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Journal articles on the topic 'Waltz (Dance)'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping." Baltic Journal of Sport and Health Sciences 1, no. 120 (2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.

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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and

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2

Fedorchenko, D. "Evolution of waltz in the European ball culture." Culture of Ukraine, no. 72 (June 23, 2021): 34–38. http://dx.doi.org/10.31516/2410-5325.072.05.

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Problem statement. One of the most popular dance forms of the past centuries was exquisite, soft and smooth waltz which can be called a bright phenomenon of the world choreographic art. However, the scientific and theoretical part of this choreographic art remains quite unstudied. The purpose of the article is to reveal the sources of formation and evolution of various kinds of waltz in the European program of ballroom dance. The methodology. The methods used in this article are the following: 1) historical methods that allow to place the chosen work into the perspective of ballroo

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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Partnering Effects on Joint Motion Range and Step Length in the Competitive Waltz Dancers." Journal of Dance Medicine & Science 24, no. 4 (2020): 168–74. http://dx.doi.org/10.12678/1089-313x.24.4.168.

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Competitive dance, also known as DanceSport, is one of the official sports of the World Games. The most salient characteristic of ballroom dance is the closed-hold position, during which the upper body segments of partner-dancers are linked. This study aimed to investigate partnering effects on joint motion ranges of the lower extremity and step lengths during the waltz in 13 national level competitive dance couples and a world champion couple. A Xsens MVN system was used to record movement at 240 Hz. Solo and pair conditions were examined. Compared with the highly skilled couples, the world c

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Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack." Dance Research 36, no. 1 (2018): 1–32. http://dx.doi.org/10.3366/drs.2018.0218.

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This two-part article examines the contested transition in London's fashionable ballrooms from the established Victorian rotary waltz to the modern English waltz of the early 1920s. Existing scholarship on the dance culture of this period and locale has tended to focus on issues of national identity, gender, race, class and the institutionalisation of popular dance practices. Although these are of profound significance and are here integrated into the analysis, this fresh study focuses on the waltz's choreological aspects and relationship to its ballroom companions; on the dance backgrounds an

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Sugdiyona, Valijonova. "THE WORLD DANCES." International Journal of Economic Integration and Regional Competitiveness 1, no. 6 (2024): 48–52. https://doi.org/10.61796/ijeirc.v1i6.137.

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This article presents interesting facts about the emergence of world folk dances, their stages of development, types of dances popular in the XVIII-XIX centuries, including: “Tarantella”, “Farandola”, “Waltz”, “Mazurka”, “Polonez”, “Bal”, “Branl”, methods of their performance, originality and musical dimensions of dance movements, as well as some folk dances that are now forgotten.

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KUMAZAWA, Masaho. "Japanized Modern Dance “Bikkono Odori”(Crippled Dance) in Kawabata Yasunari’s <i>Waltz of Flowers</i>(1936)." Border Crossings: The Journal of Japanese-Language Literature Studies 15, no. 1 (2022): 181–97. http://dx.doi.org/10.22628/bcjjl.2022.15.1.181.

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Kawabata Yasunari’s <i>Waltz of Flowers</i> (1936) is a novel that was originally a screenplay for a movie in which several popular female dancers were going to perform. Although the plan to make this film was abandoned, the screenplay of <i>Waltz of Flowers</i> is a good example of modernist work in the early Showa period, and the subsequent novel displays the crossover characteristics that result from combining film and dance with narrative fiction.</br>However, in previous research on Kawabata’s work little attention has been paid to <i>Waltz of Flowers&l

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7

Ropo, Arja, and Erika Sauer. "Dances of leadership: Bridging theory and practice through an aesthetic approach." Journal of Management & Organization 14, no. 5 (2008): 560–72. http://dx.doi.org/10.1017/s1833367200003047.

