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dance studies</title> <meta name="description" content="Search results for: critical dance studies"> <meta name="keywords" content="critical dance studies"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="critical dance studies"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 15876</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: critical dance studies</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15876</span> Dance Skirts As Strategy For Gender Equality Work In Swedish Preschools Dance Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Martha%20Pastorek%20Gripson">Martha Pastorek Gripson</a>, <a href="https://publications.waset.org/abstracts/search?q=Anna%20Lindqvist"> Anna Lindqvist</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research project points at, and discusses, strategies, problems and possibilities when preschool teachers describe their work with dance in two Swedish preschools. The use of dance itself is a strategy for a more inclusive preschool practice and the use of so-called “dance skirts” is regarded as central for facilitating both dance qualities and to promote gender equality. The research is carried out in an action research project, involving two preschools with specific focus on gender equality work. The result problematizes the use of so-called “dance skirts”, as those can be both a tool for appreciation of aesthetics associated with femininity but at the same time create dance mainly as ballet related activity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dance" title="dance">dance</a>, <a href="https://publications.waset.org/abstracts/search?q=body" title=" body"> body</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=preschool" title=" preschool"> preschool</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a> </p> <a href="https://publications.waset.org/abstracts/143912/dance-skirts-as-strategy-for-gender-equality-work-in-swedish-preschools-dance-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143912.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">250</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15875</span> Examining the Challenges of Teaching Traditional Dance in Contemporary India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aadya%20Kaktikar">Aadya Kaktikar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The role of a traditional dance teacher in India revolves around teaching movements and postures that have been a part of the movement vocabulary of dancers from before the 2nd century BC. These movements inscribe on the mind and body of the dancer a complex web of philosophy, culture history, and religion. However, this repository of tradition sits in a fast globalizing India creating a cultural space which is in a constant flux, where identities and meanings are being constantly challenged. The guru-shishya parampara, the traditional way of learning dance, sits uneasily with a modern education space in India. The traditional dance teacher is caught in the cross-currents of tradition and modernity, of preservation and exploration. This paper explores conflicting views on what dance ought to mean and how it should be taught. The paper explores the tensions of the social, economic and cultural spaces that the traditional dance teacher navigates. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=pedagogy" title="pedagogy">pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=dance%20education" title=" dance education"> dance education</a>, <a href="https://publications.waset.org/abstracts/search?q=dance%20curriculum" title=" dance curriculum"> dance curriculum</a>, <a href="https://publications.waset.org/abstracts/search?q=teacher%20training" title=" teacher training"> teacher training</a> </p> <a href="https://publications.waset.org/abstracts/64593/examining-the-challenges-of-teaching-traditional-dance-in-contemporary-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64593.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">321</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15874</span> Acute Effect of Street Dance Exercise on Blood Pressure, Heart Rate, Oxygen Saturation and Physical Fitness in Sedentary Subjects: A Pilot Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Taweesak%20%20Janyacharoen">Taweesak Janyacharoen</a>, <a href="https://publications.waset.org/abstracts/search?q=Lalita%20Pradubgool"> Lalita Pradubgool</a>, <a href="https://publications.waset.org/abstracts/search?q=Lalita%20Wongsorn"> Lalita Wongsorn</a>, <a href="https://publications.waset.org/abstracts/search?q=Pitchayapa%20%20Janyacharoen"> Pitchayapa Janyacharoen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Street dance is a form of exercise that is classified as aerobic and is very suitable for teenagers. Street dance is a dance that can create new dance moves all the time. It often incorporates elements from gymnastics and is accompanied by fast-paced music that emphasizes excitement and energy. It is a combination of high-intensity and low-intensity activities. Few studies have looked at the effects of street dance on cardiovascular endurance, and previous studies have long-term effects. However, no research study in Thailand has studied acute effects before. This study was to investigate the acute effect of street dance exercise on blood pressure, heart rate, oxygen