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Journal articles on the topic 'Merengue (Dance) in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Gonzalez, Anita. "Mambo and the Maya." Dance Research Journal 36, no. 1 (2004): 131–45. http://dx.doi.org/10.1017/s0149767700007609.

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This essay is a descriptive analysis of a 2000 encounter with Mayan “mambo” dancing in a mountain community, an encounter that challenges assumptions about prevalent notions of exoticism, identity, and cultural authenticity. Traveling in Guatemala with a group of international scholars, I witnessed a public performance of the transnational mambo by costumed Guatemalans that was not mambo, not Mayan, and not social. Male performers, in celebration of Corpus Christi, dressed as Disney-style costume characters and executed routines to merengue music while nondancing participants watched the spectacle. This contradictory display of dancing encouraged me to reflect on the impact of popular social dance and to examine the complicated meanings communicated by performers who incorporate body-based art into indigenous social and economic paradigms. The performers' unique interpretation of mambo dance within the context of a public Corpus Christi festival underscored discrepancies between institutional perceptions of the mambo and the popular reuse of dance motifs. At the same time, the performance, which used clowning as a mechanism to engage the audience, inverted the solemnity of the religious feast day.

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2

Moss, Suzan. "Learning from Latina Students: Modern Dance Meets Salsa and Merengue." Journal of Physical Education, Recreation & Dance 71, no. 3 (March 2000): 39–42. http://dx.doi.org/10.1080/07303084.2000.10605111.

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3

Rogoff, Jay. "Dance as High Art, Dance as Broad Art." Hopkins Review 6, no. 1 (2013): 113–17. http://dx.doi.org/10.1353/thr.2013.0012.

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4

Rodrigues Costa, Camila, Ana Paula Leite de Souza, and Matheus Augusto Mendes Amparo. "ANÁLISE DOS BENEFÍCIOS DA DANÇA PARA A QUALIDADE DE VIDA DE IDOSOS MORADORES DE UMA INSTITUIÇÃO DE LONGA PERMANÊNCIA." Colloquium Vitae 10, Especial 5 (December 1, 2018): 125–34. http://dx.doi.org/10.5747/cv.2018.v10.nesp5.000343.

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The objective of this study was to analyze the influence of a dance program on the quality of life of elderly people living in a long-stay institution located in the interior of the State of São Paulo. This is an action research. Nine elderly, aged between 63 and 93 years, of both sexes, participated in the study. The Quality of Life Questionnaire - SF-36 was applied. Subsequently, the interventions were initiated, through the dance (zumba) from the rhythms: Salsa, Cumbia, Merengue, Reggaeton, twice a week. After two months of intervention, the questionnaire was reapplied. The data were analyzed from the parameters for quality of life classification in which zero corresponds to a poor rating and 100 to an excellent rating. There was an improvement in general health and social aspects. It is concluded that a dance program can contribute to the improvement in the quality of life of elderly people living in a long-term institution.

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5

Martinez, Santos F. "Dance is Art." Physical Medicine and Rehabilitation Clinics of North America 32, no. 1 (February 2021): xiii. http://dx.doi.org/10.1016/j.pmr.2020.09.012.

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6

Carter, Curtis L., and Betty Redfern. "Dance, Art, and Aesthetics." Dance Research Journal 22, no. 2 (1990): 33. http://dx.doi.org/10.2307/1477784.

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7

Challis, Chris, and Betty Redfern. "Dance, Art and Education." British Journal of Educational Studies 33, no. 1 (February 1985): 106. http://dx.doi.org/10.2307/3121188.

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8

Balbim, Guilherme M., Susan Aguinaga, Isabela G. Marques, Jacqueline Guzman, David X. Marquez, and Priscilla Vasquez. "MIDDLE-AGED AND OLDER LATINOS’ SATISFACTION OF BAILAMOS LATIN DANCE PROGRAM." Innovation in Aging 3, Supplement_1 (November 2019): S714. http://dx.doi.org/10.1093/geroni/igz038.2620.

