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Artykuły w czasopismach na temat „Learning to Dance”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 4 lutego 2022

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1

Supeni, Siti. "JAVANESE TRADITIONAL ART-DANCE AS THE IMPLEMENTATION OF CHARACTER EDUCATION OF CHILDREN TO SUPPORT CHILD FRIENDLY SCHOOL." RESEARCH FAIR UNISRI 4, no. 2 (August 15, 2020): 48. http://dx.doi.org/10.33061/rsfu.v4i2.4517.

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The purpose of the research is to: ( I) identify character education of children in various Javanese traditional dances, (2) to analyze the needs, output, problems. and learning objectives of child-friendly schools (CFS) in applying character education based on regional dance by interviewing a dancer trainer and a professional dancer who have experiences in creating and practicing the dances, and (3) to identify types of Javanese traditional dance values inside the dances. the types of research is through literary studies, interviews, surveys, observations, and documentation. To analyze the da

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Zakiyati, Nur Muaffah, Agus Cahyono, and Syakir Syakir. "Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri." Catharsis 9, no. 1 (May 31, 2020): 28–37. http://dx.doi.org/10.15294/catharsis.v9i1.39033.

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The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and inte

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Nevile, Jennifer. "Learning the Bassadanza from a Wolf: Andrea Calmo and Dance." Dance Research 30, no. 1 (May 2012): 80–97. http://dx.doi.org/10.3366/drs.2012.0035.

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For Roberto Pettini Important information about dancing and social values is sometimes found in unexpected places, such as the letters of Andrea Calmo, a sixteenth-century Venetian actor and playwright. These letters not only provide corroboration of information and attitudes to dance contained in the sixteenth-century Italian dance treatises, but also highlight how dance was regarded by a member of the middle-classes in Venice. As well as having a general appreciation of dance, which he saw as an enjoyable and moral activity, Calmo was knowledgeable about dance specifics and accurate in his u

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Darmawan, Dominikus Reynard, Erdhi Widyarto Nugroho, and Ridwan Sanjaya. "Learning Traditional Denok Dance With Kinect Game." Journal of Business and Technology 1, no. 2 (August 9, 2021): 43. http://dx.doi.org/10.24167/jbt.v1i2.3511.

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Nowadays, culture exchange is so much easier, with the foreign culture walk in to Indonesia, our traditional culture start to be forgotten, one of them is our traditional dance. And also, studying our native culture is considered something outdated. That why its needed a new media to make our traditional culture more modern so not become forgotten. One of the media which can be used is a game and a technology called kinect, with both of it, can be made a simulation game of our traditional dance, so it can be a media for introducing our traditional dance or help to train the dancer.

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Georgios, Lykesas. "The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music - Movement Education and Creative Dance in the Preservation of Our Cultural Heritage." Journal of Education and Training Studies 6, no. 1 (December 22, 2017): 104. http://dx.doi.org/10.11114/jets.v6i1.2879.

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Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society.Our culture is going through a constant process of mutation. Some traditional elements get lost, while others resist and survive or get transformed and readjust to new emerging circumstances.The aim of the present study is to investigate the learning process of Mus

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Dania, Aspasia. "Analyzing the Aesthetics of Dance Instructional Design: An Example from Greek Traditional Dance Teaching." Congress on Research in Dance Conference Proceedings 2016 (2016): 116–26. http://dx.doi.org/10.1017/cor.2016.17.

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Within the context of dance education, the quality of students’ learning experiences during instruction affects their ability to coordinate body and mind effectively. The more these experiences are invested with emotionally motivated expectation, the more pervasive will students’ occupation with dance be. On this premise, the learning of dance is realized as a continuous process of aesthetic understanding, appreciation, and evaluation of the form of dance, as a learning object per se. Such a perspective upgrades instructional design to the level of art making, where every dancer can experience

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McCormick, John, Steph Hutchison, Adam Nash, Kim Vincs, Saeid Nahavandi, and Douglas Creighton. "Learning to replace a human: A virtual performing agent." International Journal of Virtual Reality 15, no. 1 (January 1, 2015): 18–22. http://dx.doi.org/10.20870/ijvr.2015.15.1.2865.

