Dance Science

Based on the example of Iwona Pasinska’s The Last Sunday Remix ofy Conrad Drzewiecki
Remix captured contemporary culture. The field of art which was reached by it the latest and still presents the most research problems is dance. In my lecture I would like to point out dance remix features, being aware of the heterogeneous nature of the choreographic work. Joanna Szymajda in the article Remix, recycling, and repetition in contemporary choreography wonders what choreographic work is. „Is it already a movement composition, or is it only its performance (with or without music) in a specific set design (or in a natural setting) and with a costume?”. Szymajda’s questions complicate other remix definitions.
At the beginning of the second decade of the 21st century remix made a brilliant career in Poland. In Warsaw Commune independent artists mixed various works of various artists. They dealt with works of such outstanding artists as Conrad Drzewiecki, Henryk Tomaszewski, Merc Cunningham, Trisha Brown, Pina Bausch … I have chosen a spectacle of Iwona Pasińska Last Sunday as the subject of my analysis. RE / MIX of Conrad Drzewiecki expressively reflects the character of the prefix re- , which makes remix so attractive to its creators. The author opposes the choreographic and aesthetic attitude presented by Conrad Drzewiecki. It accurately indicates the existence and extent of its references through the title, description of the performance, quotes and allusions and in the structure of the performance, it reveals references in form and content.
I have chosen The Last Sunday. RE // MIX of Conrad Drzewiecki also due to the fact that the reception of this performance shows how important both the sender and the recipient are. The meaning and identity of the remix depends on the cultural competence of the recipient. The remix assumes a community of code, knowledge of a mixed work in order to be able to see for example its discursiveness. We approach a remix concept promoted by Lawrence Lessig, which is copyright and the educational role of remix in mass culture.

Introduction. The richness of the terminology of academic dance lies both in the great quantity and variety of its nomenclature and in the accuracy of its terms. We refer to words that describe the execution of the movement itself, the exact anatomical and spatial location, the type and quality of the displacement, the dynamics, the speed, the relationship with the music in the tempo and in the rhythmic content, as well as the interpretative desired effects. This exhaustive description of the movement will facilitate its teaching, its understanding, and therefore, its interpretation. Objective. We try to demonstrate that the nomenclature of academic dance has suffered impoverishment throughout the ages, and especially in the twentieth century, becoming a kind of coding vocabulary devoid of meaning. Method. Several terms of the ballet vocabulary will be analyzed contrasting different definitions given by manuals and specialized dictionaries: Le Moal (1999), Challet Hass (1987), Guillot-Prudhomeau (1974), Bourgat (1948), Lifar (1971), Vaganova (1961) and Cecchetti (2003), with the purpose of verifying that from the original word variants have been developed that, often, clearly move away from the original meaning of the term. Results. It is verified that from the original word have appeared variants and meanings often removed from the original form and meaning of the term. Conclusions. The contribution of a maximum of data about the quality and quality of the movement is essential to optimize not only the technical execution, but also the artistic interpretation of the dancer. For this reason, the terminology of classical dance must be preserved with the most etymological fidelity, since the meaning and reason of its origin are still valid today. This vocabulary is, therefore, a historical treasure that can only sublimate even more the art of classical dance, its pedagogy and its correct transmission to future generations.
Keywords: academic dance, terminology, classical dance, vocabulary, ballet, interpretation

Symmetry of skill development is emphasized in dance training, and many movements are well learned by both genders. The authors conducted a 2-dimensional kinematic analysis of a complex dance movement, the passé, in 12 healthy professional male and female dancers to determine whether there are differences between genders or limbs during the performance of that task. Only peak hip angular displacement differed in men and women. No differences were found between limbs in any of the dependent variables. Dancers displayed consistent temporal and spatial proximal-to-distal sequencing of movement coordination. Despite an indication of limb preference, as defined by gesture or stance limb, there were no differences in proficiency.

