A Norming Study and Library of 203 Dance Movements

Perception ◽  
10.1068/p7581 ◽  
2014 ◽  
Vol 43 (2-3) ◽  
pp. 178-206 ◽  
Author(s):  
Julia F Christensen ◽  
Marcos Nadal ◽  
Camilo José Cela-Conde ◽  
Antoni Gomila
Keyword(s):  
Norming Study ◽  
Dance Movements

Correlational Methods for Analysis of Dance Movements

2011 ◽  
Vol 29 (supplement) ◽  
pp. 283-304 ◽  
Author(s):  
Timothy R. Brick ◽  
Steven M. Boker
Keyword(s):  
Motion Capture ◽  
Mirror Symmetry ◽  
Cross Correlation ◽  
The Other ◽  
Free Form ◽  
Motion Capture Data ◽  
Complex Interactions ◽  
Dance Movements ◽  
Time Lagged ◽  
Insight Into

Among the qualities that distinguish dance from other types of human behavior and interaction are the creation and breaking of synchrony and symmetry. The combination of symmetry and synchrony can provide complex interactions. For example, two dancers might make very different movements, slowing each time the other sped up: a mirror symmetry of velocity. Examining patterns of synchrony and symmetry can provide insight into both the artistic nature of the dance, and the nature of the perceptions and responses of the dancers. However, such complex symmetries are often difficult to quantify. This paper presents three methods – Generalized Local Linear Approximation, Time-lagged Autocorrelation, and Windowed Cross-correlation – for the exploration of symmetry and synchrony in motion-capture data as is it applied to dance and illustrate these with examples from a study of free-form dance. Combined, these techniques provide powerful tools for the examination of the structure of symmetry and synchrony in dance.

Movement Analysis of Philippine Folk Dance Itik-itik

2019 ◽  
Vol 2 (1) ◽  
pp. 56-63
Author(s):  
Pangilinan Math C ◽  
Fontanilla Lyndo V ◽  
Pineda Israel C ◽  
Rocelle E Agtang ◽  
Soriano Ria M ◽  
...  
Keyword(s):  
Movement Analysis ◽  
Adductor Muscle ◽  
Mechanical Analysis ◽  
Muscle Group ◽  
Upper Body ◽  
Folk Dance ◽  
Dance Movement ◽  
Dance Teacher ◽  
Hip Muscle ◽  
Dance Movements

The purpose of the study was to describe and analyze the dance movements of the Philippine folk dance Itik-itik. The researchers adopted the movement analysis method similar to that of Mackenzie that involves the (1) description of the actual movements which occur at the joints involved; (2) the plane in which the movement occurs; and (3) the muscles producing the movement (agonist & antagonist). In addition, similar to the study of Martin and Miller, the researchers also had done a mechanical analysis on the lever type involved in the execution of the dance movement in terms of force, axis, and resistance. Results revealed that the prominent dance steps in the Philippine local dance Itik-itik are the (1) running, (2) cross step, slide close, slide close step, (3) heel, close-ball, close arm, (4) step, slide-close, slide, (5) arms extension/flexion, and (6) flapping of the arms. The joints involved are the shoulder and hip muscle which are ball and socket type of joints; and elbow, knee and ankle which are hinge joints. The major muscles involved in the dance for the lower body include the quadriceps, hamstring muscle group, adductor muscle group, calves and gluts. While for the upper body muscles involved are the pectoralis major, latissimus dorsi, deltoid, trapezius, biceps, and triceps muscles. The type of lever used in performing the dance comprise majority of 1st class and 3rd class levers. By knowing the muscles involved in the dance the dance teacher may be able to devise activities to gradually prepare the prime mover muscles before the actual execution for injury prevention. Thus, the movements in the dance may improve the health and skill related fitness of the performers.