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AbstractWe wish to develop the argument in this paper that through aesthetic and artistic work, practices and their metaphorical use, we have a potential to better understand the relationship between academic leadership theory and practical action. By aesthetic approach we mean the experiential way of knowing that emphasizes human senses and the corporeal nature of social interaction in leadership. In this paper, we discuss how leadership could look, sound and feel like when seen via the artistic metaphor of dance. We use the traditional dance, waltz and the postmodern dance experience of rave

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Ropo, Arja, and Erika Sauer. "Dances of leadership: Bridging theory and practice through an aesthetic approach." Journal of Management & Organization 14, no. 5 (2008): 560–72. http://dx.doi.org/10.5172/jmo.837.14.5.560.

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AbstractWe wish to develop the argument in this paper that through aesthetic and artistic work, practices and their metaphorical use, we have a potential to better understand the relationship between academic leadership theory and practical action. By aesthetic approach we mean the experiential way of knowing that emphasizes human senses and the corporeal nature of social interaction in leadership. In this paper, we discuss how leadership could look, sound and feel like when seen via the artistic metaphor of dance. We use the traditional dance, waltz and the postmodern dance experience of rave

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9

Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part Two: The Waltz Regained." Dance Research 36, no. 2 (2018): 138–72. http://dx.doi.org/10.3366/drs.2018.0236.

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Part One of this study on the transmutation of the Victorian waltz into the modern English waltz of the early 1920s examined the labile social and choreographic climate of social dancing in London's fashionable ballrooms before, during and just after World War One. The article ended with the teachers’ unsatisfactory effort to characterise the features of a distinctively modern waltz style in response to a widespread discourse to recover and adapt the dance for the contemporary English ballroom. Part Two investigates the role of club and national competitions and exhibition dancers in changing

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SPERANSKY, VALERY KIRILLOVICH. "DANCE SPORTS: THE RATIO OF ERRORS IN THE SUB-COMPONENTS OF THE EUROPEAN PROGRAM TECHNIQUE AMONG ATHLETES AGED 14-15." Physical Culture Sport Tourism Motor Recreation 10, no. 1 (2025): 31–35. https://doi.org/10.47475/2500-0365-2025-10-1-31-35.

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The article presents the number of technical errors made by highly qualified dance couples in dances of the European program, such as: “Slow Waltz”, “Tango”, “Quickstep”. At the same time, the number of errors is recorded in each subcomponent of the technique: Connection in a pair; Center contact in statics and dynamics; Work of feet and position of legs; Work of the body; Drive Action; Preparation for movement; Ascents and descents; Technical elements. A comparative analysis of errors is given for each dance, and the subcomponents of the technique are ranked by the number of errors made, whic

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Kaminsky, David. "Leading the Other: Gender and Colonialism in Partner Dancing's Long Century." Dance Research Journal 55, no. 3 (2023): 87–105. http://dx.doi.org/10.1017/s0149767723000311.

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In the 1840s, the polka craze established lead/follow partner dancing as the normative social dance structure in the Atlantic world. In the process, it imposed a choreographed performance of bourgeois heteropatriarchy (originally developed with the waltz) on Europe's colonies and post-colonies. However, a central mechanism of the lead/follow system in social partner dance is the woman's body attitude, and as the nature of that attitude changes, so do the associated dances. In the Americas, women acculturated to African-rooted principles of polycentricity disrupted the equilibrium of the lead/f

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Weiss, Peter. "Protons May Waltz off Nuclear Dance Floor." Science News 158, no. 17 (2000): 261. http://dx.doi.org/10.2307/4018628.

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Liao, Guan-Ze, and Chun-Wang Sun. "Geometric patterns of a recursive waltz dance." Digital Creativity 17, no. 2 (2006): 113–26. http://dx.doi.org/10.1080/14626260600787811.

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Ershova, Olga, and Evgeny Smirnov. "Sports and ballroom dancing competitive infrastructure analysis in the context of international organizations on sports and ballroom dancing." Tambov University Review. Series: Humanities, no. 182 (2019): 123–29. http://dx.doi.org/10.20310/1810-0201-2019-24-182-123-129.

