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Relevant bibliographies by topics / Modern dance

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Academic literature on the topic 'Modern dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Modern dance"

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DePass, Cecille. "Dancing Our Stories Ourselves: Dancing with Mr. Neville Black." Cultural and Pedagogical Inquiry 12, no. 3 (April 5, 2022): 54–58. http://dx.doi.org/10.18733/cpi29616.

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Chapter 10: Introduction to Jazz and Modern Dance, Take 5: Cecille recounts her experiences dancing with Neville Black, a modern dancer who was trained in the USA and returned to Jamaica to choreograph and teach modern and jazz dance to teens and adults. He choreographed several dances for Mrs. Simpson’s ballet performances, and taught with her in the 1960s.

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Surya, Windi Kartika, and Nerosti Nerosti. "Eksistensi Tari Andun Dalam Upacara Adat Perkawinan Di Kecamatan Seluma Kabupaten Seluma Provinsi Bengkulu." Jurnal Sendratasik 10, no. 4 (December 15, 2021): 51. http://dx.doi.org/10.24036/js.v10i4.114175.

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This research has a problem regarding the formulation of "The Existence of Andun Dance in Seluma Marriage, Seluma Regency, Bengkulu Province". The purpose of this research is to describe and analyze the existence of Andun Dance in traditional wedding ceremonies in Seluma District, Seluma Regency, Bengkulu Province. This research uses descriptive qualitative analysis. Data collection techniques or through literature study, observation, interviews and documentation. The research found that the Andun Dance consists of two types, namely: (1) the Andun lelawanan dance which is danced in pairs and women by bachelors; (2) and most of the Andun Dance by many dancers have been married. Andun dancers are mostly men and women performing separately. There is a periodization of Andun dance through 2 periods, namely: (1) periodization of 2003-2015, Andun Lelawanan Dance exists more than most Andun Dances, according to the purpose of the dance presented is to seek love; (2) Periodically from 2015 to present, Andun Dance is the most widely available. In 2019, the choreography in the Andun Dance was developed which was contested. Dancers in costume from the perspective of the Andun Dance competition, where the female dancers use modern borkat kebaya, songket cloth as a skirt, and a scarf. While the clothes are boy dancer/koko, coat, trousers, gloves, and a skullcap.

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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (March 29, 2021): 218–26. http://dx.doi.org/10.46872/pj.258.

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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.

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Marini, Sarwindah, Yurindra, Kiswanto, and Anthonia Julia Cancera. "Website Administrasi Dance Sanggar Senam Dengan Model FAST." JURNAL FASILKOM 12, no. 1 (May 1, 2022): 8–13. http://dx.doi.org/10.37859/jf.v12i1.3527.

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Modern dance or dance today, is developing very quickly along with the times. Modern Dance originated in Europe, in 1930. The United States became the center of Modern Dance for experimentation. Modern Dance has several types of movements such as: Break Dance, Hip - Hop Dance, Popping Dance, Locking Dance, Ballroom Dance, and Shuffle Dance. These types of dances are different but after being performed, they are almost the same. Although the movements created have no explanation when expressed, many people like the movement. Dance Dances which are trending among young people are much liked by the public. At the sportsman level, there is a big influence in Indonesia. One of the popular enthusiasts in the community such as Modern Dance. The problems that often occur in Modern Dance are many people, namely information about how the lack of promotion so that many people do not know information about Dance. So we need a website to create a Dance information system. The goal is to facilitate the promotion of dance information. In developing this Dance information system website, it is necessary to analyze and design a website using the UML concept, Database Design with MySql. The result to be achieved is to implement a Dance Information System Website