iq ka or;a jh ú §u ks id we;s jk i;= g idfma la Ih' th mq oa .,dkq noa Oj jq ufkda uQ ,s l ia jrEmhla ys ñlr.ka fka h' ^The Psychedelic beauty& kuq ;a ta iq ka or;a jh fmdÿ rihla njg m;a ùfï È ta i|yd n,mdk jdia ;úl iq ka or;a jhla ^Objective beauty& o mj;s k wjia :d úoHd;a ul kHdh Tia fia fmka jd § we;' fN!;s luh jYfhka .;a l, YÍr p,khka f.a yeis Íu yd fh §u u; ys Èñka ta jd jdia ;úl ixl,a m hgf;a ú.% y l< yels h' idïm% odhs l Wvrg k¾;k p,khka f.a ^Kandyan Dance& jdia ;úl iq ka or;a jfhys fh §u ms <s n| wOHhkh ls ßu fuu m¾fha IKh Tia fia is ÿflf¾' uQ ,dY% Ndú;fha § m% d:ñl yd oa ú;S l uQ ,dY% mßYS ,kh is ÿlrk w;r .‚;fha fhÈï fhdod .ks ñka úfYa Ifhka *s fndkdÑ ^Fibonacci& l% ufõoh fuys È Ndú;d lr tu.s ka >Dcq o¾YkS h wdldrhg fm% dis kS hï fõÈldj úfYa I fldgf.k fuu p,k l% ufõoh l% s hd;a ul fõ' ms <s .;a .‚;uh Ndú; lrñka *s fndkdÖ ixLHd; yd rka wkq md; l% uh ^Golden ratio& hgf;a Wvrg k¾;k p,kfha jdia ;úl iq ka or;a jh ms <s n| Okd;a ul l;s ldjla f.dvke.S u u.s ka ,dxfla h k¾;kh ls hùu i|yd kj m% fõYhla újr ls Íug fuu m¾fha IKfhka W;a iq l fjhs '

Both theories are important for creating a motivational climate in class. I created this flyer-styled paper especially for trainer and dance teacher. I broke down scientific information to practical and handy tips for dance classes renouncing complicated scientific background information and still citing as well as giving references at the end.

Partnerwork is an essential part of most dance styles yet while the majority of dancers agree on its general importance and benefits, there is no clear consensus on the use and value of some of its key elements.

The aim of this study was to analyze the role and importance of touch, visual contact, and weight bearing/giving, within dance partnerships and propose ideas and actions for the development of these elements in dance. The styles discussed consisted of classical ballet, ballroom dancing, Argentine Tango, contemporary, and contact improvisation.

The data collection was conducted by means of an extensive literature review, class observations, questionnaire, and qualitative interviews with dancers and teachers. Thematic analysis was used to categorize and organize the answers to the questionnaire and interviews linking them to the observations made in the classroom.

The results revealed many perceptions and methods in partnering suggesting that: dancers generally regard touch and weight bearing/giving as important factors in partnering and use them in various ways within their respective domains; the value of visual contact use differs greatly between dance styles. Either physical or psychological benefits of the discussed elements are emphasized depending on the style; and either separate exercises or specific focus during choreography are used as tools to improve the quality of these elements in partnerwork.

Much of the information gathered goes beyond what the literature presents on the topic and points to the fact that a lot of practical knowledge exists in the dance world regarding partnering but is not organized or shared in a consistent and systematic manner. The dissemination of that knowledge in combination with further research into the physiological and psychological aspects of partnering skills should enhance the overall understanding of the topic across dance disciplines and enrich dance literature and training methods.

The Book titled “Hasta Mudra Therapy – An effective aspect of Dance Therapy” deals with various disciplines like Dance, Therapy, Dance Therapy, Hasta Mudra Therapy, Hasta Mudras used in Dance, Yoga, Hindu and Buddhist religious practices; Physiology of palm, Pharmacokinetics and Acupressure. This Book is the result of the PhD thesis titled “A study of Dance Therapy with specific reference to Hasta Mudra Therapy”, submitted to University of Hyderabad, Telangana, India, which fetched me a PhD degree. The research involved a comprehensive study and analysis of the above mentioned disciplines to substantiate the work and prove it scientifically. Dance is an ocean which has boundless and inexhaustible benefits hidden in it. Dance involves all the fine arts, it encompasses mathematics, physics, chemistry, biology, management; it is closely associated to mythology; imbibes culture and tradition; involves language with technical grammar; improves communication skills & memory; cultivates discipline; it is a fitness health, entertainment & refreshment; imparts knowledge and above all it is divine and next to God. Dance can also be a mode of therapy, a skill which keeps you fit and good health. Practicing dance nurtures the body just like any other physical training or meditation. Although dance has been a method of expression for centuries, it wasn’t until recently that it was characterized as a form of therapy. Dance Therapy research has been undertaken to heal both physical and mental illness, however, Dance as a whole or Dance Movement analysis is only considered as the research topic. Dance Therapy research in specific to Hasta Mudras is not done till 2008, which prompted me to choose it as my PhD research topic, as most of the Indian classical Dance forms use the Hasta Mudras to communicate Dance. From the study, it is obvious that, Dance therapy and in specific Hasta Mudra Therapy, can be a potential alternative therapy which has been proved and established.