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In this paper we describe two artworks, Recognition, an outdoor interactive installation and Instrumental a live dance performance. In both works a performing agent has learnt sequences of movement from a dancer and uses these to stand in for a human performer. The agent uses an Artificial Neural Network to learn to dance from the human dancer and can perform in the human's stead. In Recognition the agent's movement is used when there are no humans present in order to keep continuity of the installation. In Instrumental the agent becomes a performing partner of a live human dancer, able to rec

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Indrayuda, Indrayuda. "TARI TRADISIONAL DALAM RANAH TARI POPULER: KONTRIBUSI, RELEVANSI, DAN KEBERLANJUTAN BUDAYA." Humanus 14, no. 2 (November 30, 2015): 144. http://dx.doi.org/10.24036/jh.v14i2.5680.

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Recent development of dance performance is not only esthetical and artistic; it has improved farther along with social cultural changes and economic development, which is supported by the scientific and technological changes that have encouraged the improvement of the art and knowledge about dances. In choreographic learning in academic environment, the arrangement pattern in choreography is not limited to the conventional that the consequence of movement, but also a media for criticism and expression of the artists. Currently dance does not belong to certain tradition of a community but to in

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Carey, Michael. "Learning to Dance." Iowa Review 20, no. 1 (January 1990): 50–51. http://dx.doi.org/10.17077/0021-065x.3837.

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Jackson, Fleda Brown. "Learning to Dance." Iowa Review 21, no. 1 (January 1991): 101. http://dx.doi.org/10.17077/0021-065x.3966.

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Keller, Nicole. "Learning to Dance." Harvard Educational Review 83, no. 1 (March 26, 2013): 96–97. http://dx.doi.org/10.17763/haer.83.1.n2570781548626w6.

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When I was three years old, I was enrolled in my first ballet class. I loved the tights and tutus and pink, though a future in the ballet I did not have. I learned to plié and pas de bourrée, but, due to the dramatic nature of my untimely departure from the art form at the ripe age of nine, I developed a perception of myself as ungraceful. Not one for wallowing, I soon thereafter discovered my next and lasting passion: writing.

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Mabingo, Alfdaniels. "Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda." Research Studies in Music Education 42, no. 2 (June 28, 2019): 231–47. http://dx.doi.org/10.1177/1321103x19843202.

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The subject of the inseparability of music and dance in African artistic experiences has preoccupied scholars and researchers in the field of ethnomusicology, ethnochoreology, and musicology. Commonly, music is conceptualized as an accompaniment to dance. Moreover, the existing literary perspectives frame the inseparability of music and dance in African communities in aesthetical, structural, functional, and semiotic terms. This article provides an intellectual excursion that locates music as pedagogy of dances in African practices. It offers a critical examination of how teachers of cultural

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Waworundeng, Jacquline Morlav, Fergie Joanda Kaunang, Deddy Tampanguma, and Iksan Iksan. "Implementation of Android-based Application for learning Legu Salai Dance." Abstract Proceedings International Scholars Conference 7, no. 1 (February 11, 2020): 2133–41. http://dx.doi.org/10.35974/isc.v7i1.1698.

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The development of the technology has influenced the way of learning. Besides the conventional learning, the Android-based applications which run on smartphones potentially become complement for learning process. The implementation of Android application has developed in various fields including art and culture. This research mainly discusses about the implementation of the Legu Salai dance learning application, which is built based on Android and testing the functionality of the application. The purpose of making the application is to introduce the Legu Salai dance, to provide related informa

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Bengi, Suciati Simah, Yusnizar Heniwaty, and Dilinar Adlin. "PENGEMASAN TARI GUEL DALAM BENTUK KARTU POS SEBAGAI MEDIA PEMBELAJARAN." Gesture : Jurnal Seni Tari 7, no. 1 (December 31, 2018): 18. http://dx.doi.org/10.24114/senitari.v7i1.11903.