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Abstract Older Latinos engage in low levels of leisure-time physical activity (LTPA). Dance is a culturally appropriate activity which can be used to increase LTPA levels. We examined middle-aged and older Latinos’ satisfaction with the revised BAILAMOS Latin dance program. Healthy and low actives middle-aged and older Latinos (Mage = 64.89±7.08) were randomized to a 4-month dance program (n=167) or health education (n=166). The dance program consisted of four Latin dance styles (Merengue, Bachata, Cha Cha Cha, and Salsa). Classes were held twice a week for one hour. A total of 113 participants completed the program. Participants completed a program evaluation about the 4-months program regarding time, duration, settings, instructor, and overall satisfaction. Items were evaluated on a 1 (strongly disagree/very bad) to 4 (strongly agree/excellent) Likert agreement scale. A total of 73 participants evaluated the 4-month dance program. Participants evaluated the program adequacy agreeing or strongly agreeing as far: time, duration and setting (96-98%); instructor’s enthusiasm, quality of instructions, and eager to help (96-100%); dance program’s progression and enjoyment (93-96%); difficulty level (59%). Participants reported they intended to keep dancing by themselves (93%) and would recommend the program to friends and family (98%). Many participants (88%) reported feeling physically excellent or good as a result of the program, 95% found the program excellent or good, and 100% thought the program was worth their time. Overall, the BAILAMOS program evaluation demonstrated high participants’ acceptability and satisfaction. Those results can promote sustained LTPA and provide initial evidence to translation into community settings.

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9

Turabian, Jose Luis. "Doctor-Patient Relationship as Dancing a Dance." Journal of Family Medicine 1, no. 2 (November 29, 2018): 1–6. http://dx.doi.org/10.14302/issn.2640-690x.jfm-18-2485.

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The transcendence of the doctor-patient relationship is given by the confirmed fact of its influence on the results of health care. Several models of doctor-patient relationship can be described, but evidence of improved compliance, satisfaction and recall of physician information has been found in patient-centered consultations. Since these concepts of doctor-patient relationship and patient-centered consultation have multiple facets, they are complex to understand and teach. Using a metaphor is a tool that can be useful in these situations. We could say that the "good" doctor-patient relationship is a process where an "alliance" is created: a process in which the doctor adapts to the rhythm of the patient and little by little can help him move towards healthier scenarios; that is, detect "what dance the patient dances and like a good dancer, take a step back, another forward, dancing and pacing with the patient. But there is not a single type of "good" or "adequate" doctor-patient relationship; there is not "a single dance that the patient dances". If "the doctor has to dance with the patient", he has to know that there are many types of dance! The doctor will have to dance dances such as Cha-Cha (which has to be slow or very fast to dance), the Mambo (where the music is faster and the rhythm more complicated - the relationship with an urgent patient); the Merengue (which is danced like walking - informal doctor-patient relationship); el Pasodoble (that you have to dance with a haughty air, but not with rigidity -synchronizing assertiveness and empathy); The Salsa (where you have to learn the basic step separately - discontinuity of the doctor-patient relationship), among others.

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10

Tomko, Linda J., Il Ballarino, Julia Sutton, Johannes Holub, Le Gratie d'amore, and Danzas Antiguas. "The Art of Renaissance Dance." Notes 51, no. 3 (March 1995): 1004. http://dx.doi.org/10.2307/899332.

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11

Pratt, Rosalie Rebollo. "Art, dance, and music therapy." Physical Medicine and Rehabilitation Clinics of North America 15, no. 4 (November 2004): 827–41. http://dx.doi.org/10.1016/j.pmr.2004.03.004.

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12

CONROY, RENEE M., and JULIE C. VAN CAMP. "Introduction: Dance Art and Science." Journal of Aesthetics and Art Criticism 71, no. 2 (May 2013): 167–68. http://dx.doi.org/10.1111/jaac.12005.

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13

Mettler, Barbara. "Creative dance?Art or therapy?" American Journal of Dance Therapy 12, no. 2 (1990): 95–100. http://dx.doi.org/10.1007/bf00843884.

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14

Kuzian, Edyta. "Contemporary Dance as Modernist Art." Roczniki Kulturoznawcze 12, no. 1 (March 30, 2021): 51–63. http://dx.doi.org/10.18290/rkult21121-4.

