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Letteratura scientifica selezionata sul tema "Dance of expression"

Autore: Grafiati

Pubblicato: 31 agosto 2024

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Articoli di riviste sul tema "Dance of expression"

1

Wang, Ziqiao. "Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example." Journal of Educational Theory and Management 2, no. 3 (2018): 84. http://dx.doi.org/10.26549/jetm.v2i3.992.

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Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that t

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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.

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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly d

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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

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Kariasa Putra, I. Komang, Tjokorda Udiana Nindhia Pemayun, and Gede Yosef Tjokropramono. "Sanghyang Dedari Dance as a Painting Creation Idea." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 2 (2022): 87–91. http://dx.doi.org/10.59997/citakara.v2i2.1849.

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Balinese dance is a variety of dances originating from the island of Bali. Balinese dance does not always depend on the storyline. The main goal of Balinese dancers is to dance each stage of movement and sequence with full expression. Sang Hyang Dedari dance is a Balinese dance that is used as a religious tool. Balinese people still believe that when girls aged 9-12 years dance this dance, they will be possessed by the holy spirit of an angel. Usually, the Sang Hyang Dedari Dance is played or danced before the rice harvest around April to resist disease outbreaks, and this dance has been desig

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Murti, Karinsa Krisna, and Slamet Slamet. "FUNGSI TARI NADRAK PAGUYUBAN RUKUN SANTOSA DESA BRONGKOL KABUPATEN SEMARANG." Greget 20, no. 2 (2022): 165–80. http://dx.doi.org/10.33153/grt.v20i2.4141.

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The article entitled Functions of the Nadrak Dance Association of Rukun Santosa, Brongkol Village, Semarang Regency aims to determine the function of Nadrak Dance. Nadrak dance is one of the folk dances in the Rukun Santosa Association which is danced in groups. The main problem of this research is the function of the Nadrak Dance. This research uses function theory. The theory of function was expressed by Bastomi. This research is qualitative. The data were collected through observation, interviews, and literature study. The results of this study the authors reveal the form and function of th

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

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Modern ballroom dance is actively developed as a sport whereas the art of dancing, which is characterized by emotions, is disappearing now. The causes are dealt with the low level of performing Latin American ballroom dance as an art and the necessity to develop the origins of this dance. It is also important to perform a particular Ballroom dance emotionally considering its historical roots. It is fact that now the great number of competitive dance couples give a lot of attention to the physical training of choreographic compositions with a large number of acrobatic tricks and little re

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Zhai, Xianfeng. "Dance Movement Recognition Based on Feature Expression and Attribute Mining." Complexity 2021 (April 30, 2021): 1–12. http://dx.doi.org/10.1155/2021/9935900.

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There are complex posture changes in dance movements, which lead to the low accuracy of dance movement recognition. And none of the current motion recognition uses the dancer’s attributes. The attribute feature of dancer is the important high-level semantic information in the action recognition. Therefore, a dance movement recognition algorithm based on feature expression and attribute mining is designed to learn the complicated and changeable dancer movements. Firstly, the original image information is compressed by the time-domain fusion module, and the information of action and attitude can

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Kalaimani, M., and AN Sigappi. "Posture Recognition in Bharathanatyam Images using 2D-CNN." Data and Metadata 2 (December 4, 2023): 136. http://dx.doi.org/10.56294/dm2023136.

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The postures are important for conveying emotions, expressing artistic intent, and preserving appropriate technique. Posture recognition in dance is essential for several reasons, as it improving the performance and overall artistic expression of the dancer. The Samapadam, Aramandi, and Muzhumandi are three postures that serve as the foundation for the Bharathanatyam dance style. This work proposes a model designed to recognize the posture portrayed by the dancer. The proposed methodology employs the pre-trained 2D-CNN model fine-tuned using the Bharathanatyam dance image dataset and evaluates

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Berlianty, Teng, Yosia Hetharie, and Putri Anggia. "Legal Protection of Bambu Gila Dance as a Traditional Cultural Expression." Yuridika 39, no. 1 (2024): 43–78. http://dx.doi.org/10.20473/ydk.v39i1.48389.