Bu kitap bir başka! Bunu “bizden” biri olarak yazmaya çalıştım çünkü. Akademik kadroda görevli bir biliminsanı olmamı gözardı etmeden, bilimle elde ettiğim tecrübelerimle kolkola; bir sanatçı olarak tozunu yuttuğum sahnelerin ışıkları altında ve bir dans eğitimcisi olarak öğrencilerimin huzûrunda yazdım. Kuralları bir kenara ittim. Ama bunu,  sâdece kitap yazabilmek için değil, "zeybek dansının bu şekilde kaleme alınan ilk kitabını" yazabilmek için yaptım. Ancak ve ancak özgür tavsiyeler verilerek yapılabilirdi bu bence.
İçerikte yer verdiğim hemen her şey, benden “size” yalnızca tavsiye. Tavsiye ama dayanakları; ya tecrübelerim, ya araştırmalarım ya da bu genç yaşımda edindiklerimin bana hissettirdikleri. Yâni hepsini reddetme şansına sâhipsiniz. Elinizin tersi ile bir kenara itebilir ya da okuyan öğrencilerinize "aklınızı çelmesine izin vermeyin" diyebilirsiniz. Ama sizin yerinizde olsam; kulak kabartır, gözlerimi pörtletir, söylediklerimi bedenleştirir, ondan sonra karar verirdim. Bilin ki o tavsiyeler doğrudan benim uygulamalarımdan geliyor. Tecrübeyle "sâbit" değil, ama tecrübeyle. Çünkü bu kitap bir "ototeknigrafi"

This thesis explores notions of embodied knowledges within dance through original research into the dance practice and performance of Rachel Krische. The central proposition is that dance is an activity of thinking in movement. It proposes the concept of kinetic thinking: that bodily movement is not illustrating thinking taking place in a separate mind, but is in itself an activity of thinking. This thesis critically engages with the experience that is made available within the practice and live performance of three existing published works: the solo The Swimmer (Hay, 2008), the duet Do Not Be Afraid (Sperling, 2010) and the solo Headphones (Krische, 2014) within Table of Contents (Davies, Buckley, Kaski, Morrissey, Krische & Sperling, 2014). The three works represent a continuous process of engagement with a studio and performance-based practice that allowed an in-depth exploration of the proposition of thinking kinetically. This was informed by contextual research, aspects of which are captured within this document. Framed against the historical legacy of a persistent Cartesian mind-body division, the discussion is explored within the disciplines of dance, phenomenology and embodied cognition. Theoretical concepts of perception, attention, action, somatic awareness, temporality, thinking and cognition are examined and interwoven with descriptions of insights that have emerged from the embodied conceptual tussling happening within practice.

Additionally, details of the published works are presented in a separate supporting volume following the main thesis, providing contextual information that includes credits, synopsis and touring history details. A timeline of the works and professional biography situate them within a wider context of professional practice. Photographs and examples of scores/note-book entries are also provided, alongside video documentation of the three published works that can be accessed via the following link: Web link: https://vimeo.com/album/5065714 . Although I am collaborator and maker within the works, the primary focus of the research presented here is to be considered, not of or through the making of dances, but the doing of dancing. It focuses on knowledge realised through the lived experience of the dancer, recognising both the importance of the dancing body and positioning the dancer’s contribution as central to understanding.