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Abstract-This study discusses Guel dance learning media created in the form of postcards. Aims to be able to direct students in identifying, appreciating, and expressing dances of the Gayo area, especially Guel dance. Theories used in the research of packaging theory according to Cahyorini and Rusfian (2011: 28), theory of learning media according to Heinich in Susilana (2016: 06), and graphic media theory according to Susilana and Riyana (2016: 14) Packaging is a theory used for graphic design, in terms of producing the product, and the image media in the form of postcards used to make Guel d

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Gratsiouni, Dimitra, Maria Koutsouba, Foteini Venetsanou, and Vasiliki Tyrovola. "Learning and Digital Environment of Dance – The Case of Greek Traditional Dance in Youtube." European Journal of Open, Distance and E-Learning 19, no. 2 (December 1, 2016): 80–95. http://dx.doi.org/10.1515/eurodl-2016-0009.

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Abstract The incorporation of Information and Communication Technologies (ICT) in education has changed the educational procedures through the creation and use of new teaching and learning environments with the use of computers and network applications that afford new dimensions to distance education. In turn, these emerging and in progress technologies, render new practices in many fields including the field of dance offering a fertile quest to everyone involved in the dance. Yet, a critical evaluation of the content of YouTube dance videos has not been carried out though what is eventually l

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Widiatry, Widiatry. "PERANCANGAN MEDIA PEMBELAJARAN TARI TRADISIONAL KALIMANTAN TENGAH BERBASIS ANDROID." Jurnal Teknologi Informasi Jurnal Keilmuan dan Aplikasi Bidang Teknik Informatika 13, no. 2 (October 22, 2019): 70–78. http://dx.doi.org/10.47111/jti.v13i2.257.

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To advance the knowledge of people outside the world of art, especially traditional dance in Central Kalimantan requires the existence of a software technology, because at this time the delivery of information is still manual and still looking for information by visiting this traditional dance studio, so that with the Android-based learning media this is the delivery of information to be quick and easy in learning traditional dance. In this study, the stages of research are generally divided into two parts, namely (i) literature study and observation, (ii) the Waterfall model with analysis and

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Kico, Iris, and Fotis Liarokapis. "Investigating the Learning Process of Folk Dances Using Mobile Augmented Reality." Applied Sciences 10, no. 2 (January 14, 2020): 599. http://dx.doi.org/10.3390/app10020599.

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Learning how to dance is not an easy task and traditional teaching methods are the main approach. Digital technologies (such as video recordings of dances) have already been successfully used in combination with the traditional methods. However, there are other emerging technologies such as virtual and augmented reality that have the potential of providing greater assistance, in order to speed up the process as well as assisting the learners. This paper presents a prototype mobile augmented reality application for assisting the process of learning folk dances. Initially, a folk dance was digit

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Sitti Rahmah, Yusnizar Yusnizar, and Tuti Rahayu. "Packaging Audio Visual Media in Tatak Tintoa Serser in Learning of Dairi Dance." Britain International of Linguistics Arts and Education (BIoLAE) Journal 1, no. 2 (November 23, 2019): 153–59. http://dx.doi.org/10.33258/biolae.v1i2.68.

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Tatak Tintoa Serser is one of the traditional dances of the Pakpak Dairi community which illustrates the mutual cooperation attitude in the lives of farmers in farming. Tatak is a term used to refer to dance to the Pakpak Dairi community. This study focuses on the preparation of instructional media in the form of VCDs from the Serser Tintoa Tatak which is closely related to the social understanding of the Dairi community. The objectives of this study are (1) Identifying the artistic structure of dance as outlined in the show (2) Arranging dance learning media in the form of VCD. This study use

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Rothmund, Irene Velten. "Daring in dance–Bachelor Students in Dance Developing Life Skills for the 21st Century." Nordic Journal of Dance 11, no. 2 (December 1, 2020): 30–40. http://dx.doi.org/10.2478/njd-2020-0011.

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Abstract This article investigates how to find connections between dance education and the development of life skills for the 21st century by interpreting students’ experiences of daring in dance. The article draws on a section of my PhD thesis that focuses on BA students’ lived experiences in modern and contemporary dance. The project is informed by hermeneutic phenomenology, and the material consists of eleven students log books and interviews. One of the main themes in the material is daring in dance, which is connected to a transformative learning process. In this article I dig more deeply

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Raheb, Katerina El, Marina Stergiou, Akrivi Katifori, and Yannis Ioannidis. "Dance Interactive Learning Systems." ACM Computing Surveys 52, no. 3 (July 27, 2019): 1–37. http://dx.doi.org/10.1145/3323335.

