Artykuły w czasopismach: „Ballroom dancing. Ballroom dancing Ballroom dancing”

1

Jackson, Fleda Brown. "Ballroom Dancing". Iowa Review 21, nr 1 (styczeń 1991): 102. http://dx.doi.org/10.17077/0021-065x.3967.

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Blanchard, Chrys. "Ballroom dancing". Practical Pre-School 2009, nr 104 (wrzesień 2009): 9–10. http://dx.doi.org/10.12968/prps.2009.1.104.44081.

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Euler, Houston. "Mathematical Ballroom Dancing". Mathematics Magazine 66, nr 5 (1.12.1993): 321. http://dx.doi.org/10.2307/2690512.

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Euler, Houston. "Mathematical Ballroom Dancing". Mathematics Magazine 66, nr 5 (grudzień 1993): 321. http://dx.doi.org/10.1080/0025570x.1993.11996156.

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Ershova, Olga, i Evgeny Smirnov. "Sports and ballroom dancing competitive infrastructure analysis in the context of international organizations on sports and ballroom dancing". Tambov University Review. Series: Humanities, nr 182 (2019): 123–29. http://dx.doi.org/10.20310/1810-0201-2019-24-182-123-129.

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We consider current problems of scientific and theoretical representations development about competitive infrastructure of Sports and ballroom dancing which are not provided with sufficient scientific comprehension. The purpose is to determine the basis of division used in the world practice of international organizations for sports and ballroom dancing for the classification of competitions, performers, their skills, etc. Interest in sports and ballroom dancing, as a form of social, cultural and leisure activities, increases every year not only abroad but also in Russia. Sports and ballroom dancing in its structure have two programs: Latin American, which includes dances – Cha-cha-cha, Rumba, Samba, Jive, Pasodoble and European, dance – slow waltz, Viennese (fast) waltz, Slow Foxtrot, Quickstep, Tango. Dance and sports clubs cover in their work all age categories from children of three years to people of retirement age. Dance associations are based in cultural institutions, cultural and leisure type, in secondary schools, and in higher educa-tion institutions in the framework of additional education or the organization of cultural and leisure activities. Each dance and sports club, as an element of the structure, is registered in any Russian official organization for ballroom dancing, which, in turn, is a regional and part of the international organization for ballroom dancing. Now, there are actively there are four: 1) WDSF – World DanceSport Federation; 2) WDC – World Dance Council; 3) IDSU – International Dance Sport Union; 4) IDSCA – International Dance Studios and Clubs Association. Each of the organizations provides, contests, competitions, tournaments, Championships of Europe, Asia, world, etc. To analyze the material, we use a comparative typological method. We discover the similarities features and differences in the international organizations activities in sports and ballroom dancing, this information is scientifically investigated for the first time. We define the importance of sports and ballroom dancing competitive and amateur infrastructure for the development of culture and strengthening of a population healthy lifestyle. Also, for the first time in scientific circulation we introduce a systematic material on the activities of international organizations in sports and ballroom dancing.

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Issaliyev, A., А. Abakayeva i A. Karymbaeva. "The main stages and trends in the development of sports ballroom dance in the Republic of Kazakhstan (period 1968-1988)". Pedagogy and Psychology 44, nr 3 (30.09.2020): 263–69. http://dx.doi.org/10.51889/2020-3.2077-6861.32.

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The article describes the main stages and trends in the development of sports ballroom dancing in the Republic of Kazakhstan. The method of data presentation was chosen chronological, since it allows us to trace the dynamics of the process of development and formation of the pedagogical activity of trainers of ballroom dance. Two main stages of the formation and development of domestic sports ballroom dancing are given. The contribution of such figures as Leonid Petrovich Vekshin, Valentina Vasilyevna Evseeva, Valery Valentinovich Antsyshkin to the development of sports and ballroom dancing in the Republic is described. The first schools for European and Latin American dances, dance-sport clubs in our country, as well as the first competitions in these dances were established. The names of foreign experts who helped the development of sports dancing in Kazakhstan are given. The difficulties with which ballroom dancing was encountered during the existence of the USSR are described. The information on the formation of the dance-sport club «Raduga».

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Cohen, Sara, i Jan Fairley. "Introduction to ‘Dance’ special issue". Popular Music 25, nr 3 (11.09.2006): 345–46. http://dx.doi.org/10.1017/s0261143006000948.