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Taniec współczesny jako sztuka modernistyczna Taniec ma bardzo szerokie spektrum stylów i zastosowań. W tym artykule traktuję taniec jako rodzaj performansu artystycznego, który wykorzystuje ciało jako charakterystyczne medium. Skupiam się na tym, które gatunki taneczne najlepiej realizują ambicję traktowania ciała jako jego centralnego medium. Moim głównym twierdzeniem jest, że taniec współczesny radykalnie odrywa się od innych form tańca i uwidacznia zwykłe ruchy. Pod tym względem twierdzę również, że tylko taniec współczesny jest w pełni modernistyczny, w pewnym sensie, w rozumieniu Clementa Greenberga, ukazuje specyficzną dla medium istotę tańca jako formy sztuki, robiąc to, co potrafi tylko taniec — odsłaniając ciało w ruchu. Oczywiście inne formy tańca, od klasycznego po współczesny, również wykorzystują ciało w swoich performansach; twierdzę jednak, że tylko taniec współczesny świadomie odwołuje się do ucieleśnionej natury tancerza w modernistycznym sensie. Jeśli medium artystyczne tańca — ciało w ruchu — ma nieodłączne walory estetyczne, to zadaniem estetyki tańca jest zapewnienie ram do wyjaśnienia elementów i ograniczeń tańca specyficznych dla medium. Mój ogólny wywód składa się z dwóch etapów. Najpierw wyjaśniam pojęcie modernizmu. Następnie stwierdzam, że aby taniec był sztuką modernistyczną, musi uważać poruszające się ciało za sztukę samą w sobie. Aby wesprzeć ten pomysł, proponuję przegląd historii tańca, która pokazuje, że jego rozwój i rewolucje sukcesywnie udoskonalają ocenę samego ruchu ciała jako przedmiotu jego praktyki. Pokazuję, że ów rozwój kończy się tańcem współczesnym.

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15

Indriyani, Irma. "Strategi Pengelolaan Mila Art Dance School." JURNAL TATA KELOLA SENI 6, no. 1 (July 8, 2020): 19–32. http://dx.doi.org/10.24821/jtks.v6i1.4112.

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ABSTRAKPenelitian ini bertujuan untuk menganalisis strategi pengelolaan Mila Art Dance School, di mana Mila Art Dance School ini merupakan salah satu sanggar tari yang namanya cukup terkenal di Yogyakarta. Mila Art Dance School sendiri didirikan oleh salah satu seniman tari muda di Yogyakarta yaitu Mila Rosinta Totoatmojo. Mila Art Dance School berdiri pada tahun 2015 dan masih beroperasi hingga sekarang bahkan saat ini semakin banyak peminat untuk menjadi konsumen di Mila Art Dance School. Dalam kurun waktu 4 tahun, Mila Art Dance School bisa meluluskan 854 siswa. Metode yang digunakan pada penelitian kali ini adalah deskriptif kualitatif dengan teknik pengambilan data primer. Untuk mengoptimalkan stategi pengelolaan yang dapat membantu Mila Art Dance School lebih berkembang dan dapat terus bersaing dengan pangsa pasar lainnya maka, pada penelitian ini menggunakan teknik analisis SWOT (kekuatan, kelemahan, peluang, ancaman) untuk menganalisis faktor internal dan eksternal, agar Mila Art Dance School dapat meraih kesuksesan di masa mendatang. Dari hasil analisis SWOT, Mila Art Dance School saat ini menunjukkan pada posisi kuadran eksponsif sehingga diperlukan strategi yang berupa penggunaan setiap kekuatan untuk menghadapi setiap ancaman. Posisi tersebut mengarah pada strategi ST, di mana Mila Art Dance School harus menambah dan memperbanyak kelas tari sesuai dengan keinginan konsumen, menjaring staf pengajar agar dapat bekerja lebih kreatif dan inovatif sehingga konsumen dapat menumbuhkan keinginan untuk memulai karir di bidang tari, memperbaharui sistem pembelajaran, menambahkan beberapa fasilitas yang dapat menunjang proses pembelajaran, dan menawarkan kepada konsumen tentang jaringan yang luas di bidang tari. ABSTRACT This study aims to analyze the management strategy of Mila art dance school, where Mila art dance school is a dance studio whose name is quite well known in Yogyakarta. Mila art dance school itself was founded by one of the young dance artists in Yogyakarta, Mila Rosinta Totoatmojo. Mila art dance school was founded in 2015 and is still operating to this day, and even now there are more interested parties to become consumers at Mila art dance school. Within 4 years Mila art dance school could graduate 854 students. The method used in this research is qualitative descriptive with primary data collection techniques. To optimize the management strategy that can help Mila art dance school develop and can continue to compete with other market share, this study uses SWOT analysis techniques (strengths, weaknesses, opportunities, threats) to analyze internal and external factors of Mila art dance school to achieve success in the future. From the results of the analysis of S.W.O.T Mila art dance school currently shows an exponential quadrant position so it requires a strategy in the form of using each force to deal faithfully with threats. This position leads to the ST strategy where Mila art dance school must add and multiply dance classes by the wishes of consumers, recruit teaching staff to work more creatively and innovatively so that consumers can grow up to start a career in dance, renew the learning system, add several facilities which can support the learning process, and offer consumers a broad network of dance.