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Anami, Basavaraj S., and Venkatesh Arjunasa Bhandage. "A Comparative Study of Certain Classifiers for Bharatanatyam Mudra Images' Classification using Hu-Moments." International Journal of Art, Culture and Design Technologies 8, no. 2 (July 2019): 58–71. http://dx.doi.org/10.4018/ijacdt.2019070104.

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India is rich in culture and heritage where various traditional dances are practiced. Bharatanatyam is an Indian classical dance, which is composed of various body postures and hand gestures. This ancient art of dance has to be studied under guidance of dance teachers. In present days there is a scarcity of Bharatanatyam dance teachers. There is a need to adopt technology to popularize this dance form. This article presents a 3-stage methodology for the classification of Bharatanatyam mudras. In the first stage, acquired images of Bharatanatyam mudras are preprocessed to obtain contours of mud

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Nielsen, Erica, and Natalie King. "Online Learning in Dance Education." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 193–96. http://dx.doi.org/10.1017/s2049125500000686.

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Traditionally, dance learning has involved two modes of delivery: visual and verbal instruction. A teacher explains and corrects, demonstrates, and gives tactile feedback to teach students about ideas through movement. She may find it difficult to contextualize concepts through verbal explanation alone and could spend hours searching for appropriate supplements. Even then, students unfamiliar with dance vocabulary and uncomfortable with abstract movement could run into frustration through this limited approach. Education requires a variety of stimuli, and dance education in particular can bene

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Dubbels, Brock. "Dance Dance Education and Rites of Passage." International Journal of Gaming and Computer-Mediated Simulations 1, no. 4 (October 2009): 63–89. http://dx.doi.org/10.4018/jgcms.2009091504.

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The experience of a successful adolescent learner will be described from the student’s perspective about learning the video game Dance Dance Revolution (DDR) through selected passages from a phenomenological interview. The question driving this investigation is, “Why did she sustain engagement in learning?” The importance of this question came out of the need for background on how to create an afterschool program that was to use DDR as an after school activity that might engage adolescents and tweens to become more physically active and reduce the risk of adult obesity, and to increase bone de

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Gardner, Sally. "Beyond anthropomorphism: Odissi and the botanical." Studies in South Asian Film & Media 4, no. 2 (October 1, 2012): 157–65. http://dx.doi.org/10.1386/safm.4.2.157_1.

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Drawing on experiences that have entailed watching and learning forms of so-called ‘Indian dance’ (Bharata Natyam and Odissi), and watching Odissi dancers performing in various locations in Orissa’s ‘sacred triangle’ (Puri, Konark, Bhubaneswar), and against my own background in contemporary dance, I propose that the difference of the Odissi body is that the dancer dances with his or her feet in more than one kingdom – that is, he or she maintains a link between human bodies and the bodies of plants. Such a perception can help to displace questions of the dancer’s spatiality and representations

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Wijayanti, Arwendis, and Lilik Dwi Kurniawati. "Pembelajaran Tari Tradisional Penthul Melikan." Jurnal Inovatif Ilmu Pendidikan 1, no. 1 (February 7, 2021): 36–44. http://dx.doi.org/10.23960/jiip.v1i1.18016.

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The objective of this research was to 1) the implementation of traditional Penthul Melikan dance learning in the Penthul Melikan studio and 2) constraints on the learning process of traditional Penthul Melikan dance in the Penthul Melikan studio. The research method used is qualitative descriptive. The subject of this research was dance students aged 4-6 years totaling 10 children and 2 dance trainers. The collecting data technique has conducted by observation, interview and documentation study. The data analysis techniques in this research were qualitative by Miles and Huberman. The research

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Yoder, Linda J. "Cooperative Learning and Dance Education." Journal of Physical Education, Recreation & Dance 64, no. 5 (June 1993): 47–56. http://dx.doi.org/10.1080/07303084.1993.10609977.

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Ai, Hiroyuki, Ryuichi Okada, Midori Sakura, Thomas Wachtler, and Hidetoshi Ikeno. "Neuroethology of the Waggle Dance: How Followers Interact with the Waggle Dancer and Detect Spatial Information." Insects 10, no. 10 (October 11, 2019): 336. http://dx.doi.org/10.3390/insects10100336.