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We consider current problems of scientific and theoretical representations development about competitive infrastructure of Sports and ballroom dancing which are not provided with sufficient scientific comprehension. The purpose is to determine the basis of division used in the world practice of international organizations for sports and ballroom dancing for the classification of competitions, performers, their skills, etc. Interest in sports and ballroom dancing, as a form of social, cultural and leisure activities, increases every year not only abroad but also in Russia. Sports and ballroom d

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MAGDANZ, TERESA. "“Sobre las olas”: Cultural Synecdoche of the Past." Journal of the Society for American Music 1, no. 3 (2007): 301–40. http://dx.doi.org/10.1017/s1752196307070101.

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Composed in 1888 by Juventino Rosas, the waltz “Sobre las olas” (“Over the Waves”) soon made its way to North America and beyond, reverberating in the great spaces of the circus, fairground, skating rink, dance hall, and park. Recycled in cartoons and films, in television, and in various cover versions, Rosas's waltz has become a kind of popular liminal music. The complex, circuitous routes it has traveled have led to a present-day musical convention. This essay attempts to lay bare the mechanisms at work in the dissemination of such a widely known piece of music in three ways: 1) by accountin

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Fried, R. G. "The therapeutic waltz. Who is leading the dance?" Archives of Family Medicine 2, no. 8 (1993): 822–24. http://dx.doi.org/10.1001/archfami.2.8.822.

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Braun, Linda. "Dancing in Step with Society." Body Politics 4, no. 7 (2017): 41–62. https://doi.org/10.12685/bp.v4i7.1482.

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English abstract: This article analyzes the urban body in Imperial Germany through the lens of an integral part of night life: popular dancing. In the first decade of the twentieth century, American popular dances appeared in Berlin and other European metropoles. The cakewalk and various step dances replaced the established tradition of popular dancing: In general, American popular dances did not follow a choreography but instead allowed the leading (usually male) dancers to experience more autonomy and combine figures more freely. The dancing bodies moved into more directions than previously

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Parr, Sean M. "Dance and the Female Singer in Second Empire Opera." 19th-Century Music 36, no. 2 (2012): 101–21. http://dx.doi.org/10.1525/ncm.2012.36.2.101.

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Abstract A vogue for coloratura dance arias began in the 1850s. This emerging genre combined melismatic singing with two hugely popular social dance genres: the bolero and the waltz. Scholars have observed an association between these social dances and a certain euphoric feminine sensuality, but the connection between this youthful ebullience in dance and virtuosic female vocality has been largely ignored. Dancing was notorious in the nineteenth century because of its dangerously arousing and vertiginous effects. As dances increased in speed and difficulty, so too did the singing of sopranos i

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Narskii, I. V. "THE WALTZ OF CULTURAL LAYERS, THROUGH WHICH THE RUSSIAN BIRCH SPROUTED." Вестник Пермского университета. История, no. 1 (64) (2024): 162–72. http://dx.doi.org/10.17072/2219-3111-2024-1-162-172.

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The article is dedicated to the problem of unofficial symbolism, which served as a marker of Russian-Soviet identity, using the example of the birch as the Russian national tree. The old lyrical waltz “Berezka” (“Birch”) is taken as a starting point and occasion to answer questions about the reasons for the popularity of the state dance en-semble “Birch” (“Berezka”), founded in 1948, among Soviet audiences and about the genealogy of the image of the birch as a “Russian tree”. The tasks set are solved in several steps. First, the correspondence of the audience with the management of “Berezka” i

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Li, Lin, Yuanyuan Liu, Yue Gu, and Zhe Zhu. "Application of Heart Rate Combined with Acceleration Motion Sensor in Sports Dance Teaching." Journal of Sensors 2022 (October 6, 2022): 1–11. http://dx.doi.org/10.1155/2022/6410339.

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Because of the large amount of exercise, sports dance has the characteristics of good viewing and strong movement, and has gradually entered the campus in recent years. However, sports dance is not only difficult, but also has a wide variety of categories except modern dance and Latin dance. In addition to these two categories, there are 10 kinds of dances in total. Therefore, in teaching, schools have no choice, and students cannot understand which dance styles are most effective for students’ physical exercise. In order to solve the problem that there are many kinds of sports dance and the e

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Churpita, Tetiana. ""The Great Waltz" Ballet in the Production of Mykola Trehubov." Dance Studies 2, no. 2 (2019): 168–76. https://doi.org/10.31866/2616-7646.2.2.2019.188817.