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16

Hahn, Emily. "Dance Lessons." Creative Nursing 21, no. 4 (2015): 242–44. http://dx.doi.org/10.1891/1078-4535.21.4.242.

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Nursing has been described as an art and a science. The scientific aspect of nursing can be learned in nursing school and in years of practice. However, the art of nursing is enriched by each nurse’s connection with life experiences. The purpose of this article is to highlight my particular life experience with dance and to show how studying dance has helped me become the strong nursing leader I am today.

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17

Parthasarathy, Arpitha. "The Spiritual Form of Ancient Art and Culture - Bharatanatyam (Visual Art) Depicted Using Unique Techniques on Scratchboard (Fine Art) Medium." Journal of Arts and Humanities 6, no. 3 (March 15, 2017): 33. http://dx.doi.org/10.18533/journal.v6i3.1143.

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<p>The most ancient form of dance that is prevailing todays is a form of classical Indian dance, Bharatanatyam. In Sanskrit (and Devanagri), bharatanatyam means "Indian dance", is believed to have divine origin and is of the most ancient form of classical dance. Bharatanatyam is a two thousand-year-old dance form, originally practiced in the temples of ancient India. The art today remains purely devotional even today and this performing art is yet to gain awareness and interest in the western world. This dance form has various implications in improving the higher order thinking in children and provides health benefits in adults apart from cultural preservation. The current study uses scratchboard as a medium to display the artistic movements and emotions. Scratchboard, a fine art is one means by which the visual art is expressed in this current study using sharp tools, namely X-acto 11 scalpel and tattoo needles. This unique medium made up of a masonite hardboard coated with soft clay and Indian ink has been used to not only show the details of the ancient dance form and expression but also to comprehend and transcribe both visual art and fine art. It is for the first time that scratchboard medium has been the innovatively used to show various textures of flower, glistening gold jewels, hand woven silk and the divine expression in the same art ‘devotion’. The current study was carried out in-order to perpetuate, conserve and disseminate these classic forms of visual art and fine art.</p>

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18

Yun, Heekyeong. "Dance in Ernst Ludwig Kirchner's Art." Journal of Art Theory & Practice 30 (December 30, 2020): 137–69. http://dx.doi.org/10.15597/jksmi.25083538.2020.30.137.

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19

Tupitsyn, Margarita. "Sots Art: Round Dance versus Ritual." Social Text, no. 22 (1989): 148. http://dx.doi.org/10.2307/466528.

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Ha, Hye-Seok, and A.-Ram Han. "Feminism in the Art of Dance." Journal of the Korean Society for the Philosophy of Sport, Dance, & Martial Arts’ 26, no. 1 (March 31, 2018): 85–93. http://dx.doi.org/10.31694/pm.2018.03.26.1.007.

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21

Ha, Hye-Seok, and A.-Ram Han. "Feminism in the Art of Dance." Journal of the Korean Society for the Philosophy of Sport, Dance, & Martial Arts’ 26, no. 1 (March 31, 2018): 85–93. http://dx.doi.org/10.31694/pm.2018.03.26.1.85.

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22

Portocarrero, Maria Luísa. "Dance as art and therapeutic game." Revista Filosófica de Coimbra 27, no. 53 (2018): 49–64. http://dx.doi.org/10.14195/0872-0851_53_2.

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23

Holt, Jason. "Sport as art, dance as sport." AUC KINANTHROPOLOGICA 53, no. 2 (November 30, 2017): 138–45. http://dx.doi.org/10.14712/23366052.2017.11.

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24

Royo, A. L. y. "Indian Classical Dance: A Sacred Art?" Journal of Hindu Studies 3, no. 1 (March 23, 2010): 114–23. http://dx.doi.org/10.1093/jhs/hiq008.