saturation and physical fitness in sedentary subjects. Subjects were divided into 2 groups: the control group (n=15) received health education and rest, and the experimental group (n=15) received street dance exercise. Both groups will measure their blood pressure (BP), mean arterial pressure (MAP), heart rate (HR), oxygen saturation (SpO₂) and six-minute walk test (6MWT) before and after completing the program. The results found that both groups had significantly different HR when comparing before and after the program (p<0.05). MAP, HR and SpO₂ had significantly different (p<0.05) when compared between groups. This study concluded that the acute effect of street dance exercise could be increased in HR while the SpO₂ decreased. In clinical, it was seen that the values that were changed are still within the range that is considered normal. Therefore, street dance exercises can be used as one choice of alternative exercise. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=street%20dance" title="street dance">street dance</a>, <a href="https://publications.waset.org/abstracts/search?q=exercise" title=" exercise"> exercise</a>, <a href="https://publications.waset.org/abstracts/search?q=blood%20pressure" title=" blood pressure"> blood pressure</a>, <a href="https://publications.waset.org/abstracts/search?q=heart%20rate" title=" heart rate"> heart rate</a>, <a href="https://publications.waset.org/abstracts/search?q=oxygen%20saturation" title=" oxygen saturation"> oxygen saturation</a> </p> <a href="https://publications.waset.org/abstracts/187076/acute-effect-of-street-dance-exercise-on-blood-pressure-heart-rate-oxygen-saturation-and-physical-fitness-in-sedentary-subjects-a-pilot-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187076.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">39</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15873</span> Kosodum Tribal Dance Series, Series 1 Dhemsa and Rela: An Example of an Exceptional Inter-Organizational Cooperation for the Preservation of Tribal Dance Form</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vidya%20Meshram">Vidya Meshram</a>, <a href="https://publications.waset.org/abstracts/search?q=Shrinivas%20Surpam"> Shrinivas Surpam</a>, <a href="https://publications.waset.org/abstracts/search?q=Akshay%20Kokode"> Akshay Kokode</a>, <a href="https://publications.waset.org/abstracts/search?q=Laxman%20Shedmake"> Laxman Shedmake</a>, <a href="https://publications.waset.org/abstracts/search?q=Ramesh%20Parchake"> Ramesh Parchake</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tribal dance form is an integral part of the tribal culture as they represent the traditional culture of the tribal community. This article provide the reasons for the need to preserve the tribal dance form of Indian tribal people as a part of the cultural heritage. This article describe our experience of co-ordination of three organization to conduct a dance performance of Gond Tribe artists in the Mumbai City. This is the part of the promotion of tribal artist at big platform, although the preservation and awareness of tribal dance form in the metro cities. This is an example of an exceptional Inter-Organizational Cooperation between Kosodum Welfare Private Limited, GondwanaJangomDhemsaRelaNrutya Dal &GondwanaMitraMandal, Mumbai, for the preservation of tribal dance form. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=tribal" title="tribal">tribal</a>, <a href="https://publications.waset.org/abstracts/search?q=art" title=" art"> art</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=preservation" title=" preservation"> preservation</a> </p> <a href="https://publications.waset.org/abstracts/153879/kosodum-tribal-dance-series-series-1-dhemsa-and-rela-an-example-of-an-exceptional-inter-organizational-cooperation-for-the-preservation-of-tribal-dance-form" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153879.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">172</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15872</span> Impact of Minimalism in Dance Education on the Development of Aesthetic Sensibilities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Meghamala%20Nugehally">Meghamala Nugehally</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper hypothesises and draws inferences on the impact of minimalism in dance education on the development of artistic and aesthetic sensibilities in individuals in the age group of 5-18 yrs of age. This research and conclusions are within the context of Indian Classical Dance, which is based on Indian theories of aesthetics drawn from the Natyashastra, an ancient treatise on Indian dance and drama. The research employs training methods handed down through a strict one-on-one teacher-student tradition known as the Guru-Shishya Parampara. Aesthetic principles used are defined, and basic theories from the Natyashastra are explained to provide background for the research design. The paper also discusses dance curriculum design and training methodology design within the context of these aesthetic theories. The scope of the research is limited to two genres of Indian classical forms: Bharatanatyam and Odissi. A brief description of these dance forms is given as background and dance aesthetics specific to these forms are described. The research design includes individual case studies of subjects studied, independent predetermined attributes for observations and a qualitative scoring methodology devised for the purpose of the study. The study describes the training techniques used and contrasts minimal solo training techniques with the more elaborate group training techniques. Study groups were divided and the basis for the division are discussed. Study observations are recorded and presented as evidences. The results inform the conclusion and set the stage for further research in this area. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dance%20aesthetics" title="dance aesthetics">dance aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=dance%20education" title=" dance education"> dance education</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20classical%20dance" title=" Indian classical dance"> Indian classical dance</a>, <a href="https://publications.waset.org/abstracts/search?q=minimalism" title=" minimalism"> minimalism</a> </p> <a href="https://publications.waset.org/abstracts/53986/impact-of-minimalism-in-dance-education-on-the-development-of-aesthetic-sensibilities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53986.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">228</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15871</span> How Much for a Dancer? Culture Policy in Japan and Czech Republic towards Dance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lucie%20Hayashi">Lucie Hayashi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper offers a view on a different approach towards a dancer´s career in two very dissimilar countries: on one hand Japan, an economic predator at the end of last century, but suffering under economic crisis from the beginning of the new century; and the Czech Republic, a post-communist country, caught up in capitalist fever from the 1990s on the other. The government’s approach towards culture and dance in these two countries not only has a different history and nature, but also presents a different take on the ideal future development in its respective dance scenes. The level of support from the state budget echoes in all the fields of a professional dance career, dance art and the education of the public towards dance. The message of the statistic data is clear: the production of an enormous number of well trained and expensively educated dancers with no jobs for them in Japan, and a lack of good dancers ready to fill state supported theatre companies in the Czech Republic (that gladly employs Japanese dancers). The paradigm leaves a big exclamation mark on the huge influence the policy has on dance in society, and a question mark on the ideal situation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture%20policy" title="culture policy">culture policy</a>, <a href="https://publications.waset.org/abstracts/search?q=dance" title=" dance"> dance</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=employment" title=" employment"> employment</a>, <a href="https://publications.waset.org/abstracts/search?q=Czech%20Republic" title=" Czech Republic"> Czech Republic</a>, <a href="https://publications.waset.org/abstracts/search?q=Japan" title=" Japan"> Japan</a> </p> <a href="https://publications.waset.org/abstracts/123590/how-much-for-a-dancer-culture-policy-in-japan-and-czech-republic-towards-dance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/123590.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">164</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15870</span> Folk Dance in Asterio Festivals in Ethiopia: Exploration of Performance, Variants, Symbols, and Therapeutic Role</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Meseret%20Berhanie%20Menkir">Meseret Berhanie Menkir</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study explores folk dance, one of the folklore texts, its symbols, and its therapeutic role. As a case, the study concentrates on Astrio-Mariam and Merkorios Bera, celebrated on January 30 and February 3 at Deresgie-Mariam Church in Ethiopia. By taking a qualitative stance, the study analyses the meaning of folk dance, explains its role, and describes its types. The data gathered through observation, interview, and focus group discussion techniques are documented in field notes, audio, and video. The data obtained is analyzed using structural-functionalism, psychoanalysis, and semiotics. Accordingly, community members of all ages (mainly the Ethiopian Orthodox Tewahedo Church followers) participate in the performance. While the folk dance is a type of small group dance and group dance, the group has no feature of using men and women performing together. The folk dance's role is a form of healing and spiritual fulfilment besides entertainment. The folk dance also has sword dance characteristics; the study confirmed this feature in content and form. Moreover, the folk dance characterized by frequent shoulder and hand movements Wancha likleka (Horn-mug spin), Doro metet (Chicken drink), and sword dance depict wealth, heroism, and warfare. The instruments used in the performances are also alive, with religious symbols reaching from the drum, incense, and cross to the suffering of Jesus Christ from Hanna to Qeyafa, and references to the 12 Apostles. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=folk%20dance" title="folk dance">folk dance</a>, <a href="https://publications.waset.org/abstracts/search?q=festival" title=" festival"> festival</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=symbol" title=" symbol"> symbol</a>, <a href="https://publications.waset.org/abstracts/search?q=therapeutic" title=" therapeutic"> therapeutic</a> </p> <a href="https://publications.waset.org/abstracts/185157/folk-dance-in-asterio-festivals-in-ethiopia-exploration-of-performance-variants-symbols-and-therapeutic-role" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185157.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">68</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15869</span> The Effects of 6-Weeks Aerobic Dance among Women</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohd%20Faridz%20Ahmad">Mohd Faridz Ahmad</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Amir%20Asyraf%20Rosli"> Muhammad Amir Asyraf Rosli</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Aerobic dance has becoming a popular mode of exercise especially among women due to its fun nature. With a catchy music background and joyful dance steps, aerobic dancers would be able to have fun while sweating out. Depending on its level of aggressiveness, aerobic may also improve and maintain cardiorespiratory fitness other than being a great tool for weight loss. This study intends to prove that aerobic dance activity can bring the same, if not better impacts on health than other types of cardiovascular exercise such as jogging and cycling. The objective of this study was to evaluate and identify the effect of six weeks aerobic dance on cardiovascular fitness and weight loss among women. This study, which was held in Seremban Fit Challenge, used a quasi-experimental design. The subjects selected include a total of 14 women (n = 14) with age (32.4 years old ± 9.1), weight (65.93 kg ± 11.24) and height (165.36 ± 3.46) who joined the Seremban Fit Challenge Season 13. The subjects were asked to join an aerobic dance class with duration of one hour for six weeks in a row. As for the outcome, cardiovascular fitness was measured with a 1-mile run test while any changes on weight was measured using the weighing scale. The result showed that there was a significant difference between pre and post-test for cardiovascular fitness when p = 0.02 < 0.05 and weight loss when p = 0.00 < 0.05. In conclusion, a six-week long aerobic dance program would have a positive effect on cardiovascular fitness and weight. Therefore, aerobic dance may be used as an alternative tool for people who wish to lead a healthy lifestyle in a fun way. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aerobic%20dance" title="aerobic dance">aerobic dance</a>, <a href="https://publications.waset.org/abstracts/search?q=cardiovascular%20fitness" title=" cardiovascular fitness"> cardiovascular fitness</a>, <a href="https://publications.waset.org/abstracts/search?q=weight%20loss" title=" weight loss"> weight loss</a>, <a href="https://publications.waset.org/abstracts/search?q=1-mile%20run%20test" title=" 1-mile run test"> 1-mile run test</a> </p> <a href="https://publications.waset.org/abstracts/36149/the-effects-of-6-weeks-aerobic-dance-among-women" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36149.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">547</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15868</span> A Qualitative Study of Children's Growth in Creative Dance: An Example of Cloud Gate Dance School in Taiwan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chingwen%20Yeh">Chingwen Yeh</a>, <a href="https://publications.waset.org/abstracts/search?q=Yu%20Ru%20Chen"> Yu Ru Chen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to explore the growth and development of children in the creative dance class of Cloud Gate Dance School in Taichung Taiwan. Professor Chingwen Yeh’s qualitative research method was applied in this study. First of all, application of Dalcroze Eurhythmic teaching materials such as music, teaching aids, speaking language through classroom situation was collected and exam. Second, the in-class observation on the participation of the young children's learning situation was recorded both by words and on video screen as the research data. Finally, data analysis was categorized into the following aspects: children's body movement coordination, children’s mind concentration and imagination and children’s verbal expression. Through the in-depth interviews with the in-class teachers, parents of participating children and other in class observers were conducted from time to time; this research found the children's body rhythm, language skills, and social learning growth were improved in certain degree through the creative dance training. These authors hope the study can contribute as the further research reference on the related topic. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cloud%20Gate%20Dance%20School" title="Cloud Gate Dance School">Cloud Gate Dance School</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20dance" title=" creative dance"> creative dance</a>, <a href="https://publications.waset.org/abstracts/search?q=Dalcroze" title=" Dalcroze"> Dalcroze</a>, <a href="https://publications.waset.org/abstracts/search?q=Eurhythmic" title=" Eurhythmic"> Eurhythmic</a> </p> <a href="https://publications.waset.org/abstracts/71348/a-qualitative-study-of-childrens-growth-in-creative-dance-an-example-of-cloud-gate-dance-school-in-taiwan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71348.