurrence of flow and its shared character within group improvisation using video-stimulated recall and questionnaire methods (n=16, 4 groups of four dancers). It showed that group flow was rather rare and it was more likely when a group had worked together for longer. Dancers reported that a group in a high-flow state engaged with a task in a more complex way, sharing, transforming and supporting each other's ideas, while low-flow groups worked more with mimicry and bodily manipulation. Dancers perceived tasks performed in a high-flow state as more creative. The third study explored the relationship between dancers' flow experience and creative outcomes from a third person perspective. A total of 203 participants (77 experts and 126 nonexperts) rated excerpts of high- and low-flow dance improvisation (five each) using Consensual Assessment Technique. Experts judged high-flow collaborations as more creative, and more coherent, technically advanced, aesthetically appealing and meaningful, however there were no significant differences in nonexperts' ratings. The fourth study explored whether synchronous arousal, measured by cross-recurrence quantification analysis of heart and breathing rate, was a physiological basis for group flow (n=8 group, 4 dancers per group). Although no relationship between synchronous arousal and flow was found, spontaneous synchronization of dancers' heart and breathing rate in improvisational group tasks was observed, unrelated to synchronized activity. Overall, the studies conducted confirmed that flow was a highly creative state for dancers, in which they performed better. The presence of others and quality of group collaboration supported the occurrence and amount of flow. However, group flow occurred rarely and was more likely when a group had worked together for longer.
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Lavelle, Lise. "Amerta movement of Java 1986 - 1997 : an Asian movement improvisation /." Lund : Centre for Languages and Literature, Lund Univ, 2006. http://www.loc.gov/catdir/toc/fy0701/2006402578.html.

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Woods, Pamela G. "Site as source and resource for sounding dance improvisation." Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288376.

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Jolivet, Adèle. "Danse improvisée et processus de création : étude des dynamiques de personnalisation chez des danseurs." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20087.

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Ce travail analyse les processus de personnalisation dans les trajectoires de 23 danseurs improvisateurs, dans une approche psychologique. La danse improvisée est associée à un partage intersubjectif (Bigé, 2015) et à un état d’écoute (Guisgand, 2006) : le développement de cette écoute est ici étudié. Ses dimensions d’incertitude (Azaïs, Bachir-Loopuyt & Saint-Germier, 2010) et de recherche de liberté (Kintzler, 2006) associent l’improvisation à une pratique personnalisante, en référence aux théorisations de ce processus (Malrieu, 1979 ; 1994 ; 1995 ; Baubion-Broye, Dupuy & Prêteur, 2013). Des entretiens semi-directifs sont menés ainsi que des analyses thématique et par catégories conceptualisantes (Paillé & Mucchielli, 2012). Nous avons mis en exergue des tensions, des activités de signification et des réorganisations psychologiques et physiques dans les parcours de ces improvisateurs. Leur réflexivité vis-à-vis de leur pratique pousse ces danseurs à des prises de conscience et des analyses critiques : certains ne veulent plus répéter des mouvements ni improviser sans objectif. L’improvisation leur permet alors, par sa dimension de création, de se singulariser. Certains d’entre eux rencontrent des doutes sur leur capacité ou celle des autres à communiquer, à se connecter aux autres. Ils donnent alors à leur pratique de la danse des sens nouveaux : se lier aux autres, aider et coopérer. Créer dans l’instant les centre sur leur corps au moment présent et coopérer favorise l’écoute : ceci consolide la conscience de soi. Le fait de créer leurs propres mouvements et de dépasser ce qu’ils ont appris nourrit leurs besoins de dépassement et de liberté. Improviser permet donc à ces danseurs de se singulariser et de prendre conscience d’eux-mêmes : c’est une pratique personnalisante qui participe à la construction de soi
The present study aims to analyse personalization processes in the trajectories of 23 improvisational dancers. Improvised dance refers to intersubjective sharing (Bigé, 2015) and listening state (Guisgand, 2006): the development of this listening is studied here. Through its dimensions of uncertainty (Azaïs, Bachir-Loopuyt & Saint-Germier, 2010) and quest for freedom (Kintzler, 2006), improvisation combines with a personalization practice in reference to the theorizations of this process (Malrieu, 1979, 1994, 1995; Baubion-Broye, Dupuy & Prêteur, 2013). Semi-structured interviews were conducted. Two types of results analysis were used: thematic and through conceptualizing categories (Paillé & Mucchielli, 2012). These results highlight tensions, meaning activities and psychological reorganizations. Becoming aware of formatting, these dancers critically analyse their practises, in order not to repeat learned movements neither improvise without precise goal. The rejection of standard movements leads them to stand out through a personalizing process of creation. Some of them doubt about their ability or the ability of others to communicate, to interconnect. Those of them who are concerned with the lack of communication are trying to bring closer to others through danced improvisation : they cooperate. Cooperation makes them improve their listening and create spontaneously makes them centered on their bodies, which tends to consolidate their self-awareness. Creating their own movements and going beyond what they have learned feeds their need for overtaking and freedom.Through these processes of self-awareness and singularization, they personalize and build themselves
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Carlozzo, Abby. "A STUDY OF DANCE IMPROVISATION IN AFRICANIST AND POST-MODERN CONTEXTS AS EXPERIENCED BY PHILADELPHIA-BASED ARTISTS." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/393830.