Dance Medicine and Science (DMC) is a field that has been developing globally for more than 20 years through collaborations that involve different professionals in areas such as medicine, education, psychology, nutrition, science and dance, among others. The aim of DMS is to maintain the general well-being and good quality of the health, training and performance of the dancers. This is normally achieved by the promotion of discussions, research and services that cultivate educational, medical and scientific excellence. In the United Kingdom, the UNIVERSITY OF WOLVERHAMPTON, a renowned institution in DMS, initiated, in March 2016, with the support of the NATIONAL INSTITUTE OF DANCE MEDICINE AND SCIENCE (NIDMS), formed by this university and the TRINITY LABAN CONSERVATOIRE OF MUSIC AND DANCE, ONE DANCE UK, UNIVERSITY OF BIRMINGHAM, BIRMINGHAM ROYAL BALLET and ROYAL ORTHOPEDICS NATIONAL HOSPITAL, a dialogue with the STATE UNIVERSITY OF GOIÁS to promote the cooperation of this university and others, such as the FEDERAL UNIVERSITIES OF GOIÁS and RIO GRANDE DO SUL, FEDERAL INSTITUTES OF GOIÁS and BRASÍLIA, UNIVERSO, UNIVERSITY OF THE STATE OF SÃO PAULO, and STATE UNIVERSITY OF CAMPINAS, as well as other stakeholders from the private sector and individuals, for the creation of the BRAZIL-UNITED KINGDOM DMS NETWORK. It has the objective of developing research and collaborative services during the next 15-year period. One of the focuses of the Network is the investigate different aspects related to dance and invest on the exchange of technology between the mentioned regions. This expanded summary presents and diffuses the initial structure of the BR-UK Network and the dialogues generated by the first gatherings and discussions of the artists-researchers and institutions that participate of it, so that parameters of action can be pointed out, and future theoretical-practical pieces of research and services can be developed, contributing to the dilution and hybridization of the boundaries between dance and other areas of knowledge.

Dance Management is a new domain in the theoretical aspects of Management. It is at a very young stage with respects to its literature; however, the concept of management prevailed since its evolution. The management tools, features, functions etc are all followed and implemented in a Dance profession too, knowingly or unknowingly, but are not acknowledged till recent times. Dance is a performing art which is always dealt with respects to its technicalities of a performance. Dance has always been witnessed as an entertainment since ancient times. Dance, besides giving entertainment, yet it has various other benefits and features, which are to be investigated and accredited. Dance profession or Dance as a practice itself is Management. The concept of Management is part and parcel of Dance by itself, both in its performance and practice. This study enlightens and focuses on Management in Dance. The major aim and objective of the study is to prove, establish and confirm the evidence of Management in Dance. This paper is a modest attempt to bring in the functions and features of Management with an analytical approach.

El origen de LA SARDANA es un extracto del libro Karuo el secreto ibero, Enrique Cabrejas o Enric Cabrejas nos relata de modo llano su experiencia personal con lo extraordinario de un descubrimiento. El 21 de Abril de 2012 consiguió lo que parecía imposible: Descifrar la escritura ibérica. El hallazgo más relevante de la cultura universal en nuestro país de los últimos tiempos, sin lugar a dudas. Un hito en la historia de la escritura sin precedentes. Desde este mismo instante la obra Karuo de Enrique Cabrejas lo convierte en un referente destacado a nivel mundial en historia y lingüística. Los innumerables datos, explicaciones, pruebas y significados que nos reporta nunca conocidos antes, son una referencia obligada para todos aquellos que quieran comprender la historia, la lengua antigua e incluso también la moderna de nuestro país o para quienes en el futuro deseen estudiarla e investigarla en profundidad, más si cabe desde el mundo académico.

Rasa plays a very prominent role in performing arts. It is the soul and motive for a successful performance of a dance, an act or a play. If Rasa is to be of any moment and significance, it must necessarily be educated and explored. This research article might provoke thought and further inspire the performer to devise various ways and means in understanding the concept and significance of Rasa and incorporate the same in their performances. It would also facilitate in creating interest among individuals and professionals and further help in taking up in-depth research in this domain.This study has been undertaken to investigate the aesthetics of the sentiments and their interpretation in Kuchipudi dance.

Working towards the goal of understanding complex, interactive movement in human dyads, this paper presents a model for analyzing motion capture data of human pairs and proposes measures that correlate with features of the coordination in the movement. Based on deep inquiry of what it means to partner in a motion task, a measure that characterizes the changing verticality of each agent is developed. In parallel a naïve human motion expert provides a qualitative description of the features and quality of coordination within a dyad. Analysis on the verticality measure, the cross-correlation of verticality signals, and deviation of those verticality signals from the trend over time, provides quantitative insight that corroborates the naïve expert&#39;s analysis. Specifically, the paper shows that, for four samples of dyadic behavior, these measures provide information about 1) whether two agents were involved in the same dyadic interaction and 2) the level of &quot;resistance&quot; fou...

