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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (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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Öztürkmen, Arzu. "Modern Dance Alla Turca: Transforming Ottoman Dance in Early Republican Turkey." Dance Research Journal 35, no. 1 (2003): 38–60. http://dx.doi.org/10.1017/s0149767700008767.
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This essay looks at the works of Selma Selim Sırrı (b. 1906) and her father Selim Sırrı Tarcan (1874–1956), who wrote on dance in the 1920s, a period that marked the transition from the Ottoman Empire to modern Turkey. The Ottoman Empire ruled across the Mediterranean world between the thirteenth and twentieth centuries, collapsing after World War I. The Republic of Turkey was declared in 1923, distancing itself from the Ottoman tradition to adopt a westernization reform program. Written in the early Republican era, the works of Selma Selim Sırrı and Selim Sırrı Tarcan mark the shift from Ottoman dance traditions to a more Western approach to dance. Inspired by Isadora Duncan, Selma Selim Sırrı (1926) explored the idea of modern dance for Ottoman women in a booklet entitled Selma Selim Sırrı Hanım'ın Bedii Raksları (The Aesthetic Dances of Miss Selma Selim Sırrı, see Fig. 1). Her father was the author of Halk Dansları ve Tarcan Zeybeği (Folk Dances and the Tarcan Zeybek, see Fig. 2), a book that focused on the process of refining folk dances, in particular the zeybek genre, to suit the tastes of an educated, urban audience.
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Harrington, Heather. "«Get in Your Theatres; the Street is Not Yours»: The Struggle for the Character of Public Space in Tunisia." Nordic Journal of Dance 8, no. 2 (2017): 54–69. http://dx.doi.org/10.2478/njd-2017-0012.
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Abstract How people move and appear in public spaces is a reflection of the cultural, religious and socio-political forces in a society. This article, built on an earlier work titled ’Site-Specific Dance: Women in the Middle East’ (2016), addresses the ways in which dance in a public space can support the principles of freedom of expression and gender equality in Tunisia. I explore the character of public space before, during, and after the Arab Spring uprisings. Adopting an ethnographic and phenomenological approach, I focus on the efforts of two Tunisian dancers – Bahri Ben Yahmed (a dancer, choreographer and filmmaker based in Tunis, who has trained in ballet, modern dance and hip hop) and Ahmed Guerfel (a dancer based in Gabès, who has trained in hip hop) – to examine movement in a public space to address political issues facing the society. An analysis of data obtained from Yahmed and Guerfel, including structured interviews, videos, photos, articles and e-mail correspondence, supports the argument that dance performed in public spaces is more effective in shaping the politics of the society than dance performed on the proscenium stage. Definitions and properties of everyday choreography, site and the proscenium stage are analysed, along with examples of site-specific political protest choreography in Egypt, Turkey and Tunisia. I engage with the theories of social scientist Erving Goffman, which propose that a public space can serve as a stage, where people both embody politics and can embody a protest against those politics.
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RIDAN, Tomasz, Katarzyna OGRODZKA-CIECHANOWICZ, Magdalena MOLĘDA, and Ewelina KAMIŃSKA-GWÓŹDŹ. "Analysis of the incidence of ankle joint injuries among dancers representing different dance styles." Medycyna Manualna 1, no. 3 (2020): 39–46. http://dx.doi.org/10.5604/01.3001.0013.8444.
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Introduction. Injuries of the ankle joint are among the most common injuries of the locomotor system, occurring both among athletes and people involved in amateur sports and other recreational activities. The objective of the study was to assess the incidence of injuries to the ankle joint in a group of professional and amateur dancers representing different dance styles. Material and research method. The research initially covered a group of 98 dancers. Ultimately, 64 dancers qualified for the study, including 28 men (44%) and 36 women (56%) aged between 17 and 23 years. The study was conducted among the registered active dancers from all over Poland. It was based on a survey questionnaire designed by the researchers. The obtained data was subjected to calculations using the Excel 2010 spreadsheet. Results. In the group surveyed, 53 individuals (83%) suffered injury to only one ankle joint. Ankle joint injuries recurred with a variable frequency, usually between 2 and 5 times, in 7 (53%) ballroom dancers, 10 (59%) jazz dancers, 4(16%) dancers in the group of jazz dance, and 7 dancers in the group of modern jazz. Ankle joint injuries usually occurred during the training – 49 (76,6%) of the respondents, 10 individuals (15,6%) suffered injury after the training, and 5 persons (7,8%) – during various recreational activities. Conclusions. Ankle joint injuries affect a wide group of dancers, and their frequency is associated with the lack of professional experience. The majority of injuries occur in the initial period of dancing. The dance style and the type of shoes used, such as ballet shoes or highheeled shoes, have no effect on the incidence of injuries.
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Carter, Alexandra. "Archives of the Dance (22): Pioneer Women – Early British Modern Dancers (The National Resource Centre for Dance, University of Surrey)." Dance Research 28, no. 1 (2010): 90–103. http://dx.doi.org/10.3366/drs.2010.0005.
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Pioneer Women was an AHRC-funded project based on archives held at the National Resource Centre for Dance, University of Surrey. This article focuses on the two largest collections, that of Madge Atkinson and Natural Movement, and Ruby Ginner's Revived (later Classical) Greek Dance. Their work is situated within the broad cultural context of the early 20th century, and the archival holdings are evaluated for their potential in offering a re-conceptualisation of early British modern dance.
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Agustono, Budi, Heristina Dewi, and Mhd Pujiono. "STRENGTHENING THE TRADITIONAL DANCE GROUP & PLACE (SANGGAR TARI) TO STRENGTHEN THE LOCAL CULTURE OF MEDAN IN MEDAN AMPLAS SUBDISTRICT." Abdi Dosen : Jurnal Pengabdian Pada Masyarakat 5, no. 2 (2021): 306. http://dx.doi.org/10.32832/abdidos.v5i2.873.
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The majority of the younger generation ignore national culture, such as traditional dances, and prefer modern dances. This makes the importance of strengthening traditional dance groups & place (sanggar tari) as a forum for developing creativity in traditional culture in Medan. Therefore, in this community service, efforts to strengthen the sanggar tari to strengthen Medan's local culture were carried out. This activity consisted of a Focus Group Discussion (FGD) and dance training for 30 young men and women members of the Medan Amplas sub-district sanggar tari held for two months. Besides providing training, the community service team facilitates supporting equipment in traditional dance performance activities for members, such as clothing, accessories, and other training media. The lecture, Q&A, demonstration, and drill methods are used in its implementation. This community service has resulted in the form of services to raise public awareness of the local dance culture of North Sumatera, especially in Medan, with training assistance to increase creativity, innovation, and the ability of the sanggar members in the field of traditional dance and culture.
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Bannerman, Henrietta. "Martha Graham's House of the Pelvic Truth: The Figuration of Sexual Identities and Female Empowerment." Dance Research Journal 42, no. 1 (2010): 30–45. http://dx.doi.org/10.1017/s0149767700000814.