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The purpose of the article is to analyze the scenic path of the romantic ballet "The Great Waltz" directed by Mykola Trehubov. Methodology. The historical, historiographic and analytical approaches are applied. Scientific novelty. The article, for the first time, made a detailed analysis of the sсеnic life of "The Great Waltz" performance staged by M. Trehubov in various ballet theatres of the USSR. Conclusions. In 1957, the famous choreographer M. Trehubov, together with the conductor of Lviv Opera, S. Arbit, staged The Great Waltz ballet to the music o

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Thygesen, Mads. "Rammens udkrængning." Peripeti 3, no. 6 (2024): 61–70. http://dx.doi.org/10.7146/peri.v3i6.107591.

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In his analysis of German choreographer Sasha Waltz’ dance performance Insideout, Mads Thygesen explores the relations between the intentions of the work and its actual, performative »doing«, specifically the way this performance draws attention to its own use of framing devices in the interaction with the audience.

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Pavliuk, Tetiana. "The Specifics of Competitive Dance Sequences of the New Vogue Style." Bulletin of KNUKiM. Series in Arts, no. 39 (December 10, 2018): 121–28. https://doi.org/10.31866/2410-1176.39.2018.153672.

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The purpose of the article is to identify the specifics of the Australian style of performing competitive ballroom dances (New Vogue); to conduct an art critical analysis of the technique of performing competitive dance sequences of the New Vogue style. The research methodology was based on the principles of objectivity, historicism, multifactorness, systematicity, complexity, development and pluralism; to fulfill the research purpose, the following methods of scientific knowledge were used: problem-chronological, concrete-historical, statistical, descriptive, and logical-analyt

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Yefanova, Svitlana, and Liudmyla Bakalo. "Influence of Western European Choreographic Culture on the Formation of Ballroom Dances in Ukraine (the 19th – Early 20th Century)." Bulletin of KNUKiM. Series in Arts, no. 38 (August 16, 2018): 126–42. https://doi.org/10.31866/2410-1176.38.2018.141757.

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The purpose of the article is to study and analyze the development of ballroom dances in Ukraine from the 19th to early 20th century in the context of the influence of Western European choreographic culture; to consider the preconditions for the emergence and development of ballroom culture in the territory of Ukraine and the performance of dances in accordance with regional features. The research methodology consisted in the principles of objectivity, historicism, multifactorness, systematicity, complexity and pluralism; to fulfill the research purpose, the following methods we

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Vanistendael, Cornelis. "Shaping Europe's First Dance Craze – The Role of Napoleon's Grande Armée in the Dissemination of the Quadrille (1795–1815): Case Studies in Cultural Mobility from the Southern Netherlands." Dance Research 36, no. 1 (2018): 91–111. http://dx.doi.org/10.3366/drs.2018.0222.

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The first decade-and-a-half of the nineteenth century witnessed the unusually-speedy dissemination of a new dance, the quadrille, over a vast territory. The traditional channels of dissemination cannot account for this astonishing process. The circumstances of the Napoleonic wars disrupted the functioning of institutions, publishing and networks of patronage. This article proposes an alternative explanation for the rapid rise of the quadrille. It explores aspects of the military culture of Napoleon's army to account for the veritable dance ‘craze’ associated with the quadrille. During winter c

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Dong, Zhishou. "Evaluation of Teacher Competency in Teaching Dance Sports in Selected Universities in Hunan Province, China." Journal of Education and Educational Research 5, no. 1 (2023): 70–72. http://dx.doi.org/10.54097/jeer.v5i1.11664.