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25

Tenneriello, Susan. "A Long Embrace: Dance, Art, History." PAJ: A Journal of Performance and Art 36, no. 3 (September 2014): 112–18. http://dx.doi.org/10.1162/pajj_r_00226.

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26

Berger, Miriam Roskin. "Dance/movement therapy: A healing art." Arts in Psychotherapy 18, no. 5 (January 1991): 467–69. http://dx.doi.org/10.1016/0197-4556(91)90062-f.

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27

Yun, Heekyeong. "Dance in Ernst Ludwig Kirchner's Art." Journal of Art Theory & Practice 30 (December 30, 2020): 137–69. http://dx.doi.org/10.15597/jksmi.25083538.2020.30.137.

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28

Harmalkar, Suchitra. "THE ART OF DANCE COMBINATION - CHOREOGRAPHY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3506.

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Choreography literally means Dance writing It is derived from the Greek word xopeia. The common meaning of choreography is - group structure, and the person, dancer or performer who performs this work is called a choreographer. We do not get any scriptural consensus or information about choreography but today this word is very popular in the context of dance. is . कोरियोग्राफी का शाब्दिक अर्थ है Dance writing यह ग्रीक भाषा के शब्द xopeia से लिया गया है । कोरियोग्राफी का सामान्य अर्थ है- समूह संरचना, और जो व्यक्ति, नर्तक या कलाकार इस कार्य को करता है , उसे कोरियोग्राफर कहा जाता है कोरियोग्राफी के विषय मे कोई शास्त्र सम्मत विधान या जानकारी हमें प्राप्त नहीं होती किन्तु आज नृत्य के संदर्भ में यह शब्द बहुप्रचलित है ।

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Arrey, Sally. "The art and science of dance/movement therapy: life is dance." Body, Movement and Dance in Psychotherapy 12, no. 4 (June 29, 2017): 290–92. http://dx.doi.org/10.1080/17432979.2017.1345791.

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30

Carter, Curtis L. "Somaesthetics and Dance." Contemporary Pragmatism 12, no. 1 (June 16, 2015): 100–115. http://dx.doi.org/10.1163/18758185-01201006.

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Dance is proposed as the most representative of somaesthetic arts in Thinking Through the Body: Essays in Somaesthetics and other writings of Richard Shusterman. Shusterman offers a useful, but incomplete approach to somaesthetics of dance. In the examples provided, dance appears as subordinate to another art form (theater or photography) or as a means to achieving bodily excellence. Missing, for example, are accounts of the role of dance as an independent art form, how somaesthetics would address differences in varying approaches to dance, and attention to the viewer’s somaesthetic dance experience. Three strategies for developing new directions for dance somaesthetics are offered here: identify a fuller range of applications of somaesthetics to dance as an independent art form (e.g. Martha Graham); develop somaesthetics for a wider range of theatre dance (e.g. ballet, modern and experimental dance); and relate somaesthetics to more general features of dance (content, form, expression, style, kinesthetics) necessary for understanding the roles of the choreographer/dancer and the viewer.

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Mizko, Oksana A. "Art Nouveau Traditions and New Art-Technologies in Modern Dance." Journal of Siberian Federal University. Humanities & Social Sciences 9, no. 6 (June 2016): 1333–44. http://dx.doi.org/10.17516/1997-1370-2016-9-6-1333-1344.

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Hughes-Freeland, Felicia. "Art and Politics: From Javanese Court Dance to Indonesian Art." Journal of the Royal Anthropological Institute 3, no. 3 (September 1997): 473. http://dx.doi.org/10.2307/3034763.

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Iyeh, Mariam A., and Godwin Onuche. "A syncretic analysis of the duality of dance as art and science." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 98–109. http://dx.doi.org/10.4314/ejotmas.v7i1-2.7.

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This paper examines the duality of dance as both art and science. It argues on the premise that only the manifestations of dance as an art form has been explored whilst its scientific manifestations have been arguably ignored. It avers that duality is seen in the processes involved in dance choreography. In doing this, it maintains that dance as an art often manifests in the intuition and creativity involved during the creation of dances while dance as science manifests itself during the execution of movements. It argues that the traditional practitioners of dance in Nigeria and Africa are generally aware of the scientific nature of dance, which they adhere to unconsciously while creating dances without knowing it has a scientific posturing. The article insists that intelligence displayed in dance choreographies attests to the above claims. The study uses syncretism and Humphrey-Weidman theory of dance composition as theoretical moorings to contend that the Agbaka dance of the Igala people of Kogi State in North Central Nigeria expresses and displays the scientific nature of dance. Consequently, the dance form is examined from the physiological, psychological and biomechanical perspectives, informing the conclusion that dance practitioners in Nigeria should engage in a conscious exploration and admittance of dance as both art and science. Keywords: Syncretism, Art, Science, Duality of dance, Biomechanics, Agbaka dance