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This study aims to examine the bambu gila dance as a potential intellectual property for traditional cultural expressions in Maluku which should receive legal protection as part of efforts to defend cultural heritage from claims of ownership by other parties or other countries. Bambu Gila Dance is one of the famous traditional arts from Maluku. The traditional cultural expression in the form of the Bambu Gila dance is expressly protected by the Indonesian intellectual property rights system. However, protection for Bambu Gila Dance as a traditional cultural expression cannot be realized so tha

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Nurharini, Atip, Ika Ratnaningrum, Putri Yanuarita Sutikno, Farid Ahmadi, and Intan Permata Hapsari. "Dance Literacy As An Expression of Experience and Creativity in Dance Education." International Journal of Psychosocial Rehabilitation 23, no. 4 (2019): 994–1004. http://dx.doi.org/10.37200/ijpr/v23i4/pr190427.

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Tesi sul tema "Dance of expression"

1

Crabtree, Rachel. "Identity: An Expression of Life Through Dance." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/509.

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"Identity: An Expression of Life Through Dance" is a reflection on the process of choreographing and performing a series of dances based on self-discovery and research on innovators of dance and their techniques.

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Barros, Ricardo Ribeiro de Oliveira. "Dance as a discourse : the rhetorical expression of the passions in French baroque dance." Thesis, University of Hull, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550510.

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Alcofra, Gabriela Machado Freire Tournillon 1986. "O rosto na dança : um olhar sobre expressão e expressividade na dança contemporânea." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284989.

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Orientador: Júlia Ziviani Vitiello<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T18:55:33Z (GMT). No. of bitstreams: 2 Alcofra_GabrielaMachadoFreireTournillon_M.pdf: 294618879 bytes, checksum: fae6acb0f30f5dfec9ffc00e22ec8eee (MD5) Alcofra_GabrielaMachadoFreireTournillon_M_Anexo.zip: 767065078 bytes, checksum: cc86a30656c51f5d02c32d09ec1a9d21 (MD5) Previous issue date: 2014<br>Resumo: Essa dissertação investiga a expressão do rosto na dança contemporânea, tendo como motivação inicial a observação de uma padronizaçã

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Eno, Dianne E. "Mountain Dance: A Transdisciplinary Exploration of Environmental Dance as an Autopoietic Expression of Ecological Connectivity and Synthesis." Antioch University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1535143191801524.

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Bishko, Leslie Marlene. "Qualities of motion : expression in animation and the influence of dance." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291143775.

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Serret, Mathilde. "Élaboration d'un dispositif de danse-thérapie à expression primitive et évaluation de ses effets auprès de patients atteints de la maladie de Parkinson." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2011.

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De récentes études ont démontré que la danse était une approche efficace pour améliorer les symptômes moteurs et non-moteurs ainsi que la qualité de vie chez les patients atteints de la maladie de Parkinson (MP). Nous supposons que la Danse-Thérapie à Expression Primitive (DTEP) est une méthode plus adaptée que les approches à médiations corporelles actuellement proposées et qu’elle pourrait véhiculer des bénéfices plus importants. L'hypothèse principale est que la DTEP aura des effets bénéfiques sur la marche et sur l’équilibre, ainsi que sur le plan psychique, qu’elle améliorera la qualité d

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Teixeira, Paula Caruso 1970. "O Santo que dança = uma vivência corporal a partir do eixo co-habitar com a fonte do Método Bailarino-Pesquisador-Intérprete (BPI)." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285026.