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This paper evaluates the ability of sports dance teachers in selected universities in Hunan province, and selects teachers and students from 5 universities to carry out a questionnaire survey. The results show that ：1.there are more young female teachers, most of whom are only 5-10 years of teaching age;2.In terms of principles and concept of dance sports, the teachers need to focus on how to increase the locomotor and non-locomotor movements, patterns and sequences of movements while applying different dance elements;3. Teachers are needed to prioritize their training to enhance the fluency i

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Kokanović Marković, Marijana. "Dance in the Salons: Waltzes, Polkas and Quadrilles in Serbian Piano Music of the 19th Century." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 120–33. http://dx.doi.org/10.31318/2522-4190.2022.133.257328.

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As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it

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Guo, Qing. "On the Origins of Viennese Waltz: Franz Schubert’s Dance Cycles." Manuskript, no. 10 (March 2021): 2173–78. http://dx.doi.org/10.30853/mns210361.

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SCOTT, JILL. "Choreographing a Cure: Strauss's Elektra, the Waltz, and Modern Dance." Seminar: A Journal of Germanic Studies 38, no. 3 (2002): 226–40. http://dx.doi.org/10.3138/sem.v38.3.226.

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Schuller, Björn, Florian Eyben, and Gerhard Rigoll. "Tango or Waltz?: Putting Ballroom Dance Style into Tempo Detection." EURASIP Journal on Audio, Speech, and Music Processing 2008 (2008): 1–12. http://dx.doi.org/10.1155/2008/846135.

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Paran, Janice. "DANCE IN NEW York: Anniversary Waltz: Maguy Marin's May B." Theater 17, no. 3 (1986): 95–96. http://dx.doi.org/10.1215/01610775-17-3-95.

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O’Rourke, Hannah M., Souraya Sidani, Charlene H. Chu, Mary Fox, Katherine S. McGilton, and Jhonna Collins. "Pilot of a Tailored Dance Intervention to Support Function in People With Cognitive Impairment Residing in Long-Term Care: A Brief Report." Gerontology and Geriatric Medicine 3 (January 1, 2017): 233372141773467. http://dx.doi.org/10.1177/2333721417734672.

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Older adults who live in long-term care settings are at risk for functional decline, which may be mitigated by regular exercise. Using a single-group repeated measures design, this pilot study explored the feasibility, acceptability, and preliminary effects of a Waltz-based dance intervention delivered to 13 Canadian, English-speaking, long-term care residents with mild to moderate cognitive impairment. The findings supported intervention feasibility, based on a high completion rate (93%), level of attendance ( M = 7.15 of 10 sessions) and level of engagement during dance sessions ( M = 1.75 t

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Draughon, Francesca Draughon. "Dance of Decadence: Class, Gender, and Modernity in the Scherzo of Mahler's Ninth Symphony." Journal of Musicology 20, no. 3 (2003): 388–413. http://dx.doi.org/10.1525/jm.2003.20.3.388.

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The Scherzo of Mahler's Ninth Symphony juxtaposes the Lndler and the waltz, two dances that resonate with cultural meaning. Exploring the part they play in this movement illuminates the socio-political significance of the dances' identification with contrasting-and at the turn of the century increasingly conflicted-social spheres of the Habsburg Empire: The former represented the rural population of the countryside, while the latter represented the bourgeois and aristocratic classes of Vienna. This rural-urban polarity was intimately bound with turn-of-the-century ideologies of gender, the bod

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Miller, Tyrus. "Shifting: Worker Culture and Life Reform in the Madzsar School." Dance Research Journal 45, no. 2 (2013): 124–31. http://dx.doi.org/10.1017/s0149767713000041.

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This recent exhibition in Budapest assembles a fascinating documentation of the life and work of Dr. Alice Madzsar-Jászi (Photo 1), who, from her first opening of a dance school in 1912 to her untimely death in 1935, wove an intricate path through the cultural, political, and artistic avant-gardes of modern Hungary. At the turn of the century, just ten years before Madzsar launched her school, Isadora Duncan had made her solo debut in Budapest, where her improvisation to Strauss's “Blue Danube Waltz” had affected the Hungarian audience like “an electric shock” (Duncan 1927: 74). Madzsar was on

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Lysenko, Albert, Olena Horbenko, and Maksym Mishyn. "Content analysis of common figures of the technical training program in European sport dance program." Scientific Journal of National Pedagogical Dragomanov University Series 15 Scientific and pedagogical problems of physical culture (physical culture and sports), no. 12(185) (December 25, 2024): 109–13. https://doi.org/10.31392/udu-nc.series15.2024.12(185).22.