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‘Are ye dancin’?' ‘Are ye askin’?' ‘Yes I’m askin” ‘Then I’m dancin'!' This was the exchange between couples in Glasgow early in the twentieth century at the height of the ballroom dancing boom that made the city one of the dancing capitals of the world. It lingers on in Scottish dancing parlance. In Havana, people were dancing danzón; in Buenos Aires, tango; and in Río de Janeiro, samba. It was a time of big orchestras when women wore evening dresses and men wore suits. Today, whilst the clothes may have changed, dance with its link to sensual pleasure continues to be fundamental to our cultures.

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Spinul, Igor, i Elena Spinul. "THEORETICAL AND METHODOLOGICAL FUNDAMENTALS OF TRAINING OF FUTURE SPECIALISTS OF MODERN BALLOT DANCES". Academic Notes Series Pedagogical Science 1, nr 195 (2021): 128–33. http://dx.doi.org/10.36550/2415-7988-2021-1-195-128-133.

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In recent decades, modern ballroom dancing as an artistic phenomenon is spreading around the world. During the twentieth century, the society formed a clear idea of ballroom dancing as a folk dance (waltz, tango, etc.) and sports competitions of ten standardized ballroom dances. However, in recent times, modern ballroom dancing is increasingly fighting for the right to recognize it as an independent phenomenon of choreographic culture, given the original system of means of expression, which distinguishes it from other types of ballroom choreography (sports and household) and stage forms of folk dance. Modern society places high demands on the professional training of future teachers in the field of culture and art. Fundamental knowledge of philosophy, pedagogy and psychology, ethics and aesthetics, other sciences help to organize the educational process with its main purpose, didactic, educational, developmental tasks, traditional and interactive methods, learning technologies and organizational forms determined by the teacher in accordance with modern requirements. put forward by the «Law of Ukraine on Higher Education» and state educational standards. The process of training a specialist in the field of ballroom dancing is based on the presence of practical training, adjustment, consolidation of movements and skills of the teacher, because without in-depth analysis of body movements in various dance performances, the idea of ballroom dancing Constant quality control and the creation of individual tasks will promote self-analysis of the student, his understanding and understanding of the importance of the balance between mental activity, physical and spiritual development. In the article the author explores the specifics of teaching modern ballroom dancing in higher education; defines the essence, criteria, requirements of choreographic and performing skills as a competence. The characteristics and features of the teacher-choreographer, his personal qualities are presented.

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Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack". Dance Research 36, nr 1 (maj 2018): 1–32. http://dx.doi.org/10.3366/drs.2018.0218.

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This two-part article examines the contested transition in London's fashionable ballrooms from the established Victorian rotary waltz to the modern English waltz of the early 1920s. Existing scholarship on the dance culture of this period and locale has tended to focus on issues of national identity, gender, race, class and the institutionalisation of popular dance practices. Although these are of profound significance and are here integrated into the analysis, this fresh study focuses on the waltz's choreological aspects and relationship to its ballroom companions; on the dance backgrounds and agency of the waltz's most influential practitioners and advocates, and on the fruitful nexus between theatre, clubs, pedagogy, the press and competitions in transforming style and practice towards modern English ballroom dancing as both a social and artistic form. Part One discusses the kinetic problems that waltzing couples encountered in the face of ragtime dances and tango, the impact of World War One on social dance practices in fashionable London and the response of the press and the dance pedagogic profession to the post-war dance craze. Improvisational strategies are considered as contributory factors in the waltz's muted persistence throughout the war while throwing light on how certain social choreomusical practices might lead to the transmutation of dances into newly recognised forms. The persuasive role of London-based leaders such as Philip Richardson, Madame Vandyck and Belle Harding in these early years of modern ballroom dancing is brought to fresh attention. Part One concludes with the dance teachers’ inconclusive attempts during 1920–21 to define and recommend a waltz form compatible with both a discrete choreomusical identity and the stylistic dictates of modern ballroom dancing

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Wang, Chien-Hsin, i Angel Yin Chu. "Older Adults' Participation in Ballroom Dancing: Practical Application of the Sport Commitment Model". Social Behavior and Personality: an international journal 44, nr 3 (12.04.2016): 445–52. http://dx.doi.org/10.2224/sbp.2016.44.3.445.

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We investigated potential differences in level of sport commitment and its associated antecedents for older adult ballroom dancers in Taiwan. Participants were 150 older adult ballroom dancers who completed a sport commitment questionnaire. Results showed that participation method, experience level, and frequency of participation all had a significant effect on personal investment in ballroom dancing. Frequency of participation also had a significant effect on sport commitment and involvement opportunities. Our findings provide new insights into how older adults perceive ballroom dancing as their chosen physical activity. The results of this study may be used to help leisure service providers and dance instructors understand that sport enjoyment, personal investment, and involvement opportunities are important determinants for participation retention among older adult ballroom dancers.