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Orientador: Graziela Estela Fonseca Rodrigues<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-18T15:50:38Z (GMT). No. of bitstreams: 1 Teixeira_PaulaCaruso_M.pdf: 7176482 bytes, checksum: 389f0c10e77275f0d6b6f697c2b4a368 (MD5) Previous issue date: 2007<br>Resumo: Este trabalho tem por finalidade principal aprofundar o eixo co-habitar com a fonte do Método Bailarino-Pesquisador-Intérprete (BPI), a partir da pesquisa de campo da autora com os devotos da Dança de São Gonçalo do bairro rural Ponte Nova de Munhoz - MG e com

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Caserta, Rogerio Alencar Negrão. "Expressividade e energia vital na dança flamenca." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284638.

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Orientador: Veronica Fabrini Machado de Almeida<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-10T18:34:27Z (GMT). No. of bitstreams: 1 Caserta_RogerioAlencarNegrao_M.pdf: 6392893 bytes, checksum: 93b1195f040c76bdb5e89f00ec4afbdf (MD5) Previous issue date: 2008<br>Resumo: Esta dissertação tem como objetivo relacionar os conteúdos da ¿Medicina Tradicional Chinesa¿ (M.T.C.), focada nas manobras de acupressão existentes no ¿Auto Tui-ná¿ escolhidas especialmente para a atuação de bailarinos flamencos, que potencializam o d

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Snyder, Marie Carmen Alonzo. "Contemporary female choreographers of Asian descent : three case studies of an evolving cultural expression in American modern dance /." Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1178958x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1995.<br>Includes tables. Typescript; issued also on microfilm. Sponsor: Judith M. Burton. Dissertation Committee: Ann H. Dils. Includes bibliographical references (leaves 237-248).

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Theis, Taylor. "Duality, Symbolism, and Time: A Convergent Practice in Butoh and Surrealist Expression." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18390.

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Butoh and Surrealism share some common features, three of which are: duality, symbolism and the manipulation of time. This project is an examination of the intersection of these elements and the development of a movement practice using these three, shared focusing lenses of Butoh and Surrealism, culminating in a performance. The methodology of this study sought to generate movement through improvisation and studio exercises based upon a melded Butoh/Surrealist universe developed through applied research in the convergent elements of duality, symbolism and the manipulation of time. The eleme

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Libri sul tema "Dance of expression"

1

Drewe, Sheryle Bergmann. Creative dance inspirations: Facilitating expression. Detselig Enterprises Ltd., 1998.

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Kim, Malborg. On expression and its artistic meaning in dance. UMI Dissertation Service, 1989.

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Maletic, Vera. Body, space, expression: The development of Rudolf Laban's movement and dance concepts. Mouton de Gruyter, 1987.

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Devi, Patiṇjārayil Rama. Comparative study of chaturvidha abhinayas between Kathakali and Kuchipudi yakshagana: Comprehensive analysis of four kinds of expressions in Kathakali and Kuchipudi dance drama traditions. Padinjyarayil Publications, 2013.

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Roy, Marie. Je danse mon enfance: Guide d'activités d'expression corporelle et jeux en mouvement. Chenelière / McGraw-Hill, 1998.

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Allen-Mitchell, Arlene. Dance soul, dance!: Inspirational expressions for women in business. Positive Perceptions, 2001.

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Hinkley, Coralie. Innovisions: Expressions of creativity in dance. University of Western Australia Press, 1990.

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Sweet, Jill D. Dances of the Tewa Pueblo Indians: Expressions of new life. 2nd ed. School of American Research Press, 2004.

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Fritsch, Ursula. Tanz, Bewegungskultur, Gesellschaft: Verluste und Chancen symbolisch-expressiven Bewegens. AFRA Verlag, 1988.

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Buko, Tereska Radha. Dances of universal peace: A multicultural expressive arts spiritual path. T.R. Buko, 1993.

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Capitoli di libri sul tema "Dance of expression"

1

Leonhard, Clemens. "Religious Expression in Music and Dance." In A Companion to Religion in Late Antiquity. John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118968130.ch29.

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Katan, Einav. "The Dancing Body as a Means of Expression." In Embodied Philosophy in Dance. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-60186-5_21.