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In this article, the authors analyze the content of figures common to various dances within the swing group of the European sport dance program, considering permissible technical elements and actions. The tables include groups of identical figures and technical elements across different dances, as well as their structural analogs. The list of basic figures provided in the appendices of the Competition Rules of the International DanceSport Association (IDSA), the World DanceSport Federation (WDSF Syllabus), the Ukrainian DanceSport Association (UDSA), and the All-Ukrainian DanceSport Federation

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Surtihadi, R. M. "Instrumen Musik Barat dan Gamelan Jawa dalam Iringan Tari Keraton Yogyakarta." Journal of Urban Society's Arts 1, no. 1 (2014): 27–43. http://dx.doi.org/10.24821/jousa.v1i1.786.

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Perpaduan instrumen musik Barat dengan instrumen gamelan Jawa untukmengiringi tari di Keraton Yogyakarta sudah berlangsung sejak lampau. Hingga saatini perpaduan tersebut masih dapat dijumpai. Bermula dari peristiwa kontak budayaBarat dan Timur, instrumen musik Barat telah menjadi bagian dari kelengkapanupacara protokoler Keraton Yogyakarta. Tujuan penulisan ini untuk membuat kajianhistoris perpaduan gamelan Jawa dengan seperangkat instrumen musik orkestraBarat untuk mengiringi pertunjukan tari putri pada bagian kapang-kapang Bedhaya,Srimpi, dan tari putra Lawung Ageng Keraton Yogyakarta. Bebe

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von Rosen, Astrid, and Mats Nilsson. "Waltzing with Strindberg: Exploring Practices of Memory in A Dream Play." Nordic Journal of Dance 8, no. 1 (2017): 4–15. http://dx.doi.org/10.2478/njd-2017-0002.

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Abstract The aim of this article is to explore embodied practices of memory in Strindberg’s drama A Dream Play from a dance perspective. It is demonstrated that a profound exploration of this hitherto underexplored perspective can provide a fuller and more critically productive understanding of the drama. Even if in recent years international Strindberg studies has moved away from narrowly text-oriented and biographical approaches to his work, and toward multimedia, visual and multisensory aspects of it, dance and choreography are still rare topics within the field. In the article we first loo

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Bond, Patricia M. "Dancing at the aliens’ ball: The waltz of the wounded healer." Counselling Psychology Review 36, no. 1 (2021): 24–30. http://dx.doi.org/10.53841/bpscpr.2021.36.1.24.

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A narrative of my developmental trauma is presented. This trauma would not hit the headlines – it was ‘ordinary’, nobody’s fault, just ‘one of those things’. It did however have follow-on effects on emotional difficulties I had as a teenager and adult, on life choices, and on later becoming, and working as, a counsellor. I suggest the metaphor of dance as illustrating the benefit of having a trauma history.

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Gates, Peter, Fred M. Discenzo, Jin Hyun Kim, Zachary Lemke, Joan Meggitt, and Angela L. Ridgel. "Analysis of Movement Entropy during Community Dance Programs for People with Parkinson’s Disease and Older Adults: A Cohort Study." International Journal of Environmental Research and Public Health 19, no. 2 (2022): 655. http://dx.doi.org/10.3390/ijerph19020655.

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Dance therapy can improve motor skills, balance, posture, and gait in people diagnosed with Parkinson’s disease (PD) and healthy older adults (OA). It is not clear how specific movement patterns during dance promote these benefits. The purpose of this cohort study was to identify differences and complexity in dance movement patterns among different dance styles for PD and OA participants in community dance programs using approximate entropy (ApEn) analysis. The hypothesis was that PD participants will show greater ApEn during dance than OA participants and that the unique dance style of tango

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Kuliś, Szymon, Matej Chren, Patrizia Proia, et al. "Kinematic criteria determining swing movement of world class dancesport athletes." Human Movement 25, no. 1 (2024): 60–67. http://dx.doi.org/10.5114/hm.2024.136055.