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Wirata, I. Wayan. "COLLABORATION OF SASAK AND BALINESE ETHNIC ART PERFORMANCES IN THE CARRYING CAPACITY OF LOMBOK TOURISM." MEDIA BINA ILMIAH 14, no. 4 (November 3, 2019): 2351. http://dx.doi.org/10.33758/mbi.v14i4.344.

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Tourism is all community activities related to tourists. The growth and development of tourism can increase the country's foreign exchange. This view can improve tourism both in terms of infrastructure and superstructure. In addition, art can be used as a support for tourism. Remembering art is one of the creations, intentions, and human works to maintain his life. Cultural elements include: dance, music and art which are introduced to tourists through tourism. Dance and music which is used as a tourist attraction on attractions are staged, in order to introduce culture as local and foreign tourists. Performing arts can be used as a supportive power for tourism and can be collaborated in order to package and provide a collaboration art performance pattern. The collaborative art performances include Sasak Ethnic Dance such as: Rudat Dance, Gendang Beleq; in addition to Balinese dance arts such as Panyembrama Dance, Gabor Dance and Pendet Dance.

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Werdiningtiyas, Ratih Kartika, and Denna Delawanti Chrisyarani. "Workshop Tari Anak di SD Negeri Sudimoro 01 Kecamatan Bululawang Kabupaten Malang." AKSIOLOGIYA : Jurnal Pengabdian Kepada Masyarakat 1, no. 2 (June 15, 2017): 97. http://dx.doi.org/10.30651/aks.v1i2.840.

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SDN Sudimoro 1 Bululawang subdistrict has not done extracurricular activities of dance art, from some guardians initiative to involve his children to follow the dance and dance arts in the local dance studio. At the time of art performances, the school finds it difficult to find a dance coach because of the lack of coaches, locations that are too far from the citizens and lack of material about children's dance. Based on the condition of SDN Sudimoro 1, it is very important to be held about dance training for elementary school students, especially low grade. This devotional activity is held five days, the first day of delivery of basic ant dance material, second day until the five participants perform the practice of motion variety of ant dance along with the floor pattern. The purpose of the workshop is to improve students' ability in maximizing the use of ant dance as a suitable learning in dance, developing and creating cultural art learning materials, especially dance art related to the concept, and improving students ability and skill.

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&NA;. "The Art and Science of Dance-Movement Therapy: Life Is to Dance." Journal of Nervous and Mental Disease 198, no. 3 (March 2010): 235. http://dx.doi.org/10.1097/01.nmd.0000369413.51011.d3.

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Oliver, Wendy. "Demystifying Dance as an Art Form—Teaching College Students to Critique Dance." Journal of Physical Education, Recreation & Dance 60, no. 2 (February 1989): 47–50. http://dx.doi.org/10.1080/07303084.1989.10603945.

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Santosa, Djarot Heru, Gardenia Kartika Dewi, and Aprina Dwi Rahayu. "Lawet dance and ebleg dance: the term analysis towards its movement qualities." Harmonia: Journal of Arts Research and Education 17, no. 1 (August 15, 2017): 31. http://dx.doi.org/10.15294/harmonia.v17i1.7805.

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<p class="IsiAbstrakIndo"><span lang="EN-GB">This study offers an insight of a research activity which focuses on art analysis, but lies its concern from the perspective of linguistics. This study is aiming at analyzing linguistic data that are related to traditional art activity to obtain further understanding beyond the existence of the art itself. Example of the activity is the linguistic analysis of terms used to label the kinds or qualities of dance movement from Central Java province, in this case are <em>Lawet</em> dance and <em>Ebleg</em> dance. Kebumen, as one of regency in Central Java, is chosen as the research location since it owns rich of typical traditional arts (local), both from the perspective of the art forms as well as the linguistic aspects. This research is analyzed by employing linguistic theory, especially the analysis of morphology and semantic. Implication of linguistic analysis done to the terms is a deep understanding towards the traditional dances being analyzed. It is further resulted in the form of identity affirmation to the traditional arts exist in the society’s environment.</span></p>

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Safta, Alice-Maria. "Dance Theatre in Notes." Theatrical Colloquia 7, no. 2 (December 1, 2017): 273–81. http://dx.doi.org/10.1515/tco-2017-0026.