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M.A.
This thesis examines the philosophical and aesthetic characteristics of dance improvisation in two enormous contexts: Africanist dance forms and the diverse genres that this term encompasses, and postmodern dance practices that grew out of the work of the Judson Dance Theater in the sixties. The impetus for this study grew out of previous research in Ouagadougou, Burkina Faso in West Africa where I collaborated with a Burkinabe dancer to uncover how our histories influence our approach to movement-making. I soon realized that we possessed different understandings of dance improvisation, and I endeavor to unpack those differences in this study. I seek to evidence the range of understandings of dance improvisation that exist in the United States by including the voices of six Philadelphia-based artists who I have interviewed for the purpose of this research. Although I initially contacted Olivier Tarpaga, Zakiya Cornish, and Cachet Ivey for their work with African dance genres, and Esther Baker-Tarpaga, Marion Ramirez, and Molly Shanahan for their work with postmodern practices of improvisation, the amount of overlap between the two contexts soon became apparent. In exposing the diverse practices of improvisation, I hope to spark a conversation about what constitutes dance improvisation in the United States.
Temple University--Theses
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Schrock, Madeline Rose. "Visual Media, Dance, and Academia: Comparing Video Production with the Choreographic Process and Dance Improvisation." Ohio University Honors Tutorial College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1306695898.

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Books on the topic "Improvisation in dance"

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David, Spurgeon. Dance moves: From improvisation to dance. Sydney: Harcourt Brace Jovanovich, 1991.

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Blom, Lynne Anne. The moment of movement: Dance improvisation. London: Dance Books, 2000.

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Tarin, Chaplin L., ed. The moment of movement: Dance improvisation. Pittsburgh, Pa: University of Pittsburgh Press, 1988.

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Cooper, Albright Ann, and Gere David, eds. Taken by surprise: A dance improvisation reader. Middletown, Conn: Wesleyan University Press, 2003.

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Tufnell, Miranda. Body space image: Notes towards improvisation and performance. London: Virago, 1990.

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Lavelle, Lise. Amerta Movement of Java, 1986-1997: An Asian movement improvisation. Lund: Centre for Languages and Literature, Lund University, 2006.

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Lavelle, Lise. Amerta Movement of Java, 1986-1997: An Asian movement improvisation. Lund: Centre for Languages and Literature, Lund University, 2007.

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Georgescu, Corneliu Dan. Improvisation in der traditionellen rumänischen Tanzmusik. Eisenach: K.D. Wagner, 1995.

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Sgorbati, Susan. Emergent improvisation: On the nature of spontaneous composition where dance meets science. Northamton, MA: Contact Quarterly, 2013.

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Symposium on Improvisation in the Performing Arts (1983 East-West Center). Improvisation in the performing arts: A report of the Symposium on Improvisation in the Performing Arts, held at the East-West Center, July 10-23, 1983. Honolulu, Hawaii: Institute of Culture and Communication, East-West Center, 1985.