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

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Modern ballroom dance is actively developed as a sport whereas the art of dancing, which is characterized by emotions, is disappearing now. The causes are dealt with the low level of performing Latin American ballroom dance as an art and the necessity to develop the origins of this dance. It is also important to perform a particular Ballroom dance emotionally considering its historical roots. It is fact that now the great number of competitive dance couples give a lot of attention to the physical training of choreographic compositions with a large number of acrobatic tricks and little respect to the aesthetic aspects of dance. Otherwise, they simply do not know how to express the depth of the emotional content of the dance. Dance couples are lack of understanding how to perform a particular ballroom dance. The issue of this study is relevant in Latin American ballroom dance studies as well as should be solved by experienced instructors and their desire to show dancers the importance of aesthetically emotional aspects of dance. The purpose of this study is to explore the historical origins and stylistic features of Latin American ballroom dance which became the basis of modern Latin American ballroom dance. The methodology. The author provides an analysis of specific features of the Latin American ballroom dance. The results. It is shown that according to the history of the origin and standardization of ballroom dance each dance has its own unique style and characteristics as well as its individual emotional features. Cha-cha-cha is characterized by easy flirtation and pleasure. Samba is a dance of celebration, ardour and expression. Rumba is full of passion, impressing and love. Pasodoble is emotional and dramatic-theatrical dance. Jive is light, cheerful and carefree. And these are general features of the emotional and aesthetic component of dance that are very desirable to see in dance and experience them together with the performers. The scientific novelty. An attempt is made in this paper to show the presence of historical stylistic and emotional features of the Latin American ballroom dances, which are danced as a competition all over the world, are not sufficiently developed in the performance skills of the dancer. Ballroom dances have diverse origins, rhythms, tempos and aesthetics, but have one thing in common: they are all danced emotionally. A recommendation for further research is the perspective of improving the methodology of teaching the emotional component of Latin American ballroom dance by suggesting the development of aspects such as: active ways of spreading information about the importance of the creative, emotional component of dance (e.g. seminars, master classes), teaching acting skills, developing training exercises for performing the emotional part of the dance, and conducting research in sports psychology. The practical significance. The material of this article can be used in the practical activities of choreographers, ballroom dance performers and Latin American ballroom dance competition dancers.

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Gardner, Sally. "The Dancer, the Choreographer and Modern Dance Scholarship: A Critical Reading." Dance Research 25, no. 1 (April 2007): 35–53. http://dx.doi.org/10.3366/dar.2007.0018.

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This paper undertakes a critical re-examination of the ways in which dance-making relationships between the dancer and the choreographer in American modern dance have been conceptualised in dance discourses. The essay proposes that a defining aspect of modern dance practices (from the moment that, after Duncan and Fuller, it became a group as well as a solo form) was the dancing together of the choreographer and the dancer(s) as the central mode of dance creation and transmission. In dance discourses, however, this dancing relationship is frequently not acknowledged. Texts by dance scholars Susan Leigh Foster, Amy Koritz and Randy Martin which draw on theoretical frameworks from outside dance are analysed in terms of the ways the theoretical frameworks that underpin them both make it possible to raise the question of the nature of the dance-making relationship while at the same time can also make the dancer's and the choreographer's dancing together invisible or unrepresentable. The analysis shows how scholarly discourses and the theoretical frameworks upon which they are built are already invested in regimes of intelligibility and visibility which have consequences for the representation of modern dance. This analysis forms the basis for proposing the need for a non-individualised, inter-subjective and intercorporeal understanding of the dancer and the choreographer and their relationship in modern dance.

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Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 2 (August 2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.

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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.

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Zhang, Changlin. "Study of Movement Quality Enhancement Strategies in Modern Dance." Highlights in Art and Design 3, no. 1 (June 4, 2023): 4–7. http://dx.doi.org/10.54097/hiaad.v3i1.9049.

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In the practice of modern dance, many people pay attention to whether the movements are the same as what the teacher has done, whether the rhythm and speed have kept up with the music, and rarely pay attention to the most important part of movement texture, without observing the movement texture shown by the teacher in doing demonstration movements. In modern dance, the performance of movement texture can judge the professionalism of the dancer. How should we train the movement quality of modern dance is the issue to be discussed and studied. In modern dance performance, the accuracy of movement performance and dance texture are inseparable, different dance movement texture, the dance feeling is different, and there is a clear difference in the dance performance with or without movement texture. The main content of this essay is to talk about what kind of importance dance texture has in modern dance, and to explore the strategy of enhancing dance texture in modern dance.

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Shamshiev, Almat, and Gulnara Jumasseitova. "VARIATIONS OF ELEMENTS OF THE NATIONAL MEN'S DANCE («ZHOLBARYS ZHUREK» BASED ON A DANCE PERFORMANCE)." Central Asian Journal of Art Studies 10, no. 3 (October 5, 2023): 145–60. http://dx.doi.org/10.47940/cajas.v10i3.737.