Rasa plays a very prominent role in performing arts. Shringara Rasa is the primary Rasa that occupies a significant place amongst the Rasas.  It is the soul and motive of all the Rasas; and is termed as the king of all the Rasas. Due to its prominence and significance, it must necessarily be educated and explored. This chapter might provoke thought and further inspire the performer to devise various ways and means in understanding the concept and significance of ShringaraRasa and incorporate the same in their performances. It would also facilitate in creating interest among individuals and professionals and further help in taking up in-depth research in this domain.

Rasa plays a very prominent role in performing arts. It is the soul and motive for a successful performance of a dance, an act or a play. If Rasa is to be of any moment and significance, it must necessarily be educated and explored. This chapter might provoke thought and further inspire the performer to devise various ways and means in understanding the concept and significance of Rasa and incorporate the same in their performances. It would also facilitate in creating interest among individuals and professionals and further help in taking up in-depth research in this domain.

“Now, for objective adjustment in the physical world, Shiva propounded song, dance and instrumental music in such a manner so that it would directly vibrate the ectoplasm, so that the ectoplasmic movement converges into one point touching the soul point,” according to Prabhat Rainjan Sarkar”. “That is why great people of all ages have encouraged all three aspects of music.”  P. R. Sarkar, (1921-1990), was a spiritual guru in the tradition of Shiva and Krishna. He composed a collection of 5018 spiritual songs called Prabháta Saḿgiita, and founded the socio-spiritual movement Ananda Marga (“the Path of Bliss”).  –  Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, May 23, 2021.

Dictionaries define philosophy as the study of the fundamental nature of knowledge, reality, and existence, especially when considered as an academic discipline. In science, philosophy questions the hypothesis, the intention and the outcomes of research.  In a first chapter, this study looks at the genesis and evolution of dance until the creation of classical ballet technique and its heritage until now. The philosophy of dance as much as the vison of the art through the experts’ eyes are addressed. The second chapter concentrates on the evolution of science and the evolution of philosophy of science alongside, that will eventually lead to the increased interest in the human body and its physicality with the emergence of sport science followed by dance science. The reliability and the validity of the scientific method and the evolution in the building of the scientific knowledge is addressed. Finally, chapter 3 dives into pedagogy theories. Through sources and the oral tradition, we explore what has been passed on from one generation of dancers to another. This work leads to questioning the means and role of dance science and dance scientist in the subculture of dance. Could dance science become an efficient pedagogical tool where art and science efficiently communicate? Defining philosophy of dance science and searching for means of communication between dancers and scientists in this field is relatively new and therefore this study only presents an overview. It is anticipated to open new channels for communication in defining the aims and benefits for dance and enhance effectiveness. It is important for everyone involved in dance to communicate and keep a critical spirit in the face of evolution. Given that the alpha hypothesis of dance science is “can we help dancers through scientific data”, then philosophy and history need to question why, how and what it is achieved. Also, dance scientists, in their will to help, are placing themselves in a role, not only of researchers, but also of educators. Therefore, there is a need to remind the scientific world involved that pedagogy theories and philosophy involve a need to get a thorough knowledge of the audience and its subculture.

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

Bathukamma celebrates the inherent relationship between earth, water and human beings. Bathukamma is a colourful floral festival of Telangana and is marked by womenfolk with exotic flowers. The festival has, over the years, become a symbol of Telangana culture and identity. Bathukamma comes during the latter half of the monsoon, before the onset of winter. The monsoon rains usually bring plenty of water into the ponds and tanks. It is also the time when wildflowers bloom in various vibrant colours across the uncultivated and barren plains of the region. The most abundant of these flowers are 'gunugu' and 'tangedu'. There are other flowers like the 'banti', 'chamanti', 'nandi-vardhanam' etc. This paper focus significance of Bathukamma, how to prepare it, the way of performance, ritual of food for nine days, medicinal values of flowers used in Bathukamma and socio-cultural bandage with Bathukamma of Telangana people in the present-day scenario.