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Martha Graham writes in her autobiography Blood Memory that she was bewildered, or, as she puts it “bemused,” when she heard how dancers referred to her school as “the house of the pelvic truth” (Graham 1991, 211). We might perhaps agree with Graham that this is not the best description for a highly respected center of modern dance training; neither does it match Graham's image as an awe-inspiring and exacting teacher, nor does it suit the seriousness with which her tough technique is regarded. But the house of the pelvic truth does chime with stories about Graham's often frank method of addressing her students. She is reputed to have told one young woman not to come back to the studio until she had found herself a man. At other times she would tell her female students, “you are simply not moving your vagina” (211). Add to this other stories about the men in the company suffering from “vagina envy” (211), and it can be readily understood that the goings-on in the Graham studio gave rise to its nickname, “house of the pelvic truth.”In British dance circles of the 1960s, it was not rumors of the erotic that attracted most of us to Graham's work or persuaded us to travel to New York in search of the Graham technique. There was little in the way of contemporary dance training in Britain at this time, and we had been mesmerized by the beautiful and rather chaste film A Dancer's World (1957), in which Graham pronounces: a dancer is not a phenomenon … not a phenomenal creature.… I think he is a divine normal. He does what the human body is capable of doing. Now this takes time…it takes about ten years of study. This does not mean he won't be dancing before that time, but it does take the pressure of time, so that the house of the body can hold its divine tenant, the spirit. (1962, 24)
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Kovaleva, N. V., N. P. Ieremenko, and V. A. Kovalev. "Attitude of first mature ages to zumba dance aerobics." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 3(133) (March 22, 2021): 54–58. http://dx.doi.org/10.31392/npu-nc.series15.2021.3(133).11.
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The article considers the factors that affect the attitude of women of the first period of adulthood to dance aerobics. The significance of zumba dance aerobics classes is substantiated.
 Zumba is a physical activity that has been practiced in the world for almost 30 years. However, it has become very popular in the last decade. Most gyms offer this dance or something similar, as ZUMBA was patented by its inventor Alberto Perez.
 Zumba for weight loss is based on various Latin American rhythms, such as bachata, salsa, mirenga, cumbia and samba.
 These dances are combined with aerobic exercises to effectively support weight loss.
 During zumba, your body burns a lot of calories, toning muscles and gaining flexibility. In addition, these dances help to learn Latin rhythms in an interesting and accessible way for everyone, even children. Now there are variants of zumba in the water. Zumba a combines aerobic exercise and anaerobic. That is, in addition to intense exercise that makes you sweat, do not forget to strengthen muscles. The more muscle you have, the more you speed up your metabolism and the more calories you burn.
 The urgency of the topic is due to various factors of modern society, because scientific and technological progress and growing urbanization are constantly accelerating the life of the population, resulting in growing needs for recovery, relaxation and the desire to indulge in a favorite pastime. Therefore, in today's world, fitness is really increasingly used to improve well-being, raise morale and to adjust your body to further work.
 The survey was conducted for one month on the basis of the fitness club "Sport & Spa" in Kiev. 20 women aged 20 to 30 took part in the survey.
 The data analysis was used to identify the needs and motivations of women and to assess the attitudes of early adult women to Zumba classes.
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Bergen-Aurand, Brian. "The Problem of Homosexuality: Desire-in-Uneasiness, Friendship, Family, Freedom." CINEJ Cinema Journal 5, no. 1 (2016): 34–56. http://dx.doi.org/10.5195/cinej.2015.124.
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Zenne Dancer is a 2011 Turkish film written by Caner Alper and directed by Alper and Mehmet Binay. It is inspired by the story of Ahmet Yildiz, a gay Kurdish Turk allegedly murdered by his father in 2008 for dishonoring his family. Through its depiction of the unlikely friendship between three men, the film addresses the problem of homosexuality, the desire-in-uneasiness evoked by men being together, and the complex social structures of honor killings. In its address of honor killings, Zenne Dancer follows in a prestigious line of some of the best of Turkish and world cinema. Importantly, though, there are differences here as Zenne Dancer reimagines the relationships involved in crimes of honor. First, Zenne Dancer deploys the story of a father killing his son, rather than his daughter, to save the family honor, which is threatened by homosexual desire rather than the loss of virginity or illegitimate pregnancy. Second, rather than pitting the modern state against religion, tradition, or pre-modern culture, Zenne Dancer’s critique of honor killing implicates both the police and the military in the violence done in the name of tradition (not religion). Islam plays a much smaller part than economic deprivation or the trauma of war in this film. Third, the film complicates gendered expectations through its deployment of female characters—mothers, sisters, lovers—who all have their own relationships with and perspectives on these men. The film depicts heteropatriarchy as a system harmful to women and men and shows men and women enforcing and resisting that harm. In the end, Zenne Dancer connects these thematic concerns through a mixture of realist story, dance video, daydream, fairytale, and melodrama in a film ultimately concerned with the care of the self and the meaning of liberation. Thus, it resists falling into fictional “realist anthropology” or simplistic assertions of repression in confronting the complexities of honor killings, the problem of homosexuality, and friendship in cinema.
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Wiktorski, Heather Roffe. "Signifying Women – Politics of Gesture in Three Modern Dance Pioneers." Athens Journal of Humanities and Arts 5, no. 2 (2018): 163–78. http://dx.doi.org/10.30958/ajha.5.2.2.
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Risner, Doug. "Challenges and Opportunities for Dance Pedagogy: Critical Social Issues and “Unlearning” How to Teach." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 204–9. http://dx.doi.org/10.1017/s2049125500001114.
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Given our panel's focus, I will introduce myself by way of my undergraduate dance pedagogy course and highlight what I will be addressing in my remarks this morning. The young women in my dance pedagogy course bring considerable experience in modern, ballet, and jazz technique and are equally skilled as young performers. These students likely represent a good cross section of students in their third year of undergraduate dance programs in the United States. We begin this pedagogy course by looking at the students'experience of teaching in their own training and dance education.
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Lewis, Raymond N., and Evelyn D. Scannell. "Relationship of Body Image and Creative Dance Movement." Perceptual and Motor Skills 81, no. 1 (1995): 155–60. http://dx.doi.org/10.2466/pms.1995.81.1.155.
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Findings supporting the proposition that dance movement improves a person's body image have been contradictory. Previous work focussed on styles such as ballet, jazz, and modern dance but it is arguable that creative dance movement, with its less structured approach and absence of predetermined performance standards, will have a positive influence on body image. This study examined scores on the Multidimensional Body-Self Relations Questionnaire of 112 women between 18 and 69 years who had been actively participating in creative dance movement courses for periods ranging from two weeks to 16.5 years. Subjects experienced in creative dance movement were more satisfied with their appearance, fitness, and body parts than subjects with less than five years of experience. Differences in evaluation of health were not clearly established. Given this analysis and the potential for widespread clinical use of creative dance movement with people having body-image disturbances, empirical research on the relationship between creative dance movement and body image is warranted.