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Abstract. Men's dance in the Kazakh dance art requires special attention in modern choreography. The development of dances for men, the scientific formulation of its history, and development trends are among the most pressing problems in modern dance art. Therefore, this scientific article is devoted to discussing the essence of the national dances of the Kazakh people, including dances for men, ways of their formation and development. The article is based on Almat Shamshiev's dance «Zholbarys zhurek» changes in the national men's dance elements were scientifically differentiated, and various scientific methods and receivers were used in scientific research. In order to determine the essence of men's dance, methods of historical and chronological systematization, differentiation, comparison, and control were used. In comparison, he tried to reveal the features of the dance of the guys through the dance the «Balbirauyn», and gave specific examples of what dance elements were added and what movements and postures were transformed according to the dance «Zholbarys zhurek». He concluded that the development of human consciousness, and the transformation of society are standard with the passage of time, and in this regard, new views appear in the art of dance, the release of new works, and the transformation of existing dance elements is a natural phenomenon and a modern necessity. Today, men who are engaged in the art of dance pay attention to the ability to flex, flexibility. It shows that some dance moves used only in girls ' dances in the past are successfully used in men's dances today. However, he says, in performing movements, the guys dance flexibly in a manner that corresponds to their masculine nature. However, he emphasizes that in making changes, it is necessary to constantly pay attention to Kazakh dances' essence and central national nature. Several recommendations were given on further developing Kazakh men's dance, increasing interest in it in society.

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Makhmutova, H., and G. Saitova. "ANALYSIS OF UYGHUR DANCE FOLKLORE THROUGH THE PRISM OF A MODERN VIEW." ARTS ACADEMY 7, no. 3 (September 30, 2023): 5–15. http://dx.doi.org/10.56032/2523-4684.2023.3.7.5.

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The article provides a historical analysis of uyghur dance folklore. The worldview of the uyghur people and the reflection of religiosity in their dance culture are considered. On the basis of the studied materials, dances that have not reached our days are revealed. There are also identified dances that, having lost their ritual character, have retained some traditional elements of dance movements. The presented information testifies to the existence of the uyghur dance art since beginning of our era. This led us to believe that modern uyghurs are carriers of a very ancient tradition.

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Dissertations / Theses on the topic "Modern dance"

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Fleischle-Braun, Claudia. "Der Moderne Tanz : Geschichte und Vermittlungskonzepte /." Butzbach-Griedel : Afra, 2001. http://catalogue.bnf.fr/ark:/12148/cb389105358.

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Mendini, Shauna Thelin. "GERTRUDE SHURR: PORTRAIT OF A MODERN DANCE TEACHER (DANCE)." Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/291198.

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Huxley, Michael. "Modern dance : a historical consideration." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/14170.

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This thesis presents a selection of my published works and an accompanying exposition to demonstrate my sustained, substantial, continuous and coherent research and how it has made an original contribution to the field of dance history. The nine selected published works—Volume 2—written over the course of three decades, consider modern dance between 1900 and 1945 and how its historical study illuminates this significant period. All these writings made contributions to dance history that were original in their time. My first publication helped to define the field of dance history. My most recent one has taken an innovative approach to modern dance, informed by my developed understanding of the idea of dance history. The exposition—volume 1— examines my ideas of dance history. It does so by placing my writings within the context of the development of dance history as a field, especially in the UK. It goes further by considering this development within the broader context of the development of history as a discipline, both philosophically and practically. This contextualisation is then used to reflect further on my writings and their original contributions to dance historiography. I conclude with a reconsideration of the idea of dance history.

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Lee, Tsung-Hsin. "Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594914032775976.

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Contrino, Michelle R. "Contemporary dance praxis a philosophical and pedagogical approach to teaching contemporary dance to incoming dance majors /." Online Access "Search by author or title", 2006. http://www.oregonpdf.org.

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Lau, Tin-ming, and 劉天明. "Modern dance choreography in 1990s Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29511471.

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MacIntyre, Christine Campbell. "Criterion-referenced assessment for modern dance education." Thesis, University of Stirling, 1985. http://hdl.handle.net/1893/2182.

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This study monitored the conceptualisation, implementation and evaluation of criterion-referenced assessment for Modern Dance by two teachers specifically chosen because they represented the two most usual stances in current teaching i.e. one valuing dance as part of a wider, more general education, the other as a performance art. The Review of Literature investigated the derivation of these differences and identified the kinds of assessment criteria which would be relevant in each context. It then questioned both the timing of the application of the criteria and the benefits and limitations inherent in using a pre-active or re-active model. Lastly it examined the philosophy of criterion-referenced assessment and thereafter formulated the main hypothesis, i. e. "That criterion-referenced assessment is an appropriate and realistic method for Modern Dance in schools". Both the main and sub-hypotheses were tested by the use of Case Study/Collaborative Action research. In this chosen method of investigation the teachers' actions were the primary focus of study while the researcher played a supportive but ancillary role. The study has three sections. The first describes the process experienced by the teachers as they identified their criteria for assessment and put their new strategy into action. It shows the problems which arose and the steps which were taken to resolve them. It gives exemplars of the assessment instruments which were designed and evaluates their use. It highlights the differences in the two approaches to dance and the different competencies required by the teachers if their criterion-referenced strategy was adequately and validly to reflect the important features of their course. In the second section the focus moves from the teachers to the pupils. Given that the pupils have participated in different programmes of dance, the study investigates what criteria the pupils spontaneously use and what criteria they can be taught to use. It does this through the introduction of self-assessment in each course. In this way the pupils' observations and movement analyses were made explicit and through discussion, completing specially prepared leaflets and using video, they were recorded and compared. And finally, the research findings were circulated to a larger number of teachers to find to what extent their concerns and problems had been anticipated by the first two and to discover if they, without extensive support, could also mount a criterion-referenced assessment strategy with an acceptable amount of effort and within a realistic period of time. And given that they could, the final question concerned the evaluations of all those participants i.e. teachers, parents and pupils. Would this extended group similarly endorse the strategy and strengthen the claim that criterion-referenced assessment was a valid and beneficial way of assessing Modern Dance in Schools?