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Picart, Caroline Joan (Kay) S., i Kenneth Gergen. "Dharma Dancing: Ballroom Dancing and the Relational Order". Qualitative Inquiry 10, nr 6 (grudzień 2004): 836–68. http://dx.doi.org/10.1177/1077800403252842.

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Shioya, Tadashi. "Analysis of Sway in Ballroom Dancing". Proceedings 2, nr 6 (12.02.2018): 223. http://dx.doi.org/10.3390/proceedings2060223.

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Pavliuk, T. "Influence of France on the formation of ballroom choreography in the context of Western Europe culture development in the XVI — early XXI centuries". Culture of Ukraine, nr 72 (23.06.2021): 166–71. http://dx.doi.org/10.31516/2410-5325.072.23.

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The purpose of this paper to analyze the transformations in the French ballroom and choreographic practice, in the context of the development of culture of Western European countries of the XVI — early XXI centuries. The methodology is an organic set of basic principles of research: objectivity, historicism, multifactority, systemicity, complexity, development and pluralism, and to achieve the goal, the following methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical and analytical. The results. The analysis of trends in the development of ballroom dance in France and the influence of French culture on the formation of ballroom choreography in the XVI — early XXI centuries. The analysis of trends in the development of ballroom dance in France and the influence of French culture on the formation of ballroom choreography in the XVI — early XXI centuries took place. The processes of transformation and democratization of ballroom choreography in the XVIII century, which already in the XIX century turned from salon art into a leisure object for various social strata throughout Europe, were investigated. In the XX century it was France that discovered non-European types of ballroom dancing for Europe, which subsequently acquired standardization in the English professional environment. In the XX century France became the country where foreign art forms appeared and adapted to the conditions of European realities. France attracted artists from all over the world because of the special national culture formed in it. During the XX century the art of ballroom choreography in France developed rapidly. French performers and teachers continued long-standing national traditions. This factor had a positive effect on the training level of dancers in the field of professional and amateur ballroom dancing. Since 2010, France has been an active member of the World Dance Sports Federation (WDSF). The French Dance Federation (Fédération Française de Danse) is one of the largest organizations that develops ballroom choreography in the country. Over the past decades, dozens of open national and world ballroom dancing championships have been held in French cities (Paris, Marseille, Lyon, Nice, etc.). The scientific topicality is to identify the processes of the influence of French culture on the development of ballroom choreography in the XVI — early XXI centuries. The practical significance. The research may be used in developing lectures by specialists in choreography.

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Delgado, Celeste Fraser. "Salsa Crossings: Dancing Latinidad in Los Angeles". Dance Research Journal 46, nr 2 (sierpień 2014): 105–10. http://dx.doi.org/10.1017/s0149767714000308.

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It appears to be a ritual among salsa dance scholars to open by sharing a personal salsa experience. I will follow their lead: My introduction to Los Angeles–style salsa came on a Saturday night in the spring of 1999, when I had the pleasure of taking a tour of the city's salsa scene with dance scholar Juliet McMains. Already an established professional ballroom dancer, McMains was just beginning her graduate studies at the University of California–Riverside where I was visiting faculty, having recently co-edited a collection on Latin/o American social dance. Lucky for me, McMains was among the many brilliant students who enrolled in my class on race and dance. The night of our tour, she invited a handsome friend and fellow ballroom dancer to partner first one of us, then the other, throughout the night. He drove us around the city as we stopped at a cramped restaurant-turned-nightclub in a strip mall, at a glamorous ballroom in Beverly Hills, then ended the night downtown at a massive disco in a former movie palace, the Mayan nightclub.

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Vaczi, M., E. Tekus, T. Atlasz, A. Cselko, G. Pinter, D. Balatincz, M. Kaj i M. Wilhelm. "Ballroom dancing is more intensive for the female partners due to their unique hold technique". Physiology International 103, nr 3 (wrzesień 2016): 392–401. http://dx.doi.org/10.1556/2060.103.2016.3.11.

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In this study, we tested the hypotheses that, relative to the maximum capacities, ballroom dancing is more intensive for females than males, and that the hold technique (female vs. male) regulates dancing intensity. Ten dance couples were tested in a maximal treadmill test, competition simulation, and stationary dance hold position. Peak heart rate and relative oxygen consumption were measured during the tests, except that oxygen consumption was not measured during competition simulation. Regardless of gender, heart rate increased similarly in the treadmill test and in the competition simulation. In the treadmill test, females achieved an oxygen consumption of 78% of the males (p < 0.05). Compared with males, females achieved 14% higher heart rate (p < 0.05) and similar oxygen consumption during the hold position. Heart rate during competition simulation relative to maximum was greater for females than males. Both heart rate and oxygen consumption measured during the hold, relative to maximum, were greater for females than males. It is concluded that lower class ballroom dancers perform at their vita maxima during competition simulation. Using heart rate as an intensity indicator, ballroom dancing is more intensive for females because of their unique hold technique.