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Foulkes, Julia L. "Angels "Rewolt!": Jewish Women in Modern Dance in the 1930s." American Jewish History 88, no. 2 (2000): 233–52. http://dx.doi.org/10.1353/ajh.2000.0029.
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Bryce, Judith. "Performing for Strangers: Women, Dance, and Music in Quattrocento Florence*." Renaissance Quarterly 54, no. 4-Part1 (2001): 1074–107. http://dx.doi.org/10.2307/1261967.
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Contrary to a tradition of scholarly insistence on the invisibility of Florentine patrician women outside the domestic sphere, it can be argued such women did in effect perform a significant, public, or quasi-public, function in the negotiation of relationships between the Republic and other Italian, and European, elites. This article assembles fragmentary evidence concerning dancing and musical performance by women directed towards the entertainment of visiting notables in the second half of the Quattrocento, and uses modern concepts of gendered performance and the performance of gender to speculate on the nature of that experience for the women involved.
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Ferro, Simone, and Meredith W. Watts. "Traditionalism and Modernity: Choreography and Gender Portrayal in the Brazilian Popular Dance Bumba-meu-boi." Congress on Research in Dance Conference Proceedings 2012 (2012): 51–62. http://dx.doi.org/10.1017/cor.2012.6.
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Dancers in the Brazilian folk celebration Bumba-meu-boi once performed in simple, repetitive, and predominantly circular movements. This structure promotes multigenerational participation, increases community interaction, and maintains a semi-intact historical legacy. Nevertheless, many groups are currently adopting choreographic steps and patterns familiar from popular entertainment culture and urban Carnival celebrations. This evolution is uneven, with many of the nearly 300 groups that perform in the federal state of Maranhão maintaining the older practices. Nevertheless, for groups embracing modern entertainment values, greater appeal to tourists and general audiences comes at the cost of the traditional form and content of the celebration described by field researchers only two or three decades ago. Gender presentations have been particularly affected, with the increased use of elaborate and skimpy costumes, younger and more athletic performers (mostly young women), and professionalized musical support. These changes are part of the modernization and urbanization of the festival, and they create an ambivalent dialectic in which women appear increasingly as leaders and major performing figures, but also as chorus line bodies with minimal narrative function. Our research includes visual documentation from several years of field research in Sao Luis (Maranhão), Brazil, available online at http://simoneferro.com. Albums of still photography are available at http://meredithwwatts.com.
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Doumbia, Kadidia Viviane. "Globalization and Dance in West Africa." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 86–89. http://dx.doi.org/10.1017/s2049125500000546.
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Dance in most African countries, especially in West Africa, is the responsibility of a particular class of the society. The main issue for performers or choreographers trained in modern standards is the transfer of information to dance professionals who are illiterate, approximately 75 percent of noneducated people on the continent. The majority are women. It is an oral tradition too, so diversity, globalization, and feminism mean nothing to them. The sociopolitical situation of the entire continent is a good example of the consequences of colonization that, besides being a historical big mistake, was also a disaster because it did not respect the structure of societies. Today's globalization of the world draws the continent down because it cannot consider Africa's specific needs. To me, dance cannot be globalized because of the creativity, identity, and social-specific values that would die.
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Alhidayah, Vuja Syafrianti, and Indrayuda Indrayuda. "TOXIC." Jurnal Sendratasik 9, no. 1 (2020): 54. http://dx.doi.org/10.24036/jsu.v8i3.108197.
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AbstractThe dance work "Toxic" aims to show that women's rights need to be respected in society because women are part of a social structure that needs to be properly managed and maintained so as not to be undermined by other social structures. The danceToxic is inspired by the phenomenon of social life of young people who have relationships with the opposite gender without following the norms that develop in society. This dance is made using the development of motives based on space, time, energy and developed using composition science. The form of presentation in this work is representational symbolic. "Toxic" is a dance work is inspired by changing patterns of the current life system of society from traditional societies bound by customary and religious rules transformed into a modern life that permeates the structure of the community itself, the culture that enters society today is acculturated and assimilate with existing culture. The dance "Toxic” is a dramatic dance in the form of a representational symbolic presentation that is manifested through motion, stage settings, make-up, fashion, lighting, and music.Keywords: Toxic
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Reus, Teresa Gómez. "Performing the (post‐modern) dance of gender: Nancy Spero and images of women." Journal of Gender Studies 2, no. 1 (1993): 45–55. http://dx.doi.org/10.1080/09589236.1993.9960528.
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Omer, Rabah. "The Modern and the Traditional African Women and Colonial Morality." International Journal of Culture and History 5, no. 1 (2018): 30. http://dx.doi.org/10.5296/ijch.v5i1.13311.
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The meanings of modernity have radically shifted over time, yet interestingly, the modern continues to be the modern and the traditional is still the traditional. I address this observation by asking: what is the modern and what is the traditional, how are they identified, by whom, when and according to what premises? I examine one cultural component: women and sexual morality. I focus on women-men relationships, dress, and dance to examine as cultural themes. I focus on African women and colonial morality and I bring examples across different eras and and different regions to discuss the contours of the changing notion of modernity. The signs of modernity have been inconsistent over time and across regions but modernity have always been consistent on particular features that makes it a fluid biased concept.
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O'Connor, Barbara. "Ruin and Romance: Heterosexual Discourses on Irish Popular Dance, 1920–1960." Irish Journal of Sociology 12, no. 2 (2003): 50–67. http://dx.doi.org/10.1177/079160350301200204.
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This article examines the ways in which dance embodies and expresses sexual discourses through an exploration of popular recreational dance in Ireland from 1920 to 1960 with particular emphasis on women. The author looks at the antipathy to ‘modern’ dancing by the State, Church and cultural groups during the 1920s and 1930s. This era was distinguished by a sexual discourse of ruin and sin and was part of the project of creating an ideal nation. It is argued that this period was followed by a more positive, though not unproblematic, discourse of romance from the 1940s onwards, which was associated with increasing consumption and urbanisation. In the concluding section differences and similarities between the two eras are suggested and brief comparison is made with sexual discourses of dance in the 1980s and 1990s.
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DE MIRANDA PEREIRA, LEONARDO AFFONSO. "Flor do Abacate: Workers of African Descent, Dancing Associations and Nationality in Rio de Janeiro, 1898–1914." Journal of Latin American Studies 50, no. 1 (2017): 1–29. http://dx.doi.org/10.1017/s0022216x17000384.
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AbstractFrom the last years of the nineteenth century until the first decades of the twentieth, the inhabitants of Rio de Janeiro witnessed a new social phenomenon: the proliferation, in every neighbourhood, of small dance clubs formed by workers. Noteworthy among them was the Flor do Abacate, a recreational society founded in 1906 by a group of men and women of African descent. Far from making any claim to ‘being African’, this association promoted balls and parades in which African cultural heritage was shown in conjunction with other cultural logics valued as modern and cosmopolitan. As a consequence, it constituted a model of recreational society, black and modern at the same time, which its members tried to associate to a national profile. The objective of this article is to analyse both the logic that explains the organisation of this dance society and the challenges that its members faced in consolidating it.