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Behunin, Laurie. "The Choreography and Production of "Jacob Five: A Journey into the Olive Vineyard"." Diss., CLICK HERE for online access, 1993. http://contentdm.lib.byu.edu/u?/MormonThesesB,10123.

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Spalink, Angenette M. "Loie Fuller and Modern Movement." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277060256.

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Tsoulou, Marina-Georgia. "Philosophical approaches to classical ballet and modern dance." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/50522/.

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My primary concern in this thesis is to develop a framework in which classical and modern dance can be analyzed and assessed in philosophical terms. This should not be understood as an endeavour to create a system of values according to which dance should be criticized. What is being attempted is to describe and characterize dance with the tools provided by different aesthetic theories. Moreover dance, and especially ballet (due to its more solid and concrete structure and form), is used as a test - βάσανος (vasanos) in Greek - to help discern the limitations of existing aesthetic theories. At the same time the different criteria that each theory puts forward to identify a work of art are related to the notion of movement, which is central to dance. This process not only enables us to distinguish the elements of this complex form of human action, but also becomes the starting point for the elaboration of a reconfiguration of aesthetic concepts that will enable a sophisticated analysis of the phenomenon of dance. The underlying question throughout is "What makes a particular movement sequence a piece of dance rather than, for example, a piece of gymnastics?" complemented by the question "What makes an everyday life movement a dance movement?" These issues are addressed by considering how the various aesthetic theories can help us make the above distinctions. The different forms of dance are correlated with the aesthetic theories presented. The first notion I consider in this context is mimesis with special reference to Jean-Georges Noverre's account of dance, which has its roots in Aristotle's Poetics. Secondly I consider the notion of beauty - its independence from such notions as 'purposiveness', its lack of 'interest' - as analysed in Kant's Critique of Judgment. The expressive element of dance is explored in the context of R.G. Collingwood's expressivism and John Maftin's inflection of it in relation to dance. Attention to movement leads directly to the notion of form, which is explored in dialogue with André Levinson and Margaret H'Doubler. The thesis concludes by sketching an outline of a new way of approaching, understanding and hence potentially even experiencing dance (as a viewer). Dance is a carrier of a multiplicity of meanings with various contents. In the majority of cases a dance performance seeks to communicate a message to an audience. It is being suggested that dance constitutes a type of language, a communicational system, which has mimetic, expressive and formal elements. The notion of language is understood in later Wittgenstein terms. It is argued that dance comprises a 'form of life.' The elements of this system are facial expressions, movements of hands and arms, shifting of the body; all these reveal to us the quality of experience and feelings of the moving persona. Dance should be understood and appreciated in this particular context.

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Books on the topic "Modern dance"

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Anderson, Janet. Modern Dance. New York: Infobase Pub., 2010.

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Anderson, Janet. Modern dance. 2nd ed. New York: Chelsea House, 2010.

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Solway, Andrew. Modern dance. Chicago, Ill: Heinemann Library, 2008.

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Penrod, James. The dancer prepares: Modern dance for beginners. 3rd ed. Mountain View, Calif: Mayfield Pub. Co., 1990.

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Penrod, James. The dancer prepares: Modern dance for beginners. 4th ed. Mountain View, Calif: Mayfield Pub. Co., 1998.

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Martin, John Joseph. The Modern Dance. Chicago: Princeton Book Company, 2004.

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Cheney, Gay. Basic concepts in modern dance: A creative approach. 3rd ed. Pennington, N.J: Princeton Book Co., 1989.

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Uphoff, Joe. Dance: Modern dynamics. Colorado Springs, Colo: Arjuna Library Press, 1996.