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Shioya, Tadashi. "Analysis of Swing Movement in Ballroom Dancing". Proceedings 2, nr 6 (27.02.2018): 224. http://dx.doi.org/10.3390/proceedings2060224.

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Karatsu, Rie. "Cultural Absorption of Ballroom Dancing in Japan". Journal of Popular Culture 36, nr 3 (styczeń 2003): 416–40. http://dx.doi.org/10.1111/1540-5931.00014.

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Faina, M., S. Bria, E. Scarpellini, A. Gianfelici i F. Felici. "THE ENERGY COST OF MODERN BALLROOM DANCING". Medicine & Science in Sports & Exercise 33, nr 5 (maj 2001): S87. http://dx.doi.org/10.1097/00005768-200105001-00500.

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Weiss, Robert L. "Ballroom Family Therapy: Learning About Dirty Dancing". Contemporary Psychology: A Journal of Reviews 36, nr 5 (maj 1991): 409–10. http://dx.doi.org/10.1037/029716.

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Lu, Yingzhi, Qi Zhao, Yingying Wang i Chenglin Zhou. "Ballroom Dancing Promotes Neural Activity in the Sensorimotor System: A Resting-State fMRI Study". Neural Plasticity 2018 (2018): 1–7. http://dx.doi.org/10.1155/2018/2024835.

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Objective. This study aims at investigating differences in the spontaneous brain activity and functional connectivity in the sensorimotor system between ballroom dancers and nondancers, to further support the functional alteration in people with expertise. Materials and Methods. Twenty-three ballroom dancers and twenty-one matched novices with no dance experience were recruited in this study. Amplitude of low-frequency fluctuation (ALFF) and seed-based functional connectivity, as methods for assessing resting-state functional magnetic resonance imaging (rs-fMRI) data, were used to reveal the resting-state brain function in these participants. Results. Compared to the novices, ballroom dancers showed increased ALFF in the left middle temporal gyrus, bilateral precentral gyrus, bilateral inferior frontal gyrus, left postcentral gyrus, left inferior temporal gyrus, right middle occipital gyrus, right superior temporal gyrus, and left middle frontal gyrus. The ballroom dancers also demonstrated lower ALFF in the left lingual gyrus and altered functional connectivity between the inferior frontal gyrus and temporal, parietal regions. Conclusions. Our results indicated that ballroom dancers showed elevated neural activity in sensorimotor regions relative to novices and functional alterations in frontal-temporal and frontal-parietal connectivity, which may reflect specific training experience related to ballroom dancing, including high-capacity action perception, attentional control, and movement adjustment.

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Samarina, Tatyana N. "Russian Ballroom Culture: Europeanization and original traditions (sociocultural essay)". Вестник антропологии (Herald of Anthropology) 47, nr 3 (5.09.2019): 144–54. http://dx.doi.org/10.33876/2311-0546/2019-47-3/144-154.

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Dance is definitely a cultural phenomenon. The well-known Russian historian Yuri Lotman outlined the concept of "culture" as a form of social communication between a group of people. Pair dancing is the best way to illustrate this statement. Dancing itself is the language of communication for a particular society. To be a full participant in such social intercourse, you must have the knowledge of the “language” of the group, follow the protocol of behavior and demonstrate membership / loyalty to the group. Dance is a non-verbal form of communication, built on the interaction of dancers in specific movements and symbolism of appearance and attributes. Ballroom dancing is a symbol of belonging to the nobility, participation in balls is a confirmation of loyalty to the ruling elite, the state.

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Pavlyuk, T. "GERMAN OPEN CHAMPIONSHIP IN THE CONTEXT OF SPECIFIC DEVELOPMENT OF COMPETITIVE BALLROOM DANCING". Innovative Solution in Modern Science 2, nr 38 (30.03.2020): 177. http://dx.doi.org/10.26886/2414-634x.2(38)2020.15.