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Margetts, Hope. "Frenzied Flappers: The Hysterical Female in Early Twentieth-Century Social Dance." Forum for Modern Language Studies 55, no. 3 (2019): 339–50. http://dx.doi.org/10.1093/fmls/cqz022.
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Abstract It is widely acknowledged that the freer, more sexualized movements of social dancing in the early twentieth century (1900–1929) accompanied the beginnings of female emancipation both socially and politically. However, less explored are the similarities between the provocative, inelegant choreography of such social dances and the symptoms of female hysteria, a medical phenomenon that saw the body as a canvas for mental distress as provoked by social tensions. This essay will address the possible alignment of hysteria and popular social dance in relation to the evolving Modern Woman. It will examine the motivations of modern, ‘hysterical’ dances, and discuss their progressive status in terms of gender by considering perceived psychosomatic interactions within the female dancing body.
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Park, Hye Jin, Kae Soon Park, Kyung Han Kim, Chan Bok Jun, and Han Joon Lee. "The Effects of Modern Dance Exercise on the Change of Blood Press and Cardiovascular Response in Older Women." Journal of Sport and Leisure Studies 37 (August 31, 2009): 1255–64. http://dx.doi.org/10.51979/kssls.2009.08.37.1255.
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Sizova, Irina L., and Marianna M. Korenkova. "Modern urban families’ new consumer practices in childcare and parenting." VESTNIK INSTITUTA SOTZIOLOGII 11, no. 2 (2020): 174–93. http://dx.doi.org/10.19181/vis.2020.11.2.652.
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The aim of the study presented in this article is to determine the characteristics of Russian mothers seeking care and education services for their children. This work examines the transformation of the traditional family function of raising, socializing and educating children. Currently we are witnessing an increase in the number of parents who resort to paid family services. Therefore it is important to understand the evolution of this market segment, what defines consumers’ choice of services and which types of services are the most popular, while also assessing costumer satisfaction with the services they acquired. Analysis is conducted based on a series of semi-structured interviews with Russian women who have children of preschool or school age. Respondents included both working (be it on hire or self-employed) and unemployed women. Research was conducted within Nizhniy Novgorod city limits. While conducting the interviews, it was discovered that the basic selection of paid services which parents acquire includes services offered by children’s development centers, paid additional lessons at kindergarten or school, sports clubs, dance, art and foreign language lessons; children’s parties – renting dedicated facilities, hiring clowns, purchasing thematic programs and holiday treats; hiring babysitters (either on a regular basis or on demand), psychologists and parenting coaches. The authors reached the conclusion that modern urban families tend to split their responsibility (delegate authority) for raising, caring for and educating their children with those who have expertise in this field. Consumption of services by urban families starts earlier and continues for a longer period of time – in line with their children maturing – there’s not too much diversity, but consumption does depend on such important motives as the desire to satisfy today’s requirements for raising and developing children, parents freeing up spare time for their own needs, taking care of the child’s future.
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Bouvier, Hélène. "An Ethnographic Approach to Role-Playing in a Performance of Madurese Loddrok." Theatre Research International 19, no. 1 (1994): 47–66. http://dx.doi.org/10.1017/s0307883300018812.
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20 October 1986: the Rukun Kemala troupe is hired to perform at a wedding in Kalianget Barat, its home village from 8.30 p.m. to 2.30 a.m. In a courtyard between two houses, the stage is erected on poles, with a floor of woven bamboo panelling; one whole side will collapse in the middle of the night under the strain of the actors' entrances and exits, without so much as the performance being interrupted. The gamelan orchestra begins to play at 8.30 p.m. exactly, as contracted. Fifty minutes later, slides are projected onto the lowered stage curtain depicting names of the head and leading members of the troupe together with words of welcome to the audience. At 9.30 p.m. the curtain is raised for the first time to reveal a ten-minute dance number: four female dancers appear before the monumental split gates of a Hindu kingdom bathed in red light and strobe effects with Catherine wheels whirling. Next, photos of clowns are projected while the public is harangued to take an active participation in the forthcoming elections, family planning and family education organizations. The curtain rises again to reveal a painted backdrop depicting a street scene in an imaginary modern town, to accompany the clown programme which lasts forty minutes. A final set of slides, ten minutes long, this time shows the actors dressed in the costumes of the characters they are about to portray, with a brief introduction to the story by the scriptwriter. At 10.30 p.m. the curtain opens on the first scene of the play which will last four hours without an interval: ‘Black Mask, in the Story of Yuliati Awaiting Happiness’ (Topeng Hitam dalam kisah Yuliati menanti bahagia).
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Budelmann, F., and T. Power. "Another Look at Female Choruses in Classical Athens." Classical Antiquity 34, no. 2 (2015): 252–95. http://dx.doi.org/10.1525/ca.2015.34.2.252.
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This article revisits the issue of female choruses in Classical Athens and aims to provide an alternative to the common pessimistic view that emphasizes the restriction of female choreia by the gender ideology of the democracy. We agree that Athens did not have the kind of female choral culture that is documented for Sparta or Argos, but a review of the evidence suggests that women did dance regularly both in the city itself and elsewhere in Attica, although not at the ideologically most marked occasions such as the City Dionysia. The latter part of the article turns from actual choruses to their representation in textual and iconographic sources. An important reason why modern scholarship sometimes underestimates the extent of female choreia in Athens, we suggest, is that Athenian sources are often purposefully elusive in their representation of female choruses.
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Bronner, Shaw, Sheyi Ojofeitimi, and Donald Rose. "Injuries in a Modern Dance Company." American Journal of Sports Medicine 31, no. 3 (2003): 365–73. http://dx.doi.org/10.1177/03635465030310030701.
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Background Professional dancers experience high rates of musculoskeletal injuries. Objective To analyze the effect of comprehensive management (case management and intervention) on injury incidence, time loss, and patterns of musculoskeletal injury in a modern dance organization. Study Design Retrospective/prospective cohort study. Methods Injury data were analyzed over a 5-year period, 2 years without intervention and 3 years with intervention, in a modern dance organization (42 dancers). The number of workers’ compensation cases and number of dance days missed because of injury were compared across a 5-year period in a factorial design. Results Comprehensive management significantly reduced the annual number of new workers’ compensation cases from a high of 81% to a low of 17% and decreased the number of days lost from work by 60%. The majority of new injuries occurred in younger dancers before the implementation of this program. Most injuries involved overuse of the lower extremity, similar to patterns reported in ballet companies. Benefits of comprehensive management included early and effective management of overuse problems before they became serious injuries and triage to prevent overutilization of medical services. Conclusions This comprehensive management program effectively decreased the incidence of new cases and lost time. Both dancers and management strongly support its continuance.