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">297</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15867</span> Ethnographic Studies of the Choreographic Exploration Unveiling the Black Caribbean Female Body</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elle%20Nielsen">Elle Nielsen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Festival time on the island of St. Croix is an annual celebration of a melting pot of rich culture and heritage. All your senses are amplified by the colorful bodies that paint the streets with swaying hips commemorating the ancestors who didn’t have the voice to express themselves, let alone the bodily authority through movement. Within this atmosphere of jubilee, you will become a witness to how the melodies of Calypso and Soca music take full control of the body. As a result, the waist and hips in a trance follow the polyrhythmic patterns birthing the shunned movement practices of whining and wukkin up. Spectators on the sidelines of the festival events will either frown upon this spectacle of the whining bodies or gaze in awe at the performative history in a public space. The historical value of the Caribbean Carnival is being defaced by the transnational spectatorship using body politics to push more of a Eurocentric-influenced atmosphere. The themes within this investigation are the stereotypes of over-sexualization and resistance to assimilation to how black female bodies are being viewed in Carnival. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=women%20equity" title="women equity">women equity</a>, <a href="https://publications.waset.org/abstracts/search?q=West%20Indian%20movement%20vocabulary" title=" West Indian movement vocabulary"> West Indian movement vocabulary</a>, <a href="https://publications.waset.org/abstracts/search?q=critical%20dance%20studies" title=" critical dance studies"> critical dance studies</a>, <a href="https://publications.waset.org/abstracts/search?q=humanitarianism%20in%20dance%20academia" title=" humanitarianism in dance academia"> humanitarianism in dance academia</a> </p> <a href="https://publications.waset.org/abstracts/157243/ethnographic-studies-of-the-choreographic-exploration-unveiling-the-black-caribbean-female-body" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157243.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">95</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15866</span> Identity and Disability in Contemporary East Asian Dance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sanghyun%20Park">Sanghyun Park</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Influenced by the ideas of collectivism, East Asian contemporary dance is marked by an emphasis on unity and synchronization. A growing element of this discipline that disrupts the path that strives to attain perfection, requiring coordination between multiple parties in order to produce work of their highest artistic potential, with the support from individuals or groups is the presence of disabled dancers. Kawanaka Yo, a Japanese dancer with a mental disability, argues through her '“Dance of Peace' that a dancer should focus on her impulses and natural thoughts through improvisational dancing and eschewal of documentation. Professor and poet Jung-Gyu Jeong, co-founder of the Korea Disability International Art Company, demonstrates with his company’s modernized performances of popular works and musicals that disabled artists do not need perfection so long as they can assert their finesse to mimic or create an equivalence with able-bodied dancers. Yo has studied various forms of modern dance and ballet in Japan and has used her training to ease her mental disability but also accept her handicap as an extension of her identity, representing a trend in disabled dance that favors individuality and acceptance. In contrast, Jeong is an influential figure in South Korea for disabled dancers and artists, believing that disabled artists must overcome a certain threshold in order to reach a status as an artist that is equivalent to a 'normal artist.' East Asian art created by the disabled should not be judged according to different criteria or rubrics compared to able-bodied artists because, as Yo explains, a person’s identity and her handicaps characterize the meaning of, and the value of, the piece. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=disability%20studies" title="disability studies">disability studies</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20dance" title=" modern dance"> modern dance</a>, <a href="https://publications.waset.org/abstracts/search?q=East%20Asia" title=" East Asia"> East Asia</a>, <a href="https://publications.waset.org/abstracts/search?q=politics%20of%20identity" title=" politics of identity"> politics of identity</a> </p> <a href="https://publications.waset.org/abstracts/82109/identity-and-disability-in-contemporary-east-asian-dance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82109.