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PurposeThe aim of the study was to identify the distinguishing characteristics of the swing movement of the world’s top dancesport couples through kinematic variables.MethodsThe study involved six world-class and six intermediate dance couples. The couples were asked to execute three identical series of three natural turns of the figure in a Viennese Waltz, all being filmed as they danced to music. Six international experts evaluated all the trials of each couple from the point of view of the technical quality component based on the Absolute Judging System. A triaxial rotational angular veloci

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Stanciu, Alba Simina. "Body and Interdisciplinarity. From Performance Art to a Choreographic Body Installation." CONCEPT 27, no. 2 (2024): 127–40. http://dx.doi.org/10.37130/h9vfvv79.

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The true coherence of a performance depends on a structured and efficient vision, which can be symbolically reduced to three “key moments,” each having an essential role in the relationship between the “living body” and its connection with performance, which is more and more defined by interdisciplinary coherences. This paper starts with the American experiments of the 1960s and 1970s, which envisioned the “body” not only as mere “material” for feminist manifestos but also as a medium suitable for achieving the new goals set forth by performance art. The supportive environment around the Judso

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Burriss, Theresa L. "The Activism of Dance Performance in Appalachia: Utilizing the Arts to Address Social and Environmental Crisis and Injustice in the Mountains." American, British and Canadian Studies 39, no. 1 (2022): 143–67. http://dx.doi.org/10.2478/abcsj-2022-0021.

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Abstract For well over a century, the human and more-than-human of Central Appalachia have endured oppression and exploitation, primarily due to natural resource extraction. In spring 2008, the author led a dark touri to a mountaintop removal coalmining site in Southern West Virginia for colleagues, which included Dance Professor Deborah McLaughlin. As a result, the two collaborated on three evening-length dance/theater works highlighting social and environmental crises and injustices in the region. The performances incorporated contemporary dance, poetry, the spoken word, and the visual arts,

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Yushkova, Elena V. "From Gordon Craig to Mark Morris and Sasha Waltz: Stage design of opera / ballet “Dido and Aeneas”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (2020): 100–117. http://dx.doi.org/10.18522/2415-8852-2020-1-100-117.

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The article deals with the impact of the English theatre director Edward Gordon Craig’s innovations in the dance theatre of the end of the 20th to the beginning of the 21st century. We consider one of Craig’s earliest performances in the opera “Dido and Aeneas” by the well-known English composer of the 17th century Henry Purcell., This was first staged in 1900 in London, and we focus on the selected methods and techniques associated with the reforming of theatre language, which were used by choreographers, such as the American Mark Morris and the German Sasha Waltz several decades later. Dance

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Yoseph Fransiscus Sihombing, Testi Zebua, Aprinaldi Simorangkir, Monang Asi Sianturi, and Rowilson Nadeak. "Teknik Permainan Appogiatura Piano Pada Lagu “Waltz In A Minor, B.150, Op.Posth” Karya Frederic Chopin." Jurnal Nakula : Pusat Ilmu Pendidikan, Bahasa dan Ilmu Sosial 1, no. 6 (2023): 196–210. http://dx.doi.org/10.61132/nakula.v1i6.268.

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This research aims to determine the techniques for playing appogiatura piano in the song "Waltz in a minor, B.150, Op.Posth" by Frederic Chopin. The author uses descriptive qualitative methods. The object of this research is the score for Waltz in a minor, B.150, Op.Posth" by Frederic Chopin. The data analysis techniques used are data reduction, data presentation, and data conclusions. The results and discussion of this research are Frederic Chopin's "Waltz in a minor, B.150, Op. Posth" which is a solo performance that uses playing techniques such as Appoggiatura and is equipped with technique

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R, Dilli Ganesh. "Evaluating the Role of Artificial Intelligence in Investment Decision-Making within the Realm of Cryptocurrency Trading." Shanlax International Journal of Management 11, S1-Mar (2024): 108–13. http://dx.doi.org/10.34293/management.v11is1-mar.8065.