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Mroczek, Agata, and Magdalena Chawałek. "The changes in proportion and body composition of a woman practicing group fitness training for three months." Medical Science Pulse 13, no. 4 (2020): 1–7. http://dx.doi.org/10.5604/01.3001.0014.0926.
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Background: Physical activity is an excellent form of prevention of modern diseases. The most popular form of physical activity chosen by women is group fitness activities. Women are most likely to focus on exercises for the lower parts of the body (thighs, buttocks, abdomen). In recent years, dance classes (e.g. Zumba) or exercises on mini trampolines have become very popular. Regular fitness training contributes to positive changes in the proportions and body composition. Aim of the study: The aim of the study was to assess the proportions and body composition of a woman via a 3-month group fitness training program. Case report: The study involved a woman aged 26, participating in fitness classes three times a week for a period of three months. The woman participated in the following training cycle: twice a week (Monday and Wednesday) in the Jumping Frog interval training on a trampoline; twice a week (Monday and Friday) in ZUMBA® classes; and once a week (Wednesday) in ABT classes (abdomen, buttocks, thighs). Her height and weight, waist and hips circumference, and the thickness of three skinfolds (subscapular, triceps, abdominal) were measured. Body mass index (BMI) and waist to hip ratio (WHR) were calculated and body composition analysis (% of body fat, lean body mass) was performed. Two measurements were made: the first at the beginning of the training cycle, the second on completion. After three months of training, there were a decrease in body weight (2.2 kg), BMI (0.77 kg/m2), waist circumference (4 cm), hip circumference (2 cm), WHR (0.03), subscapular, abdominal and triceps skinfold (1 mm, 3 mm, 3 mm), body fat (2.6%) and perimeters, and an increase in lean body mass (1 kg). Conclusions: This study shows a positive effect of fitness training on body proportions and body composition.
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Lane, Andrew, Ruth Hewston, Emma Redding, and Gregory P. Whyte. "MOOD CHANGES FOLLOWING MODERN-DANCE CLASSES." Social Behavior and Personality: an international journal 31, no. 5 (2003): 453–60. http://dx.doi.org/10.2224/sbp.2003.31.5.453.
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Full-time dancers typically spend a large proportion of time participating in dance classes. The present study examined mood state changes following two contrasting modern-dance styles on a sample of full-time dancers. Twenty-three dancers completed the Brunel University Mood Scale (Terry, Lane, Lane, & Keohane, 1999) to assess anger, confusion, depression, fatigue, tension, and vigor before and after two different dance classes. One class taught was the Jose Limon technique style, characterized by light flowing movement, and the other class taught was the Martha Graham technique style, characterized by bound movements. Results showed that participants reported a positive mood profile before and after both dance classes. Repeated Measures Multivariate Analysis of Variance results indicated a significant interaction effect (Pillai's Trace 6, 15 = .32, p < .01), whereby Vigor increased following the Limon class but remained stable after the Graham class. Future research is also needed to investigate mood changes over a sustained period to evaluate more fully mood states responses to the demands of dance classes.
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Mukherjee, Sayan. "Dark Portrayal of Gender: A Post-colonial Feminist Reflection of Bapsi Sidhwa’s The Pakistani Bride and The Ice-candy Man." History Research Journal 5, no. 5 (2019): 81–88. http://dx.doi.org/10.26643/hrj.v5i5.7919.
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The portrayals of women by fiction writers of Indian sub-continent can be seen in the context of postcolonial feminism. Sidhwa’s novels may be a part of postcolonial fiction, which is fiction produced mostly in the former British colonies. As Bill Ashcroft suggests in The Empire Writes Back, the literatures produced in these areas are mostly a reaction against the negative portrayals of the local culture by the literatures produced in these areas are mostly a reaction against the negative portrayals of the local culture by the colonizers. About the role of postcolonial literature with respect to feminism, Ashcroft writes, “Literature offers one of the most important ways in which these new perceptions are expressed and it is in their writings and through other arts such as paintings sculpture, music, and dance that today realities experienced by the colonized peoples have been most powerfully encoded and so profoundly influential.” Indian sub-continent fiction is the continuation and extension of the fiction produced under the colonial rulers in undivided India. As such it has inherited all the pros and cons of the fiction in India before the end of colonial rule in Indo-Pak. Feminism has been one part of this larger body of literature. Sidhwa has portrayed the lives of Pakistani women in dark shades under the imposing role of religious, social, and economic parameters. These roles presented in The Pakistani Bride and The Ice-Candy Man are partly traditional and partly modern – the realities women face.
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Vaquero-Cristóbal, Raquel, Patricia Molina-Castillo, Pedro A. López-Miñarro, Mario Albaladejo-Saura, and Francisco Esparza-Ros. "Hamstring extensibility differences among elite adolescent and young dancers of different dance styles and non-dancers." PeerJ 8 (May 26, 2020): e9237. http://dx.doi.org/10.7717/peerj.9237.
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Background Hamstrings have been analyzed extensively due to their tendency to shorten and their effect in the lumbo-pelvic dynamics and the sagittal position of the spine in trunk flexion with extended knees positions. It has been demonstrated that practicing a certain sport results in long-term changes in hamstring extensibility. Despite this, adequate extensibility of the hamstring musculature is essential for the dancer’s performance. Several studies have found differences in the extensibility of the hamstrings depending on the dance style, but none have compared ballet, Spanish dance and modern dance. The purpose of the present research was to analyze the differences in hamstring extensibility among professional dance students based on dance style practiced and non-dancers. Methods The sample was comprised of 210 students from the Professional Dance Conservatory (70 for ballet, 70 for Spanish dance and 70 for modern dance) and 70 non-dancers. For the assessment of hamstring extensibility, the angle in the passive and active straight leg raise (PSLR and ASLR, respectively) test, and the scores of the pelvic tilt in sit-and-reach (SR) test and the toe-touch (TT) test were randomly conducted. Results The results showed significant differences for all the tests according to group (p < 0.001). In the PSLR and ASLR test, for both legs, and in the pelvic tilt in the SR test, the ballet dancers showed greater ranges of hamstring extensibility than the modern dancers and Spanish dancers (p ≤ 0.001). In the distance in the SR test and in the pelvic tilt in the TT test, the ballet dancers obtained higher values than the Spanish dancers (p = 0.004 and p = 0.003, respectively). The modern dancers showed higher ranges of hip flexion than the Spanish dancers in the ASLR test for both legs and in the pelvic tilt in the SR test (p from 0.007 to <0.001). Dancers showed significantly higher hamstring extensibility than non-dancers in all the tests (p < 0.001). Conclusions The systematic practice of dance, regardless of the style, seems to lead to high ranges of hamstring extensibility. Ballet dancers have the greatest hamstring extensibility.
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Kerr, J. H., C. Kawaguchi, M. Oiwa, Y. Terayama, and A. Zukawa. "Stress, anxiety and other emotions in Japanese modern dance performance." South Pacific Journal of Psychology 11, no. 1 (1999): 16–33. http://dx.doi.org/10.1017/s0257543400000729.