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Since the honeybee possesses eusociality, advanced learning, memory ability, and information sharing through the use of various pheromones and sophisticated symbol communication (i.e., the “waggle dance”), this remarkable social animal has been one of the model symbolic animals for biological studies, animal ecology, ethology, and neuroethology. Karl von Frisch discovered the meanings of the waggle dance and called the communication a “dance language.” Subsequent to this discovery, it has been extensively studied how effectively recruits translate the code in the dance to reach the advertised

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Alistiana, Lisa. "Proses Kreativitas dan Apresiasi Seni Dalam Pembelajaran Seni Tari Bagi Mahasiswa PIAUD UIN Sunan Ampel Surabaya." Attadrib: Jurnal Pendidikan Guru Madrasah Ibtidaiyah 3, no. 2 (September 29, 2020): 19–25. http://dx.doi.org/10.54069/attadrib.v3i2.106.

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This study aims to develop creativity and appreciation of art in learning dance for students of UIN Sunan Ampel Surabaya PIAUD. Learning dance is very useful for PIAUD students because it can improve the ability to learn dance in art appreciation activities. Creativity in this research is to create a new thing in individual learning. In general, creativity and appreciation lead to the process of moving that drives someone in an action. Desires that must continue to be fostered for the process of learning dance one of them with a form of appreciation, because in the form of appreciation of art

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Purnamasari, Intan. "PEMBELAJARAN TARI MERAK BAGI SISWA TUNAGRAHITA RINGAN DI SLB C CIPAGANTI BANDUNG." PEDAGOGIKA: Jurnal Pedagogika dan Dinamika Pendidikan 6, no. 2 (February 5, 2020): 115–27. http://dx.doi.org/10.30598/pedagogikavol6issue2page115-127.

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Learning Merak Dance For Lightweight Students Of Disabilities At SLB C Cipaganti Bandung.This research is the background of the difficulty of dance learning for children with lightweight disabilities. Learning dance at SLB C Cipaganti Bandung has a high level of difficulty when compared with dance learning in ordinary schools, Because the students are lightweight children with disabilities,who have difficulty in motor and concentration, while in dancing is needed strong motion, concentration and memory On every movement on a dance. This study aims to determine the Learning Process, Media, Meth

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Jae, Hwan-Jung. "Dancing Self, Rehearsing Democracies: Learning “More than Dance” Through Dance." Dance Research Journal of Dance 76, no. 6 (December 31, 2018): 237–50. http://dx.doi.org/10.21317/ksd.76.6.13.

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Iversen, Anette Sture. "Dance as a Cultural Meeting Point." Nordic Journal of Dance 5, no. 1 (June 1, 2014): 4–11. http://dx.doi.org/10.2478/njd-2014-0002.

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Abstract Dance as a cultural meeting point is a project that Dance in Schools, Norway, executed in three schools in Oslo during the spring of 2013, with funds from The Norwegian Directorate for Education and Training. The funding was to be given to projects that would, amongst other things, help schools reach curriculum objectives, increase the use of varied working methods, increase the pupils’ understanding of different cultural expressions and experience art. The project included a one-day workshop, a survey and reports from two observers. One class in three different schools got an introdu

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Sastre, Cibele. "Learning/teaching, creating and performing through LBMS." Journal of Dance & Somatic Practices 12, no. 1 (August 1, 2020): 95–106. http://dx.doi.org/10.1386/jdsp_00015_1.

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This article presents Laban/Bartenieff movement studies (LBMS) experiments through pedagogical procedures and creative processes. It comprises artistic and performative perspectives in choreography and dance education from a nineteen years’ research within master and doctorate studies. Laban’s Motif writing shifts its main function to act as a trigger for creative processes. Besides, somatic serenities, as an important body state for the production of presence, are encouraged in somatic‐performative practices that include LBMS into dance programme courses in Rio Grande do Sul. The concept of s

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Bashaw, Barbara. "A Historical Exposition of Dance Education in the U.S. : The Emergence of Creative Dance Learning at Teachers College." Dance Research Journal of Dance 79, no. 2 (April 30, 2021): 251–62. http://dx.doi.org/10.21317/ksd.79.2.14.