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Swain, Angela, Juan Berríos, and Matthew Kanwit. "Chapter 3. Exploring future-in-the-past variation in Seville and Caracas." In Innovative Approaches to Research in Hispanic Linguistics. John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/ihll.38.03swa.

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Research on Spanish future-time expression has revealed a diachronic rise for the periphrastic future. However, future-in-the-past expression remains understudied. Two common variants are the periphrastic future in the imperfect (e.g., iba a bailar ‘I was going to dance’) and the conditional (e.g., bailaría ‘I would dance’). Our study is unique in assessing future-in-the-past expression through a controlled task able to elicit greater token counts and its consideration of data beyond Spain. In this exploratory study, we analyzed residents of Seville, Spain and Caracas, Venezuela via a written contextualized task, examining linguistic predictors (temporal distance, polarity, and verb type). Results echo research on future-time expression: the periphrastic form has gained traction and has developed through analogous predictors. Moreover, findings reveal notable cross-variety similarity.

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Engelhard, Einat Shuper, and Yana Sichel. "Diagnosis and Assessment of Sexual Abuse in Childhood Based on Bodily Expression." In Dance/Movement Therapy and Sexual Abuse. Routledge, 2023. http://dx.doi.org/10.4324/9781003309048-4.

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Yeoh, Pei Ann. "Bridging Impairment and Disability with Music and Dance." In Musik und Klangkultur. transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839458914-012.

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Music and dance are two interdependent artistic forms that are tied to the experience of a moving-thinking body. This paper seeks to examine the extent of interdisciplinary conditions between music and dance in the context of disability. Furthermore, it seeks to advance understanding between concepts of impairment and disability by exploring collaborative practice between an able-bodied musician and a physically impaired dancer. The research asks: In what setting can creative expression translate disability to transcend the corporeality of performance? Authors such as Mairian Corker (1999), Carol Thomas (1999), and Jenny Morris (1981) have argued for the distinction between impairment and disability; whereby impairment refers to the corporeal entity and disability refers to a larger cultural understanding of disability experience. The body is both a corporeal object and a metaphor for a set of experiences revolving around cultural response to that impairment (Cheu, 2005:135-136). Part of the issue, thus, is the normative gaze of the able-bodied spectator being projected onto the performance, problematizing the tension between disability as impairment versus disability as cultural representation. This tension is explored in a series of recorded performances between musician and dancer, with their collective reflections offering contextual insight on disability in artistic practice.

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öztürk, Alі. "The Power of Dance/Movement as a Means of Expression." In Phenomenology/Ontopoiesis Retrieving Geo-cosmic Horizons of Antiquity. Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-1691-9_40.

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Uhm, Taeyoung, Hanhoon Park, Mi-Hee Lee, Un-Mi Kim, and Jong-Il Park. "Emotional Expression of Korean Dance Assisted by a Virtual Environment System." In IFIP Advances in Information and Communication Technology. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15214-6_21.

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Raufman, Ravit. "A dancer who does not dance." In Idiomatic Expressions and Somatic Experience in Psychoanalysis. Routledge, 2018. http://dx.doi.org/10.4324/9781351117227-8.

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Adholiya, Ashish, and Apeksha Khopkar. "Visualizing Sentiments: Facial Expression Recognition in the World of Kathak Dance Using Deep Learning." In Advances in Data-Driven Computing and Intelligent Systems. Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-9531-8_38.

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Katan, Einav. "Understanding Expressions." In Embodied Philosophy in Dance. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-60186-5_22.

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Atti di convegni sul tema "Dance of expression"

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Gantchevа, Giurka. "DYNAMICS IN THE DIFFICULTY IN RHYTHMIC GYMNASTICS COMPETITIVE ROUTINES." In INTERNATIONAL SCIENTIFIC CONGRESS “APPLIED SPORTS SCIENCES”. Scientific Publishing House NSA Press, 2022. http://dx.doi.org/10.37393/icass2022/72.