The purpose of the paper is to emphasize Dance as a mode of healing. Since ages, Dance has been helpful to us in various capacities.  Since ancient times it is used as a medium of communication, entertainment, spirituality – as an offering to Gods and so on. Dance, since its origin has undergone many developments and today, its knowledge is imparted in academics at various levels ranging from Certificate programmees to PhD programmee.  Individuals are opting and practicing Dance either as profession or as a hobby and various other options. Today, in the contemporary era, Dance is viewed and treated differently as it has various other benefits. One among them is the healing capabilities. With the ingenious thoughts of Marian Chace – The grand Dame of Dance Therapy, Dance is witnessed as a medium of Therapy besides communication and entertainment. Me, being an Indian origin, and practicing Dance since more than 3 decades, would like to correlate the origin of Dance in general to the origin of Dance Therapy in particular, according to Indian mythology. According to Hindu mythology, Dance has been created by Lord Brahma to heal the illness (bad deeds, misery, jealousy, exploitation etc) of the humans on the earth and bring them back to a systematic life. Hence, I feel the reason for the origin of Dance itself is with a therapeutic motive. It clearly justifies that practicing and implementing Dance has various other benefits besides entertainment. Dance has always been as a means of communication and entertainment till nineteenth century. Subsequently, Dance is being perceived and viewed into various other means and approaches to spread its wings and branches. Dance is analysed, substantiated and proved into various disciplines and forms to manifest its efficiency besides entertainment. In this context, Dance is witnessed as a mode of Therapy from 1920 onwards by Marian Chace, the lady behind the concept of Dance Therapy. The present paper is a modest attempt to highlight the importance of Dance; and to bring in and establish the concept of Dance Therapy, its origin and evolution, while enlightening its significance.

Trisha Brown’s early choreographic work deals intrinsically with the relationship between dance and urban space. Performed on rooftops, park benches or exterior house walls, some of her most famous pieces of Postmodern Dance investigate how choreography can interact with the topography of a city. Dance here does not merely react to the city as a stage, but rather creates and transforms its own surrounding space by leaving ephemeral inscriptions within the network of urban structures.
But how does a dance piece performed outside the walls of a theatre or gymnasium read and even change the social structure of a city? To which ways of urban cartography – such as street maps and traffic signs – can choreography refer by copying systems of city-communication and developing them into an undecipherable form of body calligraphy? And finally: when dancing is far more than an ornamental addition to an urban landscape, to what extent can it be described as a form of architecture in itself?
I will address these questions in regard to Trisha Brown’s „Roof and Fire Piece” originally performed on rooftops in SoHo in 1973 and recreated on the High-Line in Chelsea in 2011. By focusing in particular on the figuration and de-figuration of the bodily shapes of the dancers – who are dressed in scarlet-red costumes – I will argue that their movements, blended with an urban topography, create a synesthetic and kinesthetic vision of dance as an embodied form of fluid architecture and semaphore-like writing in the city.

In contemporary dance, experts evaluate creativity in competitions, auditions, and performances, typically through ratings of choreography or improvisation. Audiences also implicitly evaluate choreographic creativity, so dancers' livelihoods also hinge upon the opinions of non-expert observers. However, some argue that the abstract and often pedestrian nature of contemporary dance confuses non-expert audiences. Therefore, agreement regarding creativity and appreciation amongst experts and non-experts may be low. Finding appropriate methodologies for reliable and real-world creativity evaluation remains the subject of considerable debate within the psychology creativity research field. Although considerably variant in methodological operationalisation, the Consensual Assessment Technique (CAT) asks individuals to use an implicit definition to assess creativity in others' work. This study aimed to investigate the role of experience and expertise in the evaluation of choreographic creativity, with a secondary aim of testing the feasibility of an online snowballing methodology for large-scale dance-specific research, informed by the methodology of the CAT. We filmed 23 Contemporary Dance students each performing a 3-min peer-choreographed solo and then recruited 850 online evaluators with varying degrees of expertise and experience in dance and creativity. Evaluators viewed at least one randomly selected video and rated creativity, technical ability, appreciation and understanding of the work, each using a seven-point Likert scale. A one-way ANOVA showed a significant difference in creativity ratings across the 23 videos, and creativity correlated significantly with the other variables. We then categorized evaluators on nine aspects of their dance and creative experience and entered the data into a repeated-measures linear mixed model. Two of the fixed effects yielded differences in creativity evaluations: (i) contemporary choreographic experience and (ii) self-reported creative expertise, as did the random effect of the video. The results indicate that personal experience of the choreographic process impacts creativity assessment, above and beyond experience in dance class participation. Implications for creativity assessment within creativity research and practice are discussed.