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The Dance of Machines and Markets: Can AI Lead the Crypto Waltz? Cryptocurrency markets, with their inherent volatility and vast data streams, present a captivating arena for the interplay of human ingenuity and artificial intelligence (AI). This research investigates the potential of AI to transform investment decision-making within this dynamic landscape. We explore how AI algorithms, adept at pattern recognition and complex data analysis, can be leveraged to predict price movements, optimize portfolio allocation, and navigate the emotional pitfalls often faced by human traders. However, the

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Damsholt, Inger. "The Brudevals, ‘Danishness’ and lived reality." Nordic Journal of Dance 11, no. 1 (2020): 16–27. http://dx.doi.org/10.2478/njd-2020-0003.

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AbstractThis article represents part of the author’s ongoing empirical study of the Danish brudevals (bridal waltz) tradition recognized by the means of three characteristic conditions: a specific piece of music by Niels W. Gade, a particular group choreography in which a circle of clapping guests slowly move closer to the newlywed couple and a final section of the ritual in which guests cut the tips of the groom’s socks. The purpose of the article is to highlight how current realisations of the dance reveal the brudevals as a dynamic living tradition and to show the complexity of the politica

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Barenholtz, Randi L. "The corporate dance: From waltz to tango to achieve women's equality at work." Employment Relations Today 21, no. 2 (1994): 131–37. http://dx.doi.org/10.1002/ert.3910210203.

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Prosen, Jerneja, Nic James, Lygeri Dimitriou, Janez Perš, and Goran Vučković. "A Time-Motion Analysis of Turns Performed by Highly Ranked Viennese Waltz Dancers." Journal of Human Kinetics 37, no. 1 (2013): 55–62. http://dx.doi.org/10.2478/hukin-2013-0025.

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Twenty-four dance couples performing at the 2011 IDSF (International DanceSport Federation) International Slovenia Open were divided into two groups: the first twelve placed couples (top ranked) and the last twelve placed couples (lower ranked). Video recordings were processed automatically using computer vision tracking algorithms under operator supervision to calculate movement parameters. Time and speed of movement were analysed during single natural (right) and reverse (left) turns performed during the Viennese waltz. Both top and lower ranked dancers tended to perform similar proportionat

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Leach-Leung, Elizabeth. "A Successful Partnership: Gender Roles, the Ballroom, and the Rise of the Postmodern Princess in Disney’s Animated and Live-Action Beauty and the Beast." Jeunesse 16, no. 2 (2024): 144–61. https://doi.org/10.3138/jeunesse-2023-0051.

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Disney’s Beauty and the Beast, both Trousdale and Wise’s animated (1991) and Condon’s live-action (2017) productions, are often criticized for their perpetuation of traditional gender roles. While the ballroom scene(s) in both films are often a focal point of this criticism, a close reading of the choreography holds a subtext not often seen by the common viewer—one that illustrates a complex partnership with shifting roles rather than a static understanding of domineering male leads and dainty female follows. This article contextualizes the significance of dance in these adaptations as an expa

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Жерьобкіна, Катерина, Борис Фоменко та Владислав Мукін. "Особливості імплементації феномену «музикальність» у танці танго". Professional Art Education 5, № 2 (2024): 46–54. https://doi.org/10.34142/27091805.2024.5.02.05.

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The article provides a holistic analysis of the features of the implementation of the phenomenon of «musicality» in choreographic art, in particular in Tango dance. Methods & methodology. The article used the principles of ambiguity, systematicity, historicism; methods of embodying musicality in dance through forms of perception, creation, performance (interpretation) and improvisation. The scientific novelty of the article is to determine the content of the methods of musicality in Tango dance, as a reflection of psychological, performing, expert and artistic aspects; to reveal the etymol

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