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Book chapters on the topic "Improvisation in dance"

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Angelov, Vladimir. "Dance Improvisation." In You, the Choreographer, 291–311. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003009764-19.

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Benjamin, Adam, and Olu Taiwo. "Improvisation." In Ethical Agility in Dance, 221–29. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003111146-20.

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Rose, Simon, and Andrew Wass. "A phenomenology of improvisation in dance and music." In Relational Improvisation, 124–47. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003276197-7.

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Midgelow, Vida L. "Improvisation Practices and Dramaturgical Consciousness: A Workshop." In Dance Dramaturgy, 106–23. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137373229_6.

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Rose, Simon, and Ingo Reulecke. "The shared space of improvisation in dance and music." In Relational Improvisation, 56–74. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003276197-4.

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Wait, Nalina. "Dewey and the Pre-History of Western Improvisation." In Improvised Dance, 39–63. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003369011-2.

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Mullis, Eric. "Dance Improvisation as Experimental Inquiry." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 475–87. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-38.

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Silva, João da. "Risk-taking and group dance improvisation *." In Contemporary Choreography, 138–49. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315563596-12.

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Ashley, Tamara. "Steps towards decolonising contact improvisation in the university." In Ethical Agility in Dance, 143–57. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003111146-12.

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Benjamin, Adam. "Talking Heads: Finding Voice in Dance Improvisation." In Making an EntranceDancing Out The Message Behind Inclusive Practice, 147–51. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003015291-23.

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Conference papers on the topic "Improvisation in dance"

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Berman, Alexander, and Valencia James. "Towards a Live Dance Improvisation between an Avatar and a Human Dancer." In the 2014 International Workshop. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2617995.2618026.

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Fu, Jia, Jiarui Tan, Wenjie Yin, Sepideh Pashami, and Mårten Björkman. "Component attention network for multimodal dance improvisation recognition." In ICMI '23: INTERNATIONAL CONFERENCE ON MULTIMODAL INTERACTION. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3577190.3614114.

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Wallace, Benedikte, Charles P. Martin, Jim Tørresen, and Kristian Nymoen. "Learning Embodied Sound-Motion Mappings: Evaluating AI-Generated Dance Improvisation." In C&C '21: Creativity and Cognition. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450741.3465245.

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Françoise, Jules, Sarah Fdili Alaoui, and Yves Candau. "CO/DA: Live-Coding Movement-Sound Interactions for Dance Improvisation." In CHI '22: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3491102.3501916.

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Long, Duri, Lucas Liu, Swar Gujrania, Cassandra Naomi, and Brian Magerko. "Visualizing Improvisation in LuminAI, an AI Partner for Co-Creative Dance." In MOCO '20: 7th International Conference on Movement and Computing. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3401956.3404258.

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Li, Chen. "The Study of Musical and Dance Improvisation Teaching in Higher Normal University." In 2015 International Conference on Management, Education, Information and Control. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/meici-15.2015.234.

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Trajkova, Milka, Duri Long, Manoj Deshpande, Andrea Knowlton, and Brian Magerko. "Exploring Collaborative Movement Improvisation Towards the Design of LuminAI—a Co-Creative AI Dance Partner." In CHI '24: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3613904.3642677.

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Meador, W. Scott, Eric M. Kurt, and Kevin R. O'Neal. "Virtual performance and collaboration with improvisational dance." In the SIGGRAPH 2003 conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/965400.965531.

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Liu, Hongyu. "Improvisational Dance Piano Accompaniment System Based on BP Neural Network." In 2022 International Conference on Computers and Artificial Intelligence Technologies (CAIT). IEEE, 2022. http://dx.doi.org/10.1109/cait56099.2022.10072104.

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Zhou, Qiushi, Louise Grebel, Andrew Irlitti, Julie Ann Minaai, Jorge Goncalves, and Eduardo Velloso. "Here and Now: Creating Improvisational Dance Movements with a Mixed Reality Mirror." In CHI '23: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3544548.3580666.

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