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ABSTRACT Rhythmic gymnastics, like other sports disciplines called “artistic”, is continuously developing in a sports-technical sense. Gymnastics varieties, such as “dance gymnastics”, “rhythmical gymnastics”, “expressive gymnastics”, and “plastic and stage expression gymnastics” have lost their individuality but different elements of their means of expression find their place in the requirements for composition. The efforts of the specialists in this sport are aimed at preserving the identity of this sports discipline, namely, using various musical accompaniments and a wide range of dance mov

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Raharjo, Eko, Agus Cahyono, Muhammad Jazuli, Widodo Widodo, and Onang Murtiyoso. "Dugderan Art Dance as an Expression of Semarang Society." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.14.

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Cahyono, Agus, Muhammad Jazuli, Widodo Widodo, and Onang Murtiyoso. "Dugderan Art Dance as an Expression of Semarang Society." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.68.

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

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Uspuriene, Aiste Barbora, and Julija Svipaite. "THE EFFECT OF DANCE ON GIRLS' MOTOR ABILITIES." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2021. http://dx.doi.org/10.21661/r-554969.

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It is often forgotten that the health of the body, the ability to overcome stress and weakness depend on a person's physical activity and movement. Movement is an inexhaustible means of self-expression, self-realization and cognition of the surrounding world. Research aim – to analyze the literature and to reveal aspects of the effect of dance on girls’ motor abilities.

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Blidar, Crina-Rozalia. "Traditions and customs in the country of Codru, Maramureş." In Conferinţă ştiinţifică naţională "Salvgardarea şi conservarea digitală a patrimoniului etnografic din Republica Moldova". Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841856.04.

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The current county of Maramureş is made up of four ethnographic areas, geographically, historically and ethnographically distinct, being an ancient Romanian hearth with history chiseled in wood and stone, in soul and in verb. These are called countries of Maramureş, and namely: Maramureşului Country, or Historical Marmaureşul or Voivodal, Lapuşului Country, Chioarului Country and last but not least, Codrului Country. One of the most controversial countries of Maramureş, Ţara Codrului, covers a rather narrow area compared to other ethno-folkloric areas, the ethno-cultural space of this area cur

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Suhaya, Alya Putri, Tati Narawati, and Yuliawan Kasmahidayat. "The Value of Patriotism in Kawung Anten Dance as an Expression of Nationalism." In 3rd International Conference on Arts and Design Education (ICADE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.017.

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Fesharaki, Omid, Jesús Cabello Pozo, and Jesús Martí Martínez. "CORPORAL EXPRESSION AND DANCE TO MOTIVATE AND TEACH SCIENCES TO PRIMARY EDUCATION STUDENTS." In 16th annual International Conference of Education, Research and Innovation. IATED, 2023. http://dx.doi.org/10.21125/iceri.2023.1242.

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Shikanai, Nao, Kozaburo Hachimura, Misako Sawada, and Motonobu Ishii. "Kansei Information and Movement Characteristics Related to the Expression of Joy in Dance: An Investigation for Analyzing Rousing and Stimulating Dance Motions." In 2012 13th ACIS International Conference on Software Engineering, Artificial Intelligence, Networking and Parallel & Distributed Computing (SNPD). IEEE, 2012. http://dx.doi.org/10.1109/snpd.2012.97.

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Dagnino, Francesca, Michela Ott, Francesca Pozzi, and Erdal Yilmaz. "SERIOUS GAMES DESIGN: REFLECTIONS FROM AN EXPERIENCE IN THE FIELD OF INTANGIBLE CULTURAL HERITAGE EDUCATION." In eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-099.

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Abstract (sommario):

This paper tackles the issue of Serious Games design by drawing on the experience conducted in the framework of the i-Treasures project, which deals with the preservation and transmission of Intangible Cultural Heritage (ICH). In i-Treasures a collection of Serious Games has been developed addressing four relevant ICH areas: singing, dancing, craftsmanship and music composition. So far one game for each of the four areas has been developed; the ultimate aim of the games is making learning and transmission of specific ICH expressions (namely Tsamiko dance, human beat box, pottery, contemporary

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