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The evolution of the German Open Ballroom Dance Championships (The German Open Competitions) 1987-2020 was investigated. The dynamics of the program of the championship competition through the prism of the genesis of dance sport was examined and the stages of the formation of the sports and dance movement in Germany at the beginning of XIX were revealed. Based on the analysis of the transformation processes of the largest sports ballroom championship in the world, the main trends in the development of dance programs have been identified. The analytical, comparative-typological, systemic, typological-structural method, as well as the method of art and compositional analysis have been applied.Keywords: competitive ballroom dancing, dance sport, The German Open Competitions, competition program, development trends.

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Tsung, Patricia A., i Gregory J. Mulford. "Ballroom dancing and cervical radiculopathy: A case report". Archives of Physical Medicine and Rehabilitation 79, nr 10 (październik 1998): 1306–8. http://dx.doi.org/10.1016/s0003-9993(98)90281-7.

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Aleen Frederik, Laurie. "Competition Ballroom Dancing: The Native's Point of View". Anthropology News 46, nr 9 (grudzień 2005): 19–20. http://dx.doi.org/10.1525/an.2005.46.9.19.

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Harris-Warrick, Rebecca. "Ballroom dancing at the court of Louis XIV". Early Music 14, nr 1 (luty 1986): 41–50. http://dx.doi.org/10.1093/earlyj/14.1.41.

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SHIOYA, Tadashi. "Analysis of Rise and Fall in Ballroom Dancing". Proceedings of the Symposium on sports and human dynamics 2016 (2016): C—9. http://dx.doi.org/10.1299/jsmeshd.2016.c-9.

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Rodio, Ann M., i Alexandria Holmes. "Lessons Learned from Ballroom Dancing with Older Adults". Social Work with Groups 40, nr 1-2 (19.04.2016): 69–76. http://dx.doi.org/10.1080/01609513.2015.1066580.

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Gainor, J. Ellen, i Julie Malnig. "Dancing 'Till Dawn: A Century of Exhibition Ballroom Dance". Theatre Journal 45, nr 4 (grudzień 1993): 559. http://dx.doi.org/10.2307/3209030.

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Grygus, I. ,., N. Nesterchuk, R. Hrytseniuk, S. Rabcheniuk i W. Zukow. "Correction of posture disorders with sport and ballroom dancing." Medicni perspektivi (Medical perspectives) 25, nr 1 (9.04.2020): 174–84. http://dx.doi.org/10.26641/2307-0404.2020.1.200418.

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SHIOYA, Tadashi. "Analysis of Sway in Ballroom Dancing and Other Sports". Proceedings of the Symposium on sports and human dynamics 2017 (2017): D—1. http://dx.doi.org/10.1299/jsmeshd.2017.d-1.

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Jensen, Kurt, Susanne J??rgensen i Lars Johansen. "Heart Rate and Blood Lactate Concentration during Ballroom Dancing". Medicine & Science in Sports & Exercise 34, nr 5 (maj 2002): 34. http://dx.doi.org/10.1097/00005768-200205001-01732.

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Blanksby, B. A., i P. W. Reidy. "Heart rate and estimated energy expenditure during ballroom dancing." British Journal of Sports Medicine 22, nr 2 (1.06.1988): 57–60. http://dx.doi.org/10.1136/bjsm.22.2.57.

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SHIOYA, Tadashi. "Friction Model between Shoes and Floor in Ballroom Dancing". Proceedings of the Symposium on sports and human dynamics 2020 (2020): C—2–1. http://dx.doi.org/10.1299/jsmeshd.2020.c-2-1.

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Lopushanskaya, Anna-Maria. "Comparison of motivation of different age groups in sports ballroom dancing". Living psychology, nr 7-3 (1.10.2020): 66–71. http://dx.doi.org/10.51233/2413-6522_lp-2020-7-3-66-71.

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This article analyzes the individual traits and various motivations of athletes of various age categories who are engaged in sports ballroom dancing. Motivation in athletes has many characteristics and it is difficult to present and describe it as a single factor, so we have to understand and compare different approaches to motivation.

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Borges, Eliane Gomes da Silva, Rodrigo Gomes de Souza Vale, Carlos Soares Pernambuco, Samaria Ali Cader, Selma Pedra Chaves Sá, Francisco Miguel Pinto, Isabel Cristina Ribeiro Regazzi, Virginia Maria de Azevedo Oliveira Knupp i Estélio Henrique Martin Dantas. "Effects of dance on the postural balance, cognition and functional autonomy of older adults". Revista Brasileira de Enfermagem 71, suppl 5 (2018): 2302–9. http://dx.doi.org/10.1590/0034-7167-2017-0253.