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Abstract The fusing of arts enriches a spectacular setting for all human feelings to thrive and express themselves. The theatre in the arts and the art in the theatre, a sublime melding of purity and mystery, speaks striking truths for those with ears to hear them. “The floors” of theatres today enjoy classical dramatic pieces, as well as the staging of experiments, which in my opinion are a real necessity for the entire development of the creative human spirit. The need for free speech and expression gives us motivation to explore the meaning of the term “classical”. The latest trends in the art of modern dance are represented by a return to expression and theatricality, the narrative genre, as well as the historical account of the development of the plot, the restoration interventions in spoken word, chanting and singing; the concepts of art are undergoing a full recovery.

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Warburton, Edward C. "Resonance in dance: The art of blending bodies." ARJ – Art Research Journal / Revista de Pesquisa em Artes 3, no. 2 (December 18, 2016): 1–26. http://dx.doi.org/10.36025/arj.v3i2.10755.

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In dance, “resonance” describes a shared sense of energy, rhythm, flow, and coherence. Choreographers and dancers seek resonance for the purposes of creating and performing dance. I theorize that resonance is a kind of human social cognition in the context of self-other matching, which is defined as any phenomenon in which the observation of another’s behavior or state causes the observer’s behavior or state to become congruent with it. I review findings from cognitive and neuroscience to show that “resonance in dance” is a blend of feeling and knowing arising from somatomotor “reflexive” systems that prime more reflective processes like learning by imitation, perspective-taking, and empathy. I introduce the “embodied conceptual blending” hypothesis as a mechanism for dance resonating. I explore questions that arise about the role and function of resonance in dance and speculate on gender differences. Implications are discussed.

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Yanuartuti, Setyo. "Building Creative Art Product in Jombang Regency by Conserving Mask Puppet." Harmonia: Journal of Arts Research and Education 16, no. 1 (December 26, 2016): 30. http://dx.doi.org/10.15294/harmonia.v16i1.6148.

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<p>Building creative industry is one the effort chose to keep up with the ongoing of era development. Traditional art is one of the resource to produce creative art products. Gate Duwur Mask Puppet is a mask performance in Jombang Regency East Java that contains local wisdom. The local wisdom was one of the creativity sources to develop creative art products in Jombang Regency because maintaining Jati Duwur Mask Puppet performance was hard in the middle of the fast society development. The transformation of the source culture (mask puppet) to become the current target culture is one of the efforts made to build creative art. The research on mask dance conservation on mask puppet performance in Jombang was needed. The research method used was an art development through conservation. There were three products of mask dance created as a result of this research. The dances were Gladhen dancers – a couple dance, Mbanmban mask dance – a theatrical group dance, Maduretno-citralanggenan dance – a dance fragment. These mask dance products were a creative realization of a mask performance originated from mask puppet. The community and mask, puppet performer agreed to the development of mask dance to become a more creative art product that could be enjoyed by the young generation.</p>

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Langston, Lizbeth, Julia Sutton, and Charles Garth. "Il Ballarino: The Art of Renaissance Dance." Dance Research Journal 26, no. 1 (1994): 34. http://dx.doi.org/10.2307/1477714.

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Alarcon Davila, Monica Elisabeth. "Marshall McLuhan and Merce Cunningham's Dance Art." Glimpse 9 (2007): 34–37. http://dx.doi.org/10.5840/glimpse2007-89-107.

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Steeg, Carl N. "Dance: An art form, not a sport." Journal of Pediatrics 123, no. 2 (August 1993): 333. http://dx.doi.org/10.1016/s0022-3476(05)81717-2.

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Faulkner, Kristi. "Women, Protest, and Dance: An Activist Art?" Congress on Research in Dance Conference Proceedings 40, S1 (2008): 90–94. http://dx.doi.org/10.1017/s2049125500000558.

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As members of society, artists have historically served a dualistic purpose—to reflect the ideologies of the world in which they live, and to challenge those ideologies. By challenging ideologies, artists may enter into a world of social and political activism. However, can art be an effective form of protest? In this paper I explore the characteristics that allow dance to function as a form of social and political activism. Furthermore, I explore the potential implications of the female dancing body as it pertains to dance as an activist art form.