Predicting the Handgrip Strength across the Age Span: Cross-validating Reference Equations from the 2011 NIH Toolbox Norming Study

2020 ◽  
Author(s):  
Inga Wang ◽  
Richard W. Bohannon ◽  
Jay Kapellush ◽  
Mohammad H. Rahman ◽  
Chiung-Ju Liu ◽  
...  
Keyword(s):  
Handgrip Strength ◽  
Norming Study ◽  
Reference Equations

Moving Cage: Vibration, Sonification and the Quanta of Time

2021 ◽  
Vol 46 (2) ◽  
pp. 169-183
Author(s):  
MARCUS CHENG CHYE TAN
Keyword(s):  
Kinetic Energy ◽  
The Body ◽  
Dance Movements ◽  
Politics Of The Body

Dear John is an experimental choreomusical work that reinterprets Cage's works while advancing his ideas of sound as sonic events and embodied choreography. In this episodic work, improvised movement unfolds to a soundscape of defamiliarized instruments, sound devices and sonicities of macro- and micro-movements. The correspondence and (in)congruence between dance movements and music's kinetic energy become the means to examine a politics of the body and sound, of music on movement. Additionally, in this ‘auditory architecture’ the quanta of time, its relations and (lack of) unity are exposed. This article then examines the intersubjective interplay of movement and music, body and sonicity; it considers the resonance of the performing body as intermaterial vibration and how this invites a sonic politics of relational possibility. The article will then also investigate the ways in which the interaction of motion and music, movement and stillness engenders experiences of time's indeterminacy and elasticity.

Lyrics in The Dolalak Dance Purworejo Central Java as a Form of Islamic Folk Songs

2016 ◽  
Vol 2 (2) ◽  
pp. 71-92
Author(s):  
Djarot Heru Santosa ◽  
Timbul Haryono ◽  
RM Soedarsono
Keyword(s):  
Dominant Role ◽  
Folk Songs ◽  
Local Language ◽  
Central Java ◽  
Dance Movements ◽  
Song Lyrics ◽  
Musical Accompaniment

Dolalak dance is highly dependent on the power of the song lyrics, so it can be called a lyrical dance. The dancers will not be able to do perfect dance moventents only by musical accompaniment; the displacement and combination of dance movements are characterized by lyrics that accompany the songs. Thus, song lyrics have a very dominant role in the arrangement of the dance movements. Dolalak dance has approximately 64 types of movements. A one-night staging, as an illustration, usually begins with 13 types of movements, followed by a trance dance, and ends with 7 types of movements as the closing. Song lyrics in the Dolalak dance are mostly influenced by the nuances of Islamic teachings. This is proven by the presence of a lot of words and/ or terms in the song lyrics which are very close to the. Arabic words in Islamic teachings. More interestingly, as a form of folk songs used in the performance of traditional Javanese arts, the Arabic words are widely adapted to the speech or pronunciation of the local language, especially the Javanese one. As a result, the origin and meaning of certain words or terms in the lyrics are difficult to trace. However, it is understandable since sometimes words in the song lyrics are preferred to adjust particular sounds.

The Unification of the Arts

2021 ◽  
Author(s):  
Steven Brown
Keyword(s):  
Cultural Evolution ◽  
Visual Art ◽  
Comparative Approach ◽  
New Approach ◽  
Aesthetic Responses ◽  
Music And Language ◽  
The Arts ◽  
Dance Movements ◽  
Evolution Of Music

The Unification of the Arts presents the first integrated cognitive account of the arts that attempts to unite all of the arts into a single framework, covering visual art, theatre, literature, dance, and music, with supporting discussions about creativity and aesthetics that span all of the arts. The book’s comparative approach identifies both what is unique to each artform and what artforms share with one another. An understanding of shared mechanisms sheds light on how the arts are able to combine with one another to form syntheses, such as choreographing dance movements to music, or setting lyrics to music to create a song. While most psychological analyses of the arts focus on perceptual mechanisms alone—most commonly aesthetic responses—the book offers a holistic sensorimotor account of the arts that examines the full gamut of processes from creation to perception for each artform. This allows for a broad discussion of the evolution of the arts, including the origins of rhythm, the co-evolution of music and language, the evolution of drawing, and cultural evolution of the arts. Finally, the book aims to unify a number of topics that have not been adequately related to one another in previous discussions, including theatre and literature, music and language, creativity and aesthetics, dancing and acting, and visual art and music. The Unification of the Arts provides a bold new approach to the integration of the arts, one that covers cognition, evolution, and neuroscience.