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ABSTRACT Objective: to evaluate the postural balance, cognition and functional autonomy of older adults with dementia, who are long-stay inpatients, subjected to ballroom dancing. Method: simple randomized clinical study. Older adult sample: control group (30) and experimental group (30). The groups were subjected to the protocol of functional autonomy for activities of daily living; to the assessment of cognition (mini-mental state examination); and to the analysis of postural balance (stabilometric and postural platforms). The analysis of variance with repeated measures for group and time factors, and Scheffé’s post hoc test were used, with significance of p < 0.05. Results: For the mini-mental state examination, the control group presented a 24.27 mean, and the experimental 22.75. Functional autonomy for activities of daily living – experimental: 54.47 ± 7.24 (p < 0.0001) x control: 61.77 ± 8.47 (p = 0.011). Postural balance – experimental: X = 3.16 ± 3.44 (p = 0.02) x control = X = 6.30 ± 7.62 (p = 0.04). Conclusion: Ballroom dancing can be recommended for older adults to provide improvement in their balance and motor performance of the activities of daily living.

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Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part Two: The Waltz Regained". Dance Research 36, nr 2 (listopad 2018): 138–72. http://dx.doi.org/10.3366/drs.2018.0236.

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Part One of this study on the transmutation of the Victorian waltz into the modern English waltz of the early 1920s examined the labile social and choreographic climate of social dancing in London's fashionable ballrooms before, during and just after World War One. The article ended with the teachers’ unsatisfactory effort to characterise the features of a distinctively modern waltz style in response to a widespread discourse to recover and adapt the dance for the contemporary English ballroom. Part Two investigates the role of club and national competitions and exhibition dancers in changing and stabilising a waltz form and style that integrated preferred aspects of both old and new techniques, as advocated by leading waltz advocate and judge, Philip Richardson. This article brings into critical focus not only choreographic contributions by Victor Silvester and Josephine Bradley but also those of models such as Maurice Mouvet, G. K. Anderson, Georges Fontana, and Marjorie Moss whose direct influence in England outweighed that of the more famous American couple Irene and Vernon Castle. The dance backgrounds, training and inter-connections of these individuals are examined in identifying choreological and aesthetic continuities that relate to prevalent and inter-related notions of style, Englishness, art and modernity as expressed through the dancing. Taken as a whole, the two parts provide a case study of innovative shifts in popular dancing and meaning that are led through imitation and improvisation by practitioners principally from the middle class. The study also contributes to dance scholarship on cultural appropriation through concentrating on an unusual example of competition in dance being used to promote simplicity rather than virtuosity. In conclusion, greater understanding of creativity and transmission in popular social dancing may arise from identifying and interrogating the practice of agents of change and their relationships within and across their choreographic and socio-cultural contexts.

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SHIOYA, Tadashi. "Analysis of Pivot Turn and Related Movements in Ballroom Dancing". Proceedings of the Symposium on sports and human dynamics 2019 (2019): C—2. http://dx.doi.org/10.1299/jsmeshd.2019.c-2.

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Senelick, Laurence. "Ballroom Frenzy and the Clodoche Quadrille". New Theatre Quarterly 36, nr 3 (sierpień 2020): 197–213. http://dx.doi.org/10.1017/s0266464x20000482.

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For all the lip-service French culture pays to reason and logic, it undergoes periodic eruptions of déraison or unreason. In the wake of Napoleon’s defeat, ballroom dancing began to be infiltrated by such unbridled popular dances as the cancan and the chahut. Exuberant, even bacchanalian physical display served as a safety-valve in a heavily censored society. In the Second Empire, four working-class amateurs introduced the high-kicking, parodic Clodoche quadrille at the Paris Opéra. A non-verbal equivalent of the Marx Brothers, they became bywords through the Western hemisphere of zany, comic demonstrations of the hysteric convulsions described by the medical establishment. Laurence Senelick is Fletcher Professor Emeritus of Drama and Oratory at Tufts University, a Fellow of the American Academy of Arts and Sciences, and a contributor to the International Encyclopedia of Dance. His many books include British Music Hall: A Bibliography (1981), The Age and Stage of George L. Fox (1999), and Cabaret Performance 1890–1940 (2001–2005).

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Shanagher, Sean. "A dancing agency: Jazz, modern and ballroom dancers in Ireland between 1940 and 1960". Irish Journal of Sociology 24, nr 2 (1.02.2016): 175–99. http://dx.doi.org/10.1177/0791603515625587.