2006 saw the end of a performance dance course that was once integrally connected to the performing arts in New South Wales. That same year, Australian choreographer Elizabeth Cameron Dalman (1934-) and dance researcher Paul Mason (1982-) undertook a period of collaborative research into the evolution of the choreographic process from improvisation to performance. Dance choreography allows researchers a unique opportunity to gain insight into the dynamics of discrete social systems. It offers them distinctive perspectives to understand the dynamic interactions between embodied minds and socio-cultural processes. It is hypothesised that collaborative choreography is characterised by evolutionary properties that can be characterised at multiple levels of complexity. Dance is constructed by embodied brains and shaped by social and cultural interactions. The end of a dance course in Western Sydney coincided with the burgeoning of new dance research methodologies in Australia

""""A lateral bias has been previously reported in dance training. The aim of this study was to
investigate whether there are any bilateral differences in peak forces, power and maximum
knee flexion during a sequence of three grand jetés and how they relate to leg dominance. A
randomised observational design was selected for the study. Volunteers consisted of 20
female dancers in the last year of pre-professional training. All volunteers completed three
different tests to determine leg dominance prior to completing a three grande jeté
sequence. The lead leg for the jump sequence was randomised. Peak take-off power,
relative landing force (BW) and maximum knee flexion angles were measured using a
Myotest accelerometer and integrated goniometer. Results indicated that 90% of dancers
reported right leg dominance. A significant difference was noted in peak take off power
among the jumps (p<0.01); post hoc test indicated jump 3 was significantly greater than
jump 1. Mean maximum take-off knee angles increased over the three jump sequence with
the left leg having a significantly deeper plié than the right (p<0.01). Landing data showed
an increase in peak force and a decrease in maximum knee angles across the jump
sequence. The present data indicate different bilateral strategies during take-off and landing
during grand jetés in female dancers resulting in increased forces during the jumps on the
non-dominant side. These differences need to be addressed by incorporating appropriate
modifications in their training methodology that eliminates the observed bilateral
difference""""

In the present study, we examined mood changes following dancing. Previous works suggested that contextual factors may influence affective states; it has been shown that changes in mood following competition differ from those following recreational exercise. The study has been conducted in Warsaw, Poland. Mood was assessed before and after dance activity in three groups of ballroom dancers: recreational (n = 32) and competitive (n = 38) dancers doing ordinary training and competitive dancers taking part in a dance competition (n = 35). We observed a moderately positive change in recreational dancers doing ordinary training; they reported higher energetic arousal (EA) and hedonic tone (HT) and lower tense arousal (TA) after dance activity. In comparison dancers taking part in a competition were higher on TA before dancing and felt less pleasure after dancing than recreational and competitive dancers doing ordinary training; HT, TA and EA moderately decreased during competition. In general, the current study suggests that dance can elicit changes in mood; however,
situational context has to be taken into consideration when explaining the influence of dance on mood.

In this article, I draw critical attention to the assistive mobility devices that individuals who are differently bodied often use in dance and suggest that the dance genre presents the opportunity for reimagining the technological possibilities of these devices and creating more diverse repertoires. As an intervention and example, I describe the design, development, and implementation of an innovative wheelchair for dance with qualitative research data collected from six wheelchair users who experimented in the chair under a study approved by an institutional review board. Further, based on practitioner experience in the field, I discuss embodiment techniques for assistive devices as a focused part of dance training, specifically important for dancers with disabilities who use devices as bodily movement extensions. In sum, this article highlights the need for more research and attention in the dance genre directed at the artistic, technological, and human interface factors of assistive devices for dance experience.

This assessment about "Talent identification and development" has been written during my studies of Dance Science at University of Bern/CH. Therefor, in this paper I do only mention first possible steps to identify talents in MED falling back on basic research findings.

Resumen: Muchos experimentos artísticos en la performance contemporánea se centran en lo orquestal (Escuela de Palo Alto), en los aspectos más bien no intencionales de comunicación: los co-particpantes y los co-creadores del espectáculo a menudo participan involuntariamente debido a la (auto)comunicación. Desde el punto de vista de la observación de la audiencia, los actos ilocucionarios que se realizan en el escenario, en una actuación teatral tradicional, son actos reales dentro de un universo de cción (Searle). Pero en realidad sucede algo muy diferente en el drama ritual, desde el punto de vista de los participantes, ya que los actos reales se llevan a cabo dentro de un mundo real. El drama ritual tiene este valor altamente performativo, por lo que es un medio de actuar sobre lo real.