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Au, Susan. Ballet & modern dance. New York, N.Y: Thames and Hudson, 1988.

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Preston-Dunlop, Valerie Monthland. Modern educational dance. Boston, MA: Plays, 1990.

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Book chapters on the topic "Modern dance"

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Nevile, Jennifer. "Dance." In Early Modern Court Culture, 478–93. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429277986-37.

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Brennan, Thomas E. "Dance." In Public Drinking in the Early Modern World Vol 1, 295–312. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003552192-41.

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Adair, Christy. "Revolutionary women — modern dance." In Women And Dance, 119–38. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22374-9_7.

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Lázaro, Lydia Platón. "Black Dance, Modern Dance, and the Caribbean." In Defiant Itineraries, 27–68. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137471802_2.

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Mattingly, Kate. "Modern and Postmodern Dance." In Milestones in Dance History, 108–33. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003185918-5.

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Bogatyrev, Sergei. "Sofiia Vitovtovna's Dance." In Medieval Rus’ and Early Modern Russia, 207–28. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003256236-18.

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Clavier, Evelyne. "Samuel Beckett and Modern Dance." In Beckett and Modernism, 193–205. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70374-9_13.

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Barba, Fabián. "Impure Transmissions: Traditions of Modern Dance Across Historical and Geographical Boundaries." In Transmissions in Dance, 37–59. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64873-6_3.

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Colín, Ernesto Tlahuitollini. "A Modern Mexica Palimpsest." In Indigenous Education through Dance and Ceremony, 175–83. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137353610_9.

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Manning, Susan. "Race in motion: modern dance, negro dance, and Katherine Dunham." In The Routledge Dance Studies Reader, 234–45. New third edition, Expanded and updated edition. | New York : Routledge, 2019. | “Second edition published by Routledge 2010”–T.p. verso.: Routledge, 2018. http://dx.doi.org/10.4324/9781315109695-22.

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Conference papers on the topic "Modern dance"

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Tang, Xiaoyong, and Lan Gao. "The Relationship between Core Training and Modern Dance and The Using Methods of Core Training for Modern Dance." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.60.

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Wang, Xiaojie, and Chi Zhang. "Connotation Interpretation on Modern Value of National Dance." In Proceedings of the 2018 5th International Conference on Education, Management, Arts, Economics and Social Science (ICEMAESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icemaess-18.2018.229.

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Wen, Lizhong. "A Modern Aesthetic Review of Tujia Hand-waving Dance." In 2018 International Seminar on Education Research and Social Science (ISERSS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iserss-18.2018.102.

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Wang, Ningning. "Aesthetic Expression of Folk Dance Works in Modern Beijing Area." In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.160.

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Lian, Jiang-Siang, Chia-Chen Kuo, and Wei-Tze Chang. "A new vision for modern dance in terms of dynamics." In SIGGRAPH Asia 2012 Posters. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2407156.2407164.

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Dung, Shu-Fen. "Applying life education to modern dance choreography “song of light”." In APPLIED PHYSICS OF CONDENSED MATTER (APCOM 2022). AIP Publishing, 2023. http://dx.doi.org/10.1063/5.0112285.

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Zhang, Yanxin. "Modern Dance Virtual Person Tracking Technology Based on AdaBoost Algorithm." In 2022 IEEE 2nd International Conference on Mobile Networks and Wireless Communications (ICMNWC). IEEE, 2022. http://dx.doi.org/10.1109/icmnwc56175.2022.10031945.

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Zhou, Ziyan. "The Use of Video Applications on Enhancing Students’ Dance Learning." In 2021 6th International Conference on Modern Management and Education Technology（MMET 2021）. Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211011.007.

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Shan, Yutong. "Modern Dance Before The Three Generation Of Dancers On The Thought." In 2016 4th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ieesasm-16.2016.170.

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Ding, Ding, Xinyue Liu, and Haoran Xu. "Sustainable Competitive Advantage: Case Studies of Dell, Ikea and Byte Dance." In 2021 6th International Conference on Modern Management and Education Technology（MMET 2021）. Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211011.121.

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Reports on the topic "Modern dance"

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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_03_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.

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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_01_11.

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Abstract:

The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.

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Lofquist, Thelma. An experimental model using dance training as therapy for women over thirty five. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2787.

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Ren, Jie, Chunxin Xu, Yangyang Lu, ceng Chen, Jiaming Li, and Min Shen. A systematic review of dance movement therapy and rhythmic auditory stimulation for cerebral palsy based on ICF model. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, December 2020. http://dx.doi.org/10.37766/inplasy2020.12.0149.

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