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Studies of social dance in Ireland between the 1930s and 1950s have generally focused on either the disciplined body of ‘Irish dance’ or on the process of disciplining those who favoured non-traditional dance forms. As a result, important aspects of social dance have been obscured. This article assesses the importance of non-traditional forms such as jazz by foregrounding the agency of its participants. It draws primarily on an ethnography of dance culture in Co. Roscommon. The approach has also been inflected by a reflexive dimension that positions the researcher within the research frame. Drawing on developments in dance anthropology, such reflexivity can operate as a useful epistemological tool that problematises the notion of objective research. The main research findings are (1) that dancers during the period, in the face of considerable opposition from cultural nationalists, participated in the construction of a vibrant, cosmopolitan and transgressive dance culture and (2) that dancing pleasures related to music, ‘communitas’ and ‘flow’ formed a central element of these dancing experiences. By according the voices of dance participants – including that of the researcher – a central place, this article places the emphasis squarely on ‘a dancing agency’.

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Siedakova, M. "Perceptual metaphors in the representation of ballroom dancing: cross-cultural approach". Science and Education a New Dimension VII(212), nr 63 (25.11.2019): 69–71. http://dx.doi.org/10.31174/send-ph2019-212vii63-16.

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SHIOYA, Tadashi. "Mechanical Comparison of Left Turn and Right Turn in Ballroom Dancing". Proceedings of the Symposium on sports and human dynamics 2018 (2018): C—21. http://dx.doi.org/10.1299/jsmeshd.2018.c-21.

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Kattenstroth, Jan-Christoph, Tobias Kalisch, Izabela Kolankowska i Hubert R. Dinse. "Balance, Sensorimotor, and Cognitive Performance in Long-Year Expert Senior Ballroom Dancers". Journal of Aging Research 2011 (2011): 1–10. http://dx.doi.org/10.4061/2011/176709.

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Physical fitness is considered a major factor contributing to the maintenance of independent living and everyday competence. In line with this notion, it has been shown that several years of amateur dancing experience can exert beneficial effects not only on balance and posture but also on tactile, motor, and cognitive functions in older people. This raises the question of whether an even more extensive schedule of dancing, including competitive tournaments, would further enhance these positive effects. We therefore assessed posture, balance, and reaction times, as well as motor, tactile, and cognitive performance in older expert ballroom dancers with several years of competitive experience. We found substantially better performance in the expert group than in the controls in terms of expertise-related domains like posture, balance, and reaction times. However, there was no generalization of positive effects to those domains that were found to be improved in amateur dancers, such as tactile and cognitive performance, suggesting that there might be an optimal range of intervention intensity to maintain health and independence throughout the human lifespan.

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Reed, Darren J. "Dancing with Data: Introducing a Creative Interactional Metaphor". Sociological Research Online 25, nr 4 (26.12.2019): 533–48. http://dx.doi.org/10.1177/1360780419892640.

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In this article, a dance metaphor is developed to deepen our understanding of the material, sensual, processual, and experiential potential of digital data relations. Premised upon Blumer’s notion of a sensitising concept, ballroom dance theory is applied to everyday use of the Apple Watch so as to prompt investigation of subtle interactional features of device use. The aim is to engender an inclusive umbrella concept while simultaneously stimulating questions of analysis of and access to small-scale and intimate moments of embodied behaviours in future interactional analysis. In so doing, the article contributes to the sociology of data relationality in everyday life, as well as constituent approaches such as science and technology studies and the interactional study of bodies and machines.

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Riding McCabe, Teri, J. Ty Hopkins, Pat Vehrs i David O. Draper. "Contributions of Muscle Fatigue to a Neuromuscular Neck Injury in Female Ballroom Dancers". Medical Problems of Performing Artists 28, nr 2 (1.06.2013): 84–90. http://dx.doi.org/10.21091/mppa.2013.2015.

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OBJECTIVE: To investigate the etiology of a loss-of-control neck injury in international modern (IM) dancesport dancers. A comparison to identify if dancers with neck injury have a greater decrease in median frequency in electromyography (EMG) than non-injured dancers. SUBJECTS: Twenty female subjects (mean age 21.6 ± 3.0 yrs, height 167.1 ± 4.3 cm, weight 59.1 ± 5.2 kg, mean BMI 21.1 ± 1.2) with minimum 1-year experience in competitive IM dancesport. MEASUREMENTS: EMG activity from the left upper trapezius, left splenius capitius, and right sternocleidomastoid muscles before and after dancing the five IM dances. Extension, lateral flexion, and neck length were also measured. RESULTS: There was no significant difference in all measurements. CONCLUSIONS: Although we did not find the etiology of this neck injury, this was the first research into this injury. Future research could study the different IM dances, compare different competition levels, or the amount of force placed on the neck when dancing.