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AbstractTwo reversal theory-based studies investigated dancers' psychological experience at final rehearsal, and at three performances in an annual competition. In Study 1, 23 Japanese modern dance specialists completed the Tension and Effort Stress Inventory immediately before and after performance. Pre-study expectations that dancers would experience higher levels of unpleasant emotions (including performance anxiety or stage fright) and stress pre-competition than pre-final rehearsal were not confirmed. Dancers experienced significantly higher levels of unpleasant emotions before final rehearsal than before competition. Also contrary to expectations, competing was found not to be more stressful and not to require greater efforts to cope, than rehearsing. Study 2 set out to investigate dancers' basic motives for dancing and to show whether the anxiety-to-excitement reversal phenomena could be discerned during dance performance. Using the same experimental procedure as Study 1, a similar group of 15 dancers completed a dance performance experience questionnaire. The results indicated that, for the majority of dancers, the primary reason for dancing was either the paratelic, telic, arousal-seeking, or alloic-sympathy meta-motivational categories, and that many dancers experienced anxiety to excitement reversals.
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Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (2020): 39–59. http://dx.doi.org/10.31261/rias.9805.
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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.
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Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (2020): 39–59. http://dx.doi.org/10.31261/rias.9805.
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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.
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Vītola, Sandra. "PROPER BREATHING IMPORTANCE IN CLASSICAL AND MODERN DANCE TRAINING." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 26, 2017): 158. http://dx.doi.org/10.17770/sie2017vol4.2353.
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Based on the theoretical ideas of scholars in the field of dance, the article analyses the significance of correct breathing and its usage in movement performance in classical and modern dance acquisition.
 
 The most important condition for dancers is the daily workout, which develops an understanding of basic components of movements, one of the most significant being correct breathing. Application of correct breathing facilitates a comprehension among dancers of the possibilities of the body – the amplitude and quality of performed movements, as well as the ability to control the strength necessary for movement performance.
 
 This article aims to analyse the meaning of correct breathing and to justify its use among dancers acquiring classical and modern dance.
 
 The article makes use of the theoretical research method – characterising differences between classical and modern dance acquisition, analysing breathing and its correct usage during a dance performance.
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Uršej, Eva, and Petra Zaletel. "Injury Occurrence in Modern and Hip-Hop Dancers: A Systematic Literature Review." Slovenian Journal of Public Health 59, no. 3 (2020): 195–201. http://dx.doi.org/10.2478/sjph-2020-0025.
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AbstractIntroductionDance-related injuries have become a field of great interest to researchers, with the most commonly reported injuries being those sustained by ballet dancers. However, there is a lack of research into injuries sustained by those who perform modern and hip-hop dance.MethodsA systematic literature review using the MEDLINE research database was performed and a search carried out for full-text studies that investigate injuries in modern and hip-hop dance.ResultsWhile a total of 74 hits were obtained from various searches, only nine studies were included in the systematic literature review. Six of them examined modern dancers, two examined break dancers and one examined hip-hop dancers. The results show that hip-hop dancers (and especially break dancers) sustain more injuries in comparison to modern dancers. The most common injuries are in the lower extremities, with studies revealing that overuse injuries occur in up to 71% of cases.ConclusionsThe injury incidence rate in hip-hop dance seems to be higher compared to modern dance, chiefly because of the more demanding biomechanics involved and the dance techniques employed. Prevention management can have a positive effect on the number of injuries.
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Reel, Justine J., Katherine M. Jamieson, Sonya SooHoo, and Diane L. Gill. "Femininity to the Extreme: Body Image Concerns among College Female Dancers." Women in Sport and Physical Activity Journal 14, no. 1 (2005): 39–51. http://dx.doi.org/10.1123/wspaj.14.1.39.
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Dancers, like other athletes and performers, are faced with the pressure to obtain a particular body shape and size that stems from varied etiological factors (e.g., personality characteristics, demands of the dance environment) (Robson, 2002). This study examined specific concerns for college dancers by utilizing quantitative and qualitative forms of inquiry. The purpose of the initial phase was to assess weight-related pressures, social physique anxiety, and disordered eating in college female modern dancers (N=107) using the Weight Pressure in Dance (Reel & Gill, 1996), Social Physique Anxiety Scale (Hart, Leary, & Rejeski, 1989), and The Eating Disorder Inventory (Garner, 1991). An overwhelming majority (76%) of the dancers reported pressures to lose weight with the most commonly cited stressor being the mirror followed by costumes, performance advantage, comparison to other dancers, and landing the best roles. The mean social physique anxiety score was moderate, but 35 dancers exhibited a high degree of social physique anxiety. In addition, the dancers had a lower tendency toward disordered eating compared to college females (Garner, 1991). The second phase of the study confirmed that modern dancers experience unique pressures. Through qualitative inquiry, the participants’ individualized experiences related to body image and the culture of modern dance could be shared.
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Edmonds, Rohan, Meaghan Wood, Patricia Fehling, and Sarah DiPasquale. "The Impact of a Ballet and Modern Dance Performance on Heart Rate Variability in Collegiate Dancers." Sports 7, no. 1 (2018): 3. http://dx.doi.org/10.3390/sports7010003.
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Heart rate (HR) variability (HRV) is a useful tool for assessing cardiac autonomic function and identifying potential readiness to perform in athletic populations, but has yet to be investigated in dance populations. As such, HRV may be able to provide valuable insight into the preparedness of dancers and the demands of performance in a collegiate dance population. 29 female dancers were monitored leading up to and following a dance performance. Analysis of HRV focused on the square root of the mean squared differences of the successive RR intervals (RMSSD). A one-way ANOVA, with Bonferroni post-hoc, paired with magnitude-based-inferences (MBI) with effect sizes (ES) were used to analyze changes during the Winter Dance Concert, while the Recovery-Stress Questionnaire for Athletes (REST-Q Sport) measured the frequency of stress of dancers. When compared to baseline (69.8 ± 1.7 bpm), mean (HR) was increased at both pre-show recordings (76.5 ± 2.1 bpm and 75.6 ± 1.8 bpm). In contrast, RMSSD was significantly diminished (p < 0.05) at both pre-show recordings (40.6 ± 28.4 ms and 40.5 ± 21.8 ms) as compared to baseline (70.3 ± 38.4 ms). Dancers reported increased (p < 0.05) self-efficacy before the second show and at 36 h post-concert. As expected, Dance Exposure (DE) increased significantly (p < 0.05), while Academic Exposure (AE) was similar, during the week leading up to the dance concert. The results suggest dancers responded to concert dance performances similarly to other athletic populations approaching intense competition by exhibiting decreased parasympathetic activity prior to the dance performances, which returned to baseline values 36 h after their performances. Given the increase in self-efficacy, these fluctuations may indicate a readiness to a performance comparable to athletes.