Abstract: Many artistic experiments in the contemporary performance are focused on the orchestral (Palo Alto School), rather non-intentional aspects of communication: the audience co-participates and co-creates the show, often (self-)communicating unintentionally From the viewpoint of the observing audience, the illocutionary acts performed on stage, in a traditional theatrical performance, are real acts within a fictional universe (Searle). But it's really quite diferent in the ritual drama, where from the participants viewpoint, real acts are being performed within a real world. The ritual drama has this highly performative value, it is a means of acting on the real.

Beginning with Giorgio Agamben’s alignment of ethics and potentiality, this essay questions the ethical dimension of gesture in the field of dance as an eminently potentiality-bound art form. This draws on Daniel Sibony’s concept of law and dance, according to which the body simultaneously repels and longs for the law as a nexus of heteronomous structures. I frame this through a revision of Aby Warburg’s rhetorical concept, pathos formula, into the corollary term, ethos formula, as the encoded movement patterns of ethical attitudes or comportments which are motivated by decision-making rather than emotional content. Do gestures and their citation in dance bear an ethical dimension similar to the encoded transmission of emotions through movement?

This new concept of ethos formula finds an excellent example in the work of the American choreographer Ted Shawn (1891–1972). His strikingly hybrid use of ethos formula from the 19th century Catholic theorist François Delsarte and his parallel practice of quoting liturgical gestures from Protestant church services, pursues the ambiguity and uncanniness of modernity itself. For Shawn—like many other protagonists of modernist dance—argues on the one hand for freeing the body from the boundaries of classical ballet in the name of individual expression, and on the other hand for an instrumentalized body that still clings to principles of taxonomy and normativity.

Teaching and learning modern dance: Strategies in practice and motor performance in sequenced dance skills


The main purpose of this study was to evaluate the effects of applying two different practice strategies on teaching dance sequenced skills: practice of the whole sequence e parts practice (segmentation / forwards chaining technique). As task we have selected a dance sequence with 45 modern dance skills and it’s performance was verified by a motor test of 9 criteria skills and a check-list. To establish the degree of satisfaction of the students during the pedagogical intervention, we used a questionnaire of comfort perception (Jenkins & Byra, 2000). The 69 female subjects aged 18.10±4.26 (mean ± SD) years had learned the dance sequence (with 16x8tps+4tps, 4 movement phrases and 1 minute duration) in 4 effective learning sessions and had remembered it 26 days after, organized in 3 groups: whole strategy group, segmentation strategy group and without any strategy (control group). The results point out that in the beginning of the acquisition phase the whole strategy is significantly superior in reproduction patterns, performance quality and rhythmical synchronization, and at the end of the session we don’t find any differences. Although this rapid evolution of the global strategy, we found that both strategies facilitate the retention of sequenced dance skills and, at the same time, permit positive comfort perception in practice.


Key Words: modern dance ● dance sequence ● teaching-learning ● whole strategy ● parts strategy

The largest and oldest gathering of specialists. All forms of dance, all approaches (research, performance, teaching, therapy, recreation etc.). Full proceedings online, full list of conferees, over 40 countries of the 5 continents.

www.2019CongressAthens.cid-world.org

Central CID congress website with full proceedings of past events:  www.cid-portal.org/cdr

In her article "Towards a Framework of a Semiotics of Dance" Nicoleta Popa Blanariu constructs a framework of based on de Saussure's, Peirce's, and Barthes's thought. She applies Ferdinand de Saussure's concept of semiosis defined as a cultural system of conventions. In dance this occurs when choreographic signs are encoded, for example in magic, ritual, or religious expressions of movement. Further, Charles Sanders Peirce's concept of the role of "intelligent consciousness" is crucial for the engendering of signification and thus to dance. In dance, the choreographer "interprets" the world and by means of selection and interpretation, the choreographic sign reveals its object and this process is related to abstraction. In semiosis dance involves a process of "culturalization" (Barthes), whereby codes of dance represent the spontaneity of "natural" of movements and feelings within a repeatable system of expression. Last but not least, Edmund Husserl's notion that dance belongs to the domain of "pre-reflexivity" of signal and entails symbolic qualities derived from its embedding of cultural codes is employed by Popa Blanariu in her building a framework of the semiotics of dance.