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DN, Rr Ruth Hertami, Dilinar Adlin, and Deo Demonta Panggabean. "GROUP DEVELOPMENT PLAY IN THE DANCE MOVEMENT." Journal of Community Research and Service 2, no. 2 (May 9, 2019): 206. http://dx.doi.org/10.24114/jcrs.v2i2.13147.

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AbstractThe movement that had been carried out in Early Childhood Education (PAUD) in the Cahaya and Manca playgroups in Delitua village was only on gymnastics or sports. The most basic cause is the absence of competent teachers in the field of dance movement. In addition, the available teachers do not understand optimally about how to provide dance material that is right at the age of the children in the playgroup. Based on this situation, the proposed team through the Coaching of Playgroups in Dance Motion, fostering and strengthening dance activities for children Light playgroups, as well a

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Pangestika, Fahmida Yuga, and Setyo Yanuartuti. "Pembelajaran Mandiri Seni Tari Melalui Konten Youtube sebagai Inovasi Pembelajaran Masa Kini." Gondang: Jurnal Seni dan Budaya 4, no. 2 (December 4, 2020): 144. http://dx.doi.org/10.24114/gondang.v4i2.18098.

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This paper aims to analyze the response of connoisseurs through independent learning through Ombyak Trimurti Dance through Youtube content that serves to hone dance skills and get to know other regional arts. Ombyak Trimurti dance uploaded by the channel of the Department of Tourism and Culture of East Java Province ‘Culture and Art’ is a creative dance originating from Ponorogo Regency, with its proud achievements, the dance received a positive response from elementary school to high school students. This makes researchers who are also the stylists of the Ombyak Trimurti dance very important

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Alferov, Sergey V. "VOICING THE MOVE: DISCURSIVE PRACTICES OF SCOTTISH DANCE INSTRUCTION." Вестник антропологии (Herald of Anthropology), no. 2 (54) (June 10, 2021): 177–97. http://dx.doi.org/10.33876/2311-0546/2021-54-2/177-197.

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Bridging dance anthropology and multimodal discourse analysis, the article focuses on language used to teach and/or describe various versions of the pas de basque step in Highland, Scottish country, Scottish step and “called” Ceilidh dancing of Scotland. It analyses pedagogic discourse observed during on- and offline classes and dance events across the globe alongside the author’s own embodied experience as a Scottish dancer, learner and teacher. When examining culturally and somatically contextualised uses of English in Scottish dance pedagogy, the article takes into account a range of dance

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Dearborn, Karen, and Rachael Ross. "Dance Learning and the Mirror: Comparison Study of Dance Phrase Learning with and without Mirrors." Journal of Dance Education 6, no. 4 (October 2006): 109–15. http://dx.doi.org/10.1080/15290824.2006.10387323.

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Mabingo, Alfdaniels. "Teaching African Dances in the Caribbean: Horizontal Interpenetration and Afrocentricity in Jamaica." Journal of Black Studies 49, no. 8 (June 17, 2018): 735–55. http://dx.doi.org/10.1177/0021934718780561.

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This article examines how pedagogy of African dances can act as a site where issues of Afrocentricity and horizontal interconnection can be activated, negotiated, and embodied. I draw on the selected reflections of the participants in dance workshops and my experiences as a teacher of Ugandan dances in Jamaica to demonstrate how pedagogy allowed the learners to embody, deconstruct, and conceptualize kinaesthetic, storied, and musicalized dance material as valued and valid knowledge that is anchored in the worldviews, dignities, and ontologies of indigenous Ugandan communities from where the da

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Georgios, Lykesas, Dania Aspasia, Koutsouba Maria, Nikolaki Evgenia, and Tyrovola Basiliki. "The Effectiveness of a Music and Movement Program for Traditional Dance Teaching on Primary School Students’ Intrinsic Motivation and Self - Reported Patterns of Lesson Participation." Mediterranean Journal of Social Sciences 8, no. 1 (January 26, 2017): 227–36. http://dx.doi.org/10.5901/mjss.2017.v8n1p227.