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Dewhurst, Susan, Norah Nelson, Paul K. Dougall, and Theodoros M. Bampouras. "Scottish Country Dance: Benefits to Functional Ability in Older Women." Journal of Aging and Physical Activity 22, no. 1 (2014): 146–53. http://dx.doi.org/10.1123/japa.2012-0234.
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The effects of long-term participation in Scottish country dance on body composition, functional ability, and balance in healthy older females were examined. Participants were grouped into dancers and physically active nondancers (ages 60–70 and 70–80 for both groups). Physical activity, body composition (body-mass index, skinfold thickness, waist-to-hip ratio), functional ability (6-min walk distance, 6-m walk time, 8-ft up-and-go time, lower body flexibility, shoulder flexibility), and static balance were measured. Younger dancers and physically active nondancers had similar 6-min walk distance, 6-m walk time, and 8-ft up-and-go time results; however, while older dancers performed similarly to younger dancers, older physically active nondancers performed poorer than their younger counterparts (p< .05). Body composition and static balance were the same for all groups. Regular physical activity can maintain body composition and postural stability with advancing age; however, Scottish country dance can delay the effects of aging on locomotion-related functional abilities.
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Pransisko, Pransisko, and Herlinda Mansyur. "AYUAN BAGANDAI." Jurnal Sendratasik 8, no. 1 (2019): 45. http://dx.doi.org/10.24036/jsu.v8i1.106418.
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Abstract The dance "Ayuan Bagandai" aims to enjoy traditional dance in different forms without losing the traditional elements. The dancers work on the dance "Ayuan Bagandai" with a form of dance creation that is sourced from the traditional dance of the Muko-muko community, namely Gandai dance. The dancers tell how we keep the traditional dance is increasingly liked and known by many people. The dance "Ayuan Bagandai" is inspired by the phenomenon of the Muko-muko society, which nowadays, the majority of the people do not care about a traditional dance. When the era of dance increase and become an asset to the local area, it will gradually disappear without supporting of the society to preserve the dance. this phenomenon is seen by the dancers in Muko-muko District. They prefer to play modern dance, without realizing they want to eliminate the traditional dance that has grown within the society group. Keywords: Ayuan Bagandai
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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.
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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
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Vītola, Sandra. "Promoting Awareness of the Body's Centre in Classical and Modern Dance Training." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 453. http://dx.doi.org/10.17770/sie2015vol2.420.
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<p><em>Based on dance theorist insights into the basic components that determine performance of movements in dance, the article analyses promotion of a sense of bodily centre in classical and modern dance training. The most significant condition for a dancer to be able to fit within the confines of the proposed tasks in dance is to govern own body, which is made easier through an understanding of the body’s centre of gravity. Promoting an awareness of muscle activity being fixated within the central point of the body develops an understanding of movements around this point among dancers, which leads to easier control over performed movements. </em></p><p><em>The article aims to analyse the awareness of the body’s centre among dancers and to justify its significance in classical and modern dance training. The article applies the theoretical research method – it characterises classical and modern dance and analyses the sense of body centre in dance. </em></p><p> </p>
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Weigert, Bonnie J. "Does Prior Training Affect Risk of Injury in University Dance Programs?" Medical Problems of Performing Artists 20, no. 3 (2005): 115–18. http://dx.doi.org/10.21091/mppa.2005.3023.
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Dancers in all settings are known to have high injury rates. Identifying risk factors is critical in developing strategies for preventing injury. At the university level, lack of prior training overall or in a specific technique may be cited as a potential risk for injury. As part of a larger study examining injury patterns in university-level modern dancers, the association between prior training in ballet, modern dance, and jazz dance and rates of injury was examined. The subjects were dance majors and minors enrolled in a modern technique class in a university dance program. Subjects completed a questionnaire at the beginning of the school year that asked them to list their years of experience in each discipline before their university training. They then were surveyed at the end of both the first and second semester and asked if they had an injury during the prior semester, the number of days they had to miss or modify class as a result, and the degree to which pain limited their participation at the time of the survey. The overall injury rate was 67% for the first semester and 77% for the second semester. No correlations were found between the presence or duration of prior ballet, modern dance, or jazz dance training and overall injury rates, number of days of class missed or modified, or total pain score. No differences were found when subjects were stratified by technique or academic level. Prior dance training, regardless of type or duration, does not appear to decrease the risk of injury in university-level modern dancers.
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Snyder, Marie Alonzo. "Made in Chinatown: Bridging Cultures and Evolving Identities in Modern Dance." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 186–92. http://dx.doi.org/10.1017/s2049125500000315.
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American modern dance history frequently overlooks Eleanor Yung and H. T. Chen. This presentation explores how these choreographers shaped the dance scene in New York's Chinatown, a venue for the many Asian dancers and choreographers who come to train and perform in New York City.
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Busenbarrick, Haley, and Kathleen L. Davenport. "Music to Our Ears: Are Dancers at Risk for High Sound Level Exposure?" Medical Problems of Performing Artists 35, no. 4 (2020): 227–32. http://dx.doi.org/10.21091/mppa.2020.4033.
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Enduring exposure to high sound pressure levels (SPLs) can lead to noise-induced hearing loss (NIHL). In the performing arts population, NIHL has been studied primarily in the context of sound exposure experienced by musicians and less so by dancers. This research aimed to identify sound exposure that dancers may experience in some dance classes. Decibel levels were recorded in 12 dance classes (6 ballet, 4 modern, and 1 soft and 1 hard shoe Irish dance) at 8 different studios using the NIOSH SLM app on an iOS smartphone with external microphone. A minimum of five recordings of each class was measured, each collected on a different day, yielding a total of 114 measurements. Results showed that 20.2% of all recordings exceeded the recommended NIOSH sound exposure limits of both 100% projected daily dose and 85 LAeq. Analysis between styles of dance demonstrated significantly lower LAeq (p≤0.05) in soft shoe Irish dance compared to ballet (p=0.023), modern (p=0.035), and Irish hard shoe dance (p=0.009). Irish soft shoe dance demonstrated minimal to no risk of high sound exposure. Conversely, 53.25% of ballet, 90.9% of Irish hard shoe dance, and 68.24% of modern recordings exhibited minimal to moderate risk of high sound exposure. Furthermore, we found wide ranges of projected daily noise doses within classes taught by the same teacher. It is recommended that multiple recordings of dance environments be obtained, as a single sound recording may not accurately represent potential exposure. These findings indicate that dancers of Irish hard shoe, modern, and ballet may benefit from noise intervention such as audiometric testing, noise controls, and hearing protection.
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Wyon, Matthew A., Julie Harris, Faye Adams, Ross Cloak, Francis A. Clarke, and Janine Bryant. "Cardiorespiratory Profile and Performance Demands of Elite Hip-Hop Dancers: Breaking and New Style." Medical Problems of Performing Artists 33, no. 3 (2018): 198–204. http://dx.doi.org/10.21091/mppa.2018.3028.