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Kaminsky, David. "Music, Dance and the Art of Seduction." Ethnomusicology Forum 24, no. 2 (May 4, 2015): 290–92. http://dx.doi.org/10.1080/17411912.2015.1050431.

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Arnold, Peter J. (Peter James). "Somaesthetics, Education, and the Art of Dance." Journal of Aesthetic Education 39, no. 1 (2005): 48–64. http://dx.doi.org/10.1353/jae.2005.0002.

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Hyunju Choi, 신경화, and Ahn Byung Ju. "Esthetic Sense of Dance in Art Works." Korean Journal of Dance Studies 47, no. 2 (March 2014): 213–40. http://dx.doi.org/10.16877/kjds.47.2.201403.213.

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Jacobs, Marjorie Lee. "The Medicine of Salsa." Music and Medicine 10, no. 4 (October 28, 2018): 233. http://dx.doi.org/10.47513/mmd.v10i4.624.

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Psychiatric rehabilitation aims to promote health recovery from significant losses, both physical and psychological, that have derailed the lives of adults and young adults so that they can actively participate in rebuilding and recreating themselves. The population faces premature morbidity and experiences higher than average rates of chronic and life-threatening disorders, including diabetes, obesity, metabolic syndrome, cardiovascular disease, depression, anxiety, autism, ADHD, trauma- and stressor related disorders, and schizophrenia. When participants join any of the BU Center for Psychiatric Rehabilitation programs, they take on the role of student, increasing their knowledge, skills, and supports to further their personal goals and recovery journeys.Several of the mind-body, rehabilitation interventions I design and teach utilize music, singing, and dance to boost mood and motivation, facilitate social connection, increase concentration, improve memory, create new positive memories, deepen respiration, promote movement, and elicit the relaxation response. In addition, I use seated and walking meditation (often combined with nature sounds, music, chanting, and/or singing) to cultivate attention, curiosity, awareness, acceptance, an expanded perspective, accurate perceptions, compassion, and optimism. The poem The Medicine of Salsa was inspired primarily by my 13-week intervention entitled Mindful Music, Dance, and Meditation that I have been teaching and developing since 2014. The students learned to dance a variety of upbeat West Indian and Latin dances, starting with the English language lyrics of reggae, calypso, soca and advancing into the unfamiliar rhythms of cumbia, merengue, cha-cha-cha, and salsa, all sung in Spanish lyrics. My intention was to introduce new songs with wholesome and optimistic lyrics so that they would not trigger negative or distressing memories.Each 90 minute class was structured by a check-in, listening to and singing new music, a review of dance steps from the previous class, learning and practicing a new dance with recorded music (in the large group and then in small groups, and/or with partners), a seated meditation, and a short feedback session. At the end of each class, students reported feeling energized yet calm, present, hopeful, and more positive, confident, connected to each other, happy, and focused.

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Reva, Yana. "AESTHETIC AND THERAPEUTIC POTENTIAL CHOREOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 184–91. http://dx.doi.org/10.33989/2226-4051.2016.14.171614.

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The article is about necessity of psyco-pedagogical attention to the problems of people psycophysical and emotional health saving. In order to get this difficult goal real, art of dance helps person to understand himself and leads to selfperfection. The dance is a merge of physical, psychological and esthetic activities. But the art of dance is also a therapeutic factor and its value is rising with developing of sangennic role of the art in modern life and in harmonization of Human-Universe relations.Functionality of dance art is quite wide. Thoughtful usage of dance impact leads to psychological and physical conditions stabilization and return of a person to harmonic life. Dance therapy is use of dance, plastic and rhythms for prophylactics and cure. So the objective of dance therapy is to establish a contact between a person and world. It could be done in parallel with language impact or without. Dance usage is based on the following: movement shows the person characteristics, its thoughts, mood, feelings, gained experience; combined elements of the movements make expressive dance with ability to self-expression. Dance therapy helps children to identify themselves and achieve better self-understanding. The objective of dance therapy is to destroy internal obstacles of child on its way to happiness and harmony.Also professional usage of dance therapy helps to stabilize child psychological condition and return it to normal life. That is why future dance teacher should pay attention to esthetic and therapeutic abilities of dance art and use them in their professional activities.

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