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">209</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15865</span> The Study of Using Mon Dance in Pathum Thani Province’s Tradition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dusittorn%20Ngamying">Dusittorn Ngamying</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This investigation of Mon Dance is focused on using in Pathum Thani Province’s tradition and has the following objectives: 1) to study the background of Mon dance in Pathum Thani Province; 2) to study Mon dance in Pathum Thani Province; 3) to study of using Mon Dance in Pathum Thani province’s tradition. This qualitative research was conducted in Pathum Thani provinces (the central of Thailand). Data was collected from a documentary study and field data by means of observation, interview and group discussion. Workshops were also held with a total of 100 attendees, comprised of 20 key informants, 40 casual informants and 40 general informants. Data was validated using a triangulation technique and findings are presented using descriptive analysis. The results of the studied showed that the historical background of Mon dance in Pathum Thani Province initiated during the war evacuation from Martaban (south of Burma) to settle down in Sam Khok, Pathum Thani Province in Ayutthaya period to Rattanakosin. The study found that Mon dance typically consists of 12 dancing process. The melodies have 12 songs. Piphat Mon (Mon traditional music ensemble) was used in the performance. The costume was dressed on Mon traditional. The performers were 6-12 women and depending on the employer’s demands. Length of the performance varied from the duration of music orchestration. Rituals and Customs were paying homage to teachers before the performance. The offerings were composed of flowers, incense sticks, candles, money gifts which were well arranged on a tray with pedestal, and also liquors, tobaccos and pure water for asking propitiousness. To using Mon Dance in Pathum Thani Province’s tradition, was found that it commonly performed in the funeral ceremonial tradition at present because the physical postures of the performance were graceful and exquisite as approved conservative. In addition, the value since the ancient time had believed that Mon Dance was the sacred thing considered as the dignity glorification especially for funeral ceremonies of the priest or royal hierarchy classes. However, Mon dance was continued to use in the traditions associated with Mon people activities in Pathum Thani Province, for instance, customary welcome for honor guest and Songkran Festival. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mon%20dance" title="Mon dance">Mon dance</a>, <a href="https://publications.waset.org/abstracts/search?q=Pathum%20Tani%20Province" title=" Pathum Tani Province"> Pathum Tani Province</a>, <a href="https://publications.waset.org/abstracts/search?q=tradition" title=" tradition"> tradition</a>, <a href="https://publications.waset.org/abstracts/search?q=triangulation%20technique" title=" triangulation technique"> triangulation technique</a> </p> <a href="https://publications.waset.org/abstracts/29578/the-study-of-using-mon-dance-in-pathum-thani-provinces-tradition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29578.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">592</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15864</span> A Pilot Study on the Short Term Effects of Paslop Dance Exercise on Core Strength, Balance and Flexibility</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wilawan%20Kanhachon">Wilawan Kanhachon</a>, <a href="https://publications.waset.org/abstracts/search?q=Yodchai%20Boonprakob"> Yodchai Boonprakob</a>, <a href="https://publications.waset.org/abstracts/search?q=Uraiwon%20Chatchawan"> Uraiwon Chatchawan</a>, <a href="https://publications.waset.org/abstracts/search?q=Junichiro%20Yamauchi"> Junichiro Yamauchi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Paslop is a traditional dance from Laos, which is popular in Laos and northeastern of Thailand. This unique type of Paslop dancing is to control body movement with the song. While dancing to the beat, dancers should contract their abdomen and back muscle all the time. Paslop may be a good alternative to improve strengthening, balance and flexibility. Objective: To investigate the effects of Paslop dance exercise on core strength, balance, and flexibility. Methods: Seven healthy participants (age, 20.57±1.13 yrs; height, 162.29±6.16 cm; body mass, 58.14±7.03 kg; mean± S.D.) were volunteered to perform the 45-minute Paslop dance exercise in three times a week for 8 weeks. Before, during and after the exercise period, core strength, balance and flexibility were measured with the pressure biofeedback unit (PBU), one-leg stance test (OLST), and sit and reach test (SAR), respectively. Result: PBU score for core strength increased from 2.12 mmHg in baseline to 6.34 mmHg at the 4th week and 10.10 mmHg at the 8th week after the Paslop dance training, while OLST and SAR did not change. Conclusion: The study demonstrates that 8-week Paslop dancing exercise can improve the core strength. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=balance" title="balance">balance</a>, <a href="https://publications.waset.org/abstracts/search?q=core%20strength" title=" core strength"> core strength</a>, <a href="https://publications.waset.org/abstracts/search?q=flexibility" title=" flexibility"> flexibility</a>, <a href="https://publications.waset.org/abstracts/search?q=Paslop" title=" Paslop "> Paslop </a> </p> <a href="https://publications.waset.org/abstracts/7459/a-pilot-study-on-the-short-term-effects-of-paslop-dance-exercise-on-core-strength-balance-and-flexibility" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7459.