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AIMS: Dancers need to constantly maintain and develop their physiological capabilities to support their performances. Previously these physiological demands have been investigated only in traditional dance styles such as ballet and modern. The aim of this study was to examine the physiological demands of two types of hip-hop: new style and break dance. METHODS: Nine female new style dancers (age 20±6 yrs, height 163.5±1.4 cm, mass 55.8±22 kg) and 9 male break dancers (age 23±4.2 yrs, height 178.2±5.7 cm, mass 62.1±7.7 kg) volunteered for the study. Each subject completed a maximal graded treadmill test and a dance performance routine, either new style (approx 1:45–2:30 min) or breaking (2 min). Breathe-by-breathe gas analysis and heart rate (HR) were collected by a portable gas analyser, and blood lactate (BLa) was measured at the end of the treadmill test and each routine. RESULTS: The male breaker dancers had significantly higher VO2 peak than other equivalent dancers in other genres, whilst the female new style dancers were similar to that previously reported for female dancers. Performance data showed significant differences between the two styles for VO2, HR, and BLa (p<0.001) and for VO2 and HR relative to individual maximal treadmill data (p<0.05). CONCLUSION: New style is more comparable to other theatrical dance genres, with a lower relative mean VO2 demand, whilst break dance is shorter in duration, allowing a higher cardiorespiratory demand and generating significant levels of blood lactate. This difference is also reflected in the dancers’ cardiorespiratory profiles.
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Eshel, Ruth. "Concert Dance in Israel." Dance Research Journal 35, no. 1 (2003): 61–80. http://dx.doi.org/10.1017/s0149767700008779.
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Israel is a society of Jewish immigrants who have returned to their ancient biblical homeland. It is also a complex society made up of people of varied cultures and ideologies, enduring changing economic and political situations. For the past eighty years, Israeli dancers have reflected and helped to shape the internal dialogues of Israeli life and contributed to a global exchange of dance ideas, especially with modern dancers from Europe and America.The independence of ancient Israel came to an end in C.E. 73, when Romans destroyed the Temple in Jerusalem after fierce battles with the Jews. The great revolt against Roman rule (132–135) failed, and in its wake the Romans banished the Jews from their country. Thus began a two-thousand-year exile, during which the Jews in the diaspora preserved their religion, suffered anti-Semitic persecutions, and dreamed of returning to their land, to Eretz Israel—Zion.
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Brown, Bill. "Martial Art." PMLA/Publications of the Modern Language Association of America 124, no. 5 (2009): 1787–93. http://dx.doi.org/10.1632/pmla.2009.124.5.1787.
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A large crowd stood around, enjoying the dancing magic, as in the middle two acrobats led on the dance, springing, and whirling, and tumbling.—Homer, The IliadWestern Literature's most magnificent object stages an intimacy between struggle and tranquillity. A gift to no soldier, but to his mother, requiting her ancient kindness, the shield of Achilles proffers a drama of war and of peace. The city of peace vibrates with the sound of flute and lyre, a wedding celebration, deliberations at assembly; the city of war quivers with well-armored soldiers, women and children perched atop the walls, beyond the walls an ambush laid along the river just where flocks of cattle come to drink (Il. 18.478–608). Homer teaches this truth about the object world: in the moment of their manufacture, weapons already manifest both prosperity and pain, technology and ceremony. Sweating, and longing, and grieving; springing, and whirling, and tumbling. The worlds inscribed on the shield figure those worlds out of which weaponry as such is forged. Could some new ekphrastic pedagogy disclose such worlds in the Hummer, the Abrams tank, the M-16, the B-52—revealing the quotidian histories they both congeal and obscure? If not, must we settle for Auden's lament, the mother pained now by what, for modernity, the god has wrought: “there on the shining shield / His hands had set no dancing-floor / But a weed-choked field” (294 [“The Shield of Achilles”]). Is the modern artifact so bereft of people?
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Swandewi, Catur Karina. "Reconstructing Norms and Values in Gandrung Dance for Halal Tourism in West Nusa Tenggara." International Journal of Multicultural and Multireligious Understanding 6, no. 3 (2019): 382. http://dx.doi.org/10.18415/ijmmu.v6i3.837.
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This study examines the norms and values in Gandrung Dance and how they can be reconstructed for the needs in halal tourism industries. The dance performance usually brings negative impacts of stigmatized identities of the dancers particularly the female dancers. The study focuses on dancers in Lombok, NTB, where in around 1965 the dance had been criminalized as immoral and sexual. The study aims at establishing whether the dance can be reconstructed and whether the reconstructed gestures are powerful enough to prevent sexual harassment associated and resulting from the gestures. The study particularly investigates if maintenance of personal distance and dance moves during Gandrung performance can act as powerful self-defense strategies against sexual move and harassment. The subjects of the study were Gandrung dancers, the audiences and Gandrung dance teachers and they were selected purposively based on expertise, access, and convenience. The method used is descriptive and qualitative whereby the data were collected through in-depth interviews and observation. These data were analysed using content and ethnographic analyses. The results show that with the harmony between the music and the dance movements as well as the interaction between the dancer and the pengibing dancer, Gandrung dance can be reconstruct to suit Halal tourism needs. With the advents of three modern types of Gandrung dance (legong, janger, and shanghyang dedari), the dance can now be commercialized for dance presentation. The study also find that negotiation between the dancer and the pengibing on the limit of contact and dance moves prior to dance performance can prevent unwanted sexual gestures and, when this happens, the dancer has the rights to call the pengibingan off and offers it to the other pengibing dancers.
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Krasnow, Donna, Jatin P. Ambegaonkar, Shane Stecyk, M. Virginia Wilmerding, Matthew Wyon, and Yiannis Koutedakis. "Development of a Portable Anchored Dynamometer for Collection of Maximal Voluntary Isometric Contractions in Biomechanics Research on Dancers." Medical Problems of Performing Artists 26, no. 4 (2011): 185–94. http://dx.doi.org/10.21091/mppa.2011.4030.
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Surface electromyography (sEMG) has been used in dance medicine research since the 1970s, but normalization procedures are not consistently employed in the field. The purpose of this project was to develop a portable anchored dynamometer (PAD) specifically for dance-related research. Due to the limited studies in the dance research literature using normalization procedures for sEMG data, a review of the procedures used in the exercise science literature was conducted. A portable anchored dynamometer was then developed and tested with dancers, using methods validated in previous literature. We collected sEMG maximum voluntary isometric contractions (MVIC, mV) from 10 female dancers (mean age 31.0 ± 15 yrs, mean height 163 ± 7.6 cm, mean weight 57.6 ± 6.9 kg, and 17.0 ± 13.9 yrs of training in ballet and/or modern dance) over three trials (5 sec each) for eight muscles bilaterally (quadriceps, tibialis anterior, abductor hallucis, gastrocnemius, hamstrings, gluteus maximus, erector spinae, and rectus abdominus). Consistency of data and feedback from dancers suggest that this dance-specific portable anchored dynamometer is effective for future sEMG studies in dance research.