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Abstract Research evidence on traditional dance teaching has shown how important it is for primary school education to institute reforms and present new ways of intervention in order to contribute effectively to the overall development of the child's personality. The aim of this research is a) to demonstrate the effectiveness of a music and movement instructional program on traditional dance learning, in terms of primary school students patterns of self-reported positive learning experiences and active lesson participation and b) to examine its impact on students’ internal motivation to play a

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Wang, Yang, and Qingtang Liu. "Effects of Game-Based Teaching on Primary Students' Dance Learning." International Journal of Game-Based Learning 10, no. 1 (January 2020): 19–36. http://dx.doi.org/10.4018/ijgbl.2020010102.

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The article explored the effects of game-based teaching on primary student dance teaching and learning. Two semesters of dance teaching and learning conducted by the same teacher were analyzed. In the first semester, the teacher taught dance in a traditional way. In the second semester, the teacher taught dance with a serious game in the teaching design and implementation. Results indicated that the use of the serious game improved teacher and students co-engagement in the teaching activities. It enhanced classroom interactions and student learning satisfaction, as well as the teacher's seriou

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Bellerose, Christine. "On the Lived, Imagined Body: A Phenomenological Praxis of a Somatic Architecture." Phenomenology & Practice 12, no. 1 (March 30, 2018): 57–71. http://dx.doi.org/10.29173/pandpr29358.

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"On the Lived, Imagined Body" is a reflective remembering from the point of view of a movementperformance artist's training session learning to dance with imagined wings when in her livedexperience, the body of the dancer is aware somatically of moving with wings that do not actuallyexist. The overarching conceptualization in this article describes the inner-outer tensions, thekinesthetic, somatic, proprioceptive penetration inward and the visual-kinetic, imaginative reachoutward. The landmark work from dance phenomenologist Maxine Sheets-Johnstone (1966/2015),The Phenomenology of Dance, promp

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Chao, Hsiao-Wen, Chien-Chih Wu, and Chia-Wen Tsai. "Exploring the Effects of Blended Learning, Flipped Learning, and Online Remedial Teaching on Improving Students' Learning Performance and Motivation." International Journal of Technology and Human Interaction 17, no. 3 (July 2021): 98–114. http://dx.doi.org/10.4018/ijthi.2021070107.

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The maturation of digital and technological learning in recent years has prompted a global transformation of teaching approaches. The aim of this research is to effectively improve students' learning motivation and their performance of dance skills. Through a quasi-experimental research design, teaching research was conducted with four different teaching approaches including blended learning (BL), flipped learning (FL), online remedial teaching (ORT), and traditional teaching during an 18-week term. The subjects of study were 199 university students in four sections of a dance course. Analysis

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Raheb, Katerina El, Marina Stergiou, Akrivi Katifori, and Yannis Ioannidis. "Moving in the Cube." Journal on Computing and Cultural Heritage 14, no. 2 (June 2021): 1–26. http://dx.doi.org/10.1145/3427379.

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Labanotation is one of the most used systems for notating, analysing, and preserving movement and dance, an important part of Intangible Cultural Heritage. Labanotation consists of a powerful expressive symbolic language for documenting movement with a long history in dance research, history, and anthropology since its introduction by Rudolf von Laban in the beginning of the 20th century. A number of valuable scores in this language are curated in both physical and digital archives throughout the world, describing both traditional dances and works of historical choreographers. Nevertheless, wh

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Dewi, Mutiara Sari. "SEQUENTIAL EXPLORATORY: PEMBELAJARAN SENI TARI BAGI CALON GURU MADRASAH IBTIDAIYAH DI MASA PANDEMI COVID-19." Elementeris : Jurnal Ilmiah Pendidikan Dasar Islam 2, no. 1 (July 1, 2020): 18. http://dx.doi.org/10.33474/elementeris.v2i1.6888.