Characteristics of Eight Irish Dance LandingsConsiderations for Training and Overuse Injury Prevention

2021 ◽  
Vol 25 (1) ◽  
pp. 30-37
Author(s):  
Sarah Klopp Christensen ◽  
Aaron Wayne Johnson ◽  
Natalie Van Wagoner ◽  
Taryn E. Corey ◽  
Matthew S. McClung ◽  
...  
Keyword(s):  
Large Range ◽  
Force Plate ◽  
Three Dimensional ◽  
The Body ◽  
Peak Force ◽  
Warm Up ◽  
Dance Training ◽  
Rise Rate ◽  
Dance Movements ◽  
Reaction Forces

Irish dance has evolved in aesthetics that lead to greater physical demands on dancers' bodies. Irish dancers must land from difficult moves without letting their knees bend or heels touch the ground, causing large forces to be absorbed by the body. The majority of injuries incurred by Irish dancers are due to overuse (79.6%). The purpose of this study was to determine loads on the body of female Irish dancers, including peak force, rise rate of force, and impulse, in eight common Irish hard shoe and soft shoe dance movements. It was hypothesized that these movements would produce different ground reac- tion force (GRF) characteristics. Sixteen female Irish dancers were recruited from the three highest competitive levels. Each performed a warm-up, reviewed the eight movements, and then performed each movement three times on a force plate, four in soft shoes and four in hard shoes. Ground reaction forces were measured using a three-dimensional force plate recording at 1,000 Hz. Peak force, rise rate, and vertical impulse were calculated. Peak forces normalized by each dancer's body weight for each of these variables were significantly different between move- ments and shoe types [F(15, 15)= 65.4, p < 0.01; F(15, 15) = 65.0, p < 0.01; and F(15, 15) = 67.4, p < 0.01, respectively]. The variable years of experience was not correlated with peak force, rise rate, or impulse (p > 0.40). It is concluded that there was a large range in GRF characteristics among the eight movements studied. Understanding the force of each dance step will allow instructors to develop training routines that help dancers adapt gradually to the high forces experienced in Irish dance training and competitions, thereby limiting the potential for overuse injuries.

scholarly journals PEMBENTUKAN GERAK TARI DILA PANGETO KARYA INDRA JAYA DI KABUPATEN SUMBAWA BARAT NUSA TENGGARA BARAT

2019 ◽  
Vol 18 (1) ◽  
Author(s):  
A Azizah ◽  
Matheus Wasi Bantolo
Keyword(s):  
Data Analysis ◽  
Data Collection ◽  
Qualitative Data ◽  
Motion Pattern ◽  
Data Types ◽  
Dance Movements ◽  
The World ◽  
Library Studies ◽  
Line Design ◽  
Descriptive Method

AbstractDila Pangeto Dance is a work created by Indra Jaya in 2016. This research will emphasize the choreography which includes Indra Jaya as the creator, the idea of creation about the world and education, the process of creation that there is exploration, improvisation, and composition, as well as the formation of dance motion Dila Pangeto. To discuss the above problems using the foundation of Theory: Choreography using Seymour theory, the form of servings using the theory of Suzanne K. Langer, and formation of motion using the theory of Doris Humphrey. This dance research uses a descriptive method of analytic with qualitative data types through the data collection stage i.e. observation, interviews, library studies, as well as data analysis stage. The results of the study were the choreography Dila Pangeto which discusses the creators, ideas of creation, and the process of creation and the form of dance in which there is a serving structure divided into five parts, and the dance elements of Dila Pangeto include two female dancers, a parallel floor pattern, and zigzag, the stage space that has been provided by the organizing committee, dressing and clothing using West Sumbawa costumes, Dila and shawl properties, West Sumbawa Music and the addition of violin instruments, as well as Motion derived from the motion of West Sumbawa Dance and Gentao or Pencak Silat. The formation of Dila Pangeto Dance uses the motion of West Sumbawa Dance and Gentao. The formation of the dance movements of Dila Pangeto in the movement patterns such as Ngengke ‘, Palangan Telas, Nyempung, Bagerik, plump besai ‘, Bolang sweep ‘, Juluk Betak, Pio Ngibar, remove Pengkenang, Betak Jala, Sempanang, Telnyak ninting, Pusuk nyer, puntal yarn, Nesek , ninting Seleng, ente Dila, swivel dila, Jonyong, Basalunte ‘, Tanak, Ngijik, and Bajempit contains more designs using a unidirectional line design, the dynamics of gentle motion, functional rhythm or rhythm, mechanisms, and emotional The motivation of the life of West Sumbawa. Characters and character in each motion pattern the Dila Pangeto dance has a gentle, polite, and graceful character.Keywords: Dila Pangeto dance, Indra Jaya, choreography, and formation Motion.

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