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Artículos de revistas sobre el tema "Modern dance Women dancers"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de febrero de 2022

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1

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

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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 Otto

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3

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,

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4

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 conduct

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5

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

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7

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 addre

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8

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 ae

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9

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, thou

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10

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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11

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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12

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

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13

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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14

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 sp

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15

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 embraci

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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 mist

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17

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 representationa

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18

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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19

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 cont

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20

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 associa

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21

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 c

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22

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. I

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23

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 t

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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 membe

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26

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 th

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27

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

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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

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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, ch

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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

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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 m

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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 rehe

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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 me

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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 me

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35

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 s

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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 litera

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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

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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 po

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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 dista

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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 beco

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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 expre

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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 da

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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 comple

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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

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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 tread

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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. T

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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, be

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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 par

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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

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