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This study aims to analyze: 1) the learning conditions of dance during the Covid 19 pandemic; and 2) media, learning methods, and learning resources used in learning dance for prospective Madrasah Ibtidaiyah teachers during the pandemic Covid 19. Learning dance for prospective Madarasah Ibtidaiyah teachers was chosen as the theme and / or part of the research variable based on the consideration that it has complex problems during the Covid Pandemic period 19. This research is a mixed method research with sequential exploratory research type. The research subjects consisted of 34 prospective Ma

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Bito, Gregorius Sebo, and Fredy Fredy. "ETHNOMATHEMATICS: MUSICAL INSTRUMEN IN JA'I DANCES FOR CULTURALLY RESPONSIVE TEACHING IN ELEMENTARY SCHOOLS." PrimaryEdu - Journal of Primary Education 4, no. 2 (September 30, 2020): 183. http://dx.doi.org/10.22460/pej.v4i2.1853.

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In cultural responsive learning, teachers need to have the ability to explore mathematical phenomena in cultural elements as learning content. This research is a qualitative descriptive study aimed at exploring ethnomathematics in Bajawa traditional dances, namely the Ja,i dance, its relevance to competency standards and basic mathematics competencies in elementary schools. The approach used is ethnographic. The technique used is observation and study of documents and the researcher himself acts as the main instrument. Observations were made on the accompanying music devices contained mathemat

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Rosala, Dedi, and Agus Budiman. "Local Wisdom-based Dance Learning: Teaching Characters to Children through Movements." Mimbar Sekolah Dasar 7, no. 3 (December 31, 2020): 304–26. http://dx.doi.org/10.17509/mimbar-sd.v7i3.28185.

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The character education implementation in every school becomes a program of national education system policy in Indonesia. Its orientation is more focused on advancing national character development based on local wisdom and unique culture in Indonesia. The authority of the Indonesian education system policy program in strengthening character education covers religiousness, nationalism, independency, mutual cooperation, and integrity with the development of local wisdom-based learning materials. The purpose of this research is to discover the process of dance learning implementation in student

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Peterson, Tim O., Claudette M. Peterson, Cynthia L. Krom, and Brian A. Griffith. "Dance? I Can’t Dance! Developing an Understanding of Mental Models Through Line Dancing." Management Teaching Review 1, no. 4 (August 20, 2016): 226–41. http://dx.doi.org/10.1177/2379298116663170.

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Mental models guide our attitudes and direct our actions. Senge defined a mental model as a deeply ingrained set of assumptions, generalizations, or images that influence how we understand and respond to the world around us. Line dancing is an example of a process that includes many types of mental models. In fact, each dance is a mental model of its own. In addition, we each come to dancing with our own mental models about dancing and our self-concept. In this article, we share experiences of using line dances in classes as a way to help students be engaged while learning about a complex topi

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Voneline, Quinta Dianda, Susmiarti Susmiarti, and Indrayuda Indrayuda. "FAKTOR-FAKTOR PENGHAMBAT MINAT SISWA KELAS X PADA PEMBELAJARAN SENI BUDAYA(TARI) DI SMK NEGERI 9 PADANG." Jurnal Sendratasik 10, no. 2 (December 5, 2020): 124. http://dx.doi.org/10.24036/jsu.v9i2.110755.

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This study aims to describe the factors inhibiting the interest of class X students in learning cultural arts (dance) at SMK Negeri 9 Padang where students are less inclined in learning cultural arts (dance) and do not have a good response, because this research focuses on the problem of student interest in learning cultural arts (dance). This type of research is qualitative research with descriptive methods. The research objects were students of class X Ph4 and the arts and culture teachers of SMK Negeri 9 Padang. The instruments in this study were the researchers themselves and the researche

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Risner, Doug. "Dance & Sexuality: Opportunities for Teaching and Learning in Dance Education." Journal of Dance Education 5, no. 2 (April 2005): 41–42. http://dx.doi.org/10.1080/15290824.2005.10387283.

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Riyaningsih, Etik, Maryono Maryono, and Harini Harini. "Establishment of Learners’ Character Through Learning Traditional Dance in Senior High School." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 13–27. http://dx.doi.org/10.15294/harmonia.v18i1.12575.

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This research was conducted to describe the character establishment of learners through learning dance in terms of the learning process, exercises and elements of traditional dance. This research was conducted to find and explain the process of learning traditional dance in the development of learners’ character establishment. This research data is in the form of information, documents and learning process collected through interview, literature study and observation. Meanwhile, triangulation method is done to test the validity of data from those various sources. The result shows that learning

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