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Fedorchenko, D. "Evolution of waltz in the European ball culture". Culture of Ukraine, nr 72 (23.06.2021): 34–38. http://dx.doi.org/10.31516/2410-5325.072.05.

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Problem statement. One of the most popular dance forms of the past centuries was exquisite, soft and smooth waltz which can be called a bright phenomenon of the world choreographic art. However, the scientific and theoretical part of this choreographic art remains quite unstudied. The purpose of the article is to reveal the sources of formation and evolution of various kinds of waltz in the European program of ballroom dance. The methodology. The methods used in this article are the following: 1) historical methods that allow to place the chosen work into the perspective of ballroom choreography development; 2) classifications and systematizations that allow to conduct the analysis of how various kinds of waltz formed; 3) stylistic methods used for studying the given form of ballroom dance in the context of the choreographic art. The results. The history of waltz formation goes back to those times when dance was not just a great art but also a part of the compulsory program of high life education. Waltz received an immense impulse around 1830 owing to two outstanding composers — Franz Lanner and Johann Strauss. In the modern period of ballroom dance development there are plenty of waltz forms: slow waltz, Viennese waltz, figured waltz, boston, classical waltz and tango-waltz. The modern European program (Standard) of ballroom dance includes two waltzes: slow and Viennese. Slow waltz opens the program for both adults and professionals, this waltz is a sort of visiting card of a couple in ballroom choreography. From the first movements of a couple one can understand the level of their mastery which includes: rhythmicity, musicality, skills of couple holds and constant moving around the floor while performing complex techniques. In Viennese waltz fast pace is added, which requires good physical training from the performers. Despite the essential changes in the structure of waltz vocabulary, nowadays this ballroom dance is positioned as a developed form that functions according to the general form-creating laws of ballroom choreography: the variability of the dancing performance technique, the compositional structure of the pattern, the specific characteristics of the choreographic vocabulary, the peculiarity of the musical structure. Given the development of modern ballroom choreography, waltz is the most spectacular dance of the choreographic art and the integral part of the development of society culture.

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Siedakova, Marharyta. "The role of perceptual metaphor in the imagic representations of ballroom dancing". Nova fìlologìâ, nr 74 (2018): 89–93. http://dx.doi.org/10.26661/2414-1135/2018-74-16.

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Kapilevich, L. V., i Yu P. Bredikhina. "PAIR MOTOR COORDINATION ACTION IN SPORTSMEN (ON THE EXAMPLE OF BALLROOM DANCING)". Bulletin of Siberian Medicine 12, nr 2 (28.04.2013): 204–10. http://dx.doi.org/10.20538/1682-0363-2013-2-204-210.

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Learn a special coordinating pair of motor actions in athletes engaged sport ballroom dancing, depending on gender and sportsmanship. The results suggest that beginners dominated coordination, performed individually, while the highly skilled dancers better developed coordination, carried out in pairs. Athletes average individual coordination disturbed by the emergence of sex differences build movements and coordination pair is not formed. The asymmetry of the coordination abilities manifested in the predominance of the deviation from equilibrium (to the right of men and to the left – in women). In this case, the athletes of low and medium level of skill to maintain the leading element of balance and coordination is the visual analyzer, while the skilled dancers defining role goes to the vestibular apparatus.

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Tajbakhsh, Shahragim. "Ballroom Dancing with Stem Cells: Placement and Displacement in the Intestinal Crypt". Cell Stem Cell 14, nr 3 (marzec 2014): 271–73. http://dx.doi.org/10.1016/j.stem.2014.02.011.

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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai i Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping". Baltic Journal of Sport and Health Sciences 1, nr 120 (15.04.2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.

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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz. Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found. Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer. Keywords: DanceSport, ballroom, kinematics, partnering, statistical parametric mapping.

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Veemees, Kristina. "Social Dance (shakō dansu) in Japan: Between Sociability and Sport". Vienna Journal of East Asian Studies 1, nr 1 (1.03.2011): 123–45. http://dx.doi.org/10.2478/vjeas-2011-0005.

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Abstract Since the film Shall We Dansu? (1996) and many TV shows, social dance has become known to a wider audience in Japan. Nevertheless, prejudices such as „That doesn‟t suit the Japanese‟ continue to exist, because the intimate body contact in ballroom dancing is hard to accept in a culture where „skinship‟ (body contact) is only important during childhood. For this reason, dance schools were under the law controlling Japanese entertainment and the sex industry until 1998. This article deals with the historical situation and cultural issues of social dance in Japan.

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Artykuły w czasopismach na temat „Ballroom dancing. Ballroom dancing Ballroom dancing”

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