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">381</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15863</span> The Gray Dance - An Analysis of Ageism in Dance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Paula%20Higa">Paula Higa</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper briefly examines age and its impact on a dancer’s performance career. An investigation into the possible reasons why audiences don’t regularly see veteran dancers on stage (termed as the Gray Dancer) supports the research. This analysis reflects some of the social dynamics that shape perceptions of the aging body in the U.S., as well as the correlation between the meaning of old and decay in Western culture. The primary question addressed in this research asks, who has the prerogative to determine when a dancer should stop dancing - society or the dancer themselves The aging process can significantly shorten a performer's professional career. The body has less endurance and is more susceptible to injuries, fatigue, etc. It also becomes less flexible and loses muscular strength and tone. A reduction in physical skills may usher gray dancers to embrace an ideology of shorter careers. However, in today’s age of diversity, equity, and inclusion, the realm of dance performance should reflect the times in which it is rooted; a multi-generational environment where people interact and participate in all of life's events. Overall, this study champions the inclusion of gray dancers as representations of mastery and wisdom akin to those traits associated with age and experience across various professions. Dance is an art form that transcends the assumptions of youthful beauty and physical ability. It serves as a conduit for conveying a lifetime of experiences, emotions, and ideas through the expressive vehicle of the body. Furthermore, it presents audiences with a medium to perceive and comprehend both themselves and life itself, echoing Noverre's insightful contemplation. The essay underscores the importance of valuing, sensing, and appreciating the richness that gray dancers bring to the stage by delving into segments of dance history and analyzing the possible influence of curators, directors, audiences, and society in general on ageism in dance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dance" title="dance">dance</a>, <a href="https://publications.waset.org/abstracts/search?q=ageism" title=" ageism"> ageism</a>, <a href="https://publications.waset.org/abstracts/search?q=politics%20in%20dance" title=" politics in dance"> politics in dance</a>, <a href="https://publications.waset.org/abstracts/search?q=curatorial%20process" title=" curatorial process"> curatorial process</a> </p> <a href="https://publications.waset.org/abstracts/173294/the-gray-dance-an-analysis-of-ageism-in-dance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173294.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">77</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15862</span> Thatsana Nataya Chatri Dance: A Creative Conservation Process of Cultural Performing Arts for Competition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dusittorn%20Ngamying">Dusittorn Ngamying</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research on Thatsana Nataya Chatri Dance: A Creative Conservation Process of Cultural Performing Arts for Competition was aimed at 1) studying the creative conservation process of cultural performing arts; 2) creating conservation process of cultural performing arts of Thatsana Nataya Chatri dance; and 3) utilizing the created performing arts for the competition. The study was conducted using the qualitative research method in the Central region provinces of Thailand through documentary study and data from field observations, interviews and focus group meetings. Data were collected from 50 informants consisting of 10 experts on the subject, 30 practitioners and 10 general information providers. The data collection instruments consisted of participatory and non-participatory forms, structured and non-structured interview schedules and focus group note forms. The data were verified by the triangulation technique and presented using the descriptive analysis. The results of the study reveal that the creative conservation process of cultural performing arts should be initiated by those who have experienced using a prior knowledge in the pursuit of new knowledge. The new knowledge is combined to generate creative work with the conservation process in 9 aspects: acquiring the related knowledge, creating theme and inspiration, designing the music and melody, designing costumes, inventing dance postures, selecting dancers, transferring the dance postures, preparing the stage and performance equipment, planning the performance event. Inventing the conservation process of cultural performing arts Thatsana Nataya Chatri dance consists of 33 dance postures and 14 transformed patterns. The performance requires 6 dancers, 3 males and 3 females. Costume features both male and female classical and modified dancer’s costumes. The duration of the show takes 5 minutes. As for the application for the competition, this creative work has been selected by Dramatic Works Association (Thailand) to represent Thailand at the Lombok International Dance Sports Festival 2015 held at Lombok, Indonesia. The team has been awarded the Second Place in the Traditional Dance category. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creative%20conservation%20process" title="creative conservation process">creative conservation process</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20performing%20arts" title=" cultural performing arts"> cultural performing arts</a>, <a href="https://publications.waset.org/abstracts/search?q=Thatsana%20Nataya%20Chatri%20dance" title=" Thatsana Nataya Chatri dance"> Thatsana Nataya Chatri dance</a>, <a href="https://publications.waset.org/abstracts/search?q=competition" title=" competition"> competition</a> </p> <a href="https://publications.waset.org/abstracts/47633/thatsana-nataya-chatri-dance-a-creative-conservation-process-of-cultural-performing-arts-for-competition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/47633.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">222</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15861</span> Physical Training in the Context of Preparation for the Performance of Junior Two: Sports Dance Practitioners</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rosa%20Alin%20Cristian">Rosa Alin Cristian</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As in any other sports branch, there is also a relationship of dependence between the motor qualities and the technical skills in the sports dance, in the sense that superior performances from a technical, artistic point of view can be obtained only on the basis of a certain level of motor qualities and of the morphological and functional indices of the organism. Starting from the premise that physical training is a basic component of the dancers' training process, determining the efficacy and efficiency of the athletes in training and competitions, its main objectives are to obtain an optimal functional capacity of the body, which is reached through a superior level of development and manifestation of the basic and specific motor qualities, through appropriate values of the morph-functional indices, all against the background of a perfect state of health. We propose in this paper to create an inventory of the motor qualities specific to the sports dance, of their forms of manifestation, to establish some methodical priorities for their development, in order to support the specialists in their attempt to approach the physical training in the most rigorous and efficient way, according to the characteristics of each age category. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=physical%20training" title="physical training">physical training</a>, <a href="https://publications.waset.org/abstracts/search?q=motor%20skills" title=" motor skills"> motor skills</a>, <a href="https://publications.waset.org/abstracts/search?q=sports%20dance" title=" sports dance"> sports dance</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/157300/physical-training-in-the-context-of-preparation-for-the-performance-of-junior-two-sports-dance-practitioners" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157300.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">75</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15860</span> The Fashion Fiesta: An Approach for Creating an Environment of Celebration by Uniting Two Art Forms; Fashion and Dance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Iqra%20Khan">Iqra Khan</a>, <a href="https://publications.waset.org/abstracts/search?q=Ghousia%20Saeed"> Ghousia Saeed</a>, <a href="https://publications.waset.org/abstracts/search?q=Salman%20Jamil"> Salman Jamil</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Fashion is the soul of styles. People of all times want to look trendy, eye catching and unique among all. For this reason, people always adopt different flairs in their outfits including their clothes, shoes, bags and other accessories. However, unfortunately, there is lack of opportunity for accommodating the fashion exposure activities expressed with the folk dances of different regions so as to exhibit the fashion of Pakistan to the world. The paper focuses on the vibrant setting of the whole building according to the social patterns, folk and local trends and existing environment of Lahore. This is done by studying each of the aspect obtained from objectives through research questions evolved from the objectives. The answers to these questions are found through case studies and the existing theories in the world in relevance to the topic. The paper finds out how the geometry of dance works with design principles to create transparent geometry of fashion building. This all creates the fiesta environment taken from the locality of the region from the local and cultural lifestyles of the locals and then assembling it together to create a full festivity experience throughout the building. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fashion" title="fashion">fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20dance" title=" folk dance"> folk dance</a>, <a href="https://publications.waset.org/abstracts/search?q=geometry" title=" geometry"> geometry</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20trends" title=" local trends"> local trends</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20patterns" title=" social patterns"> social patterns</a>, <a href="https://publications.waset.org/abstracts/search?q=transparent" title=" transparent"> transparent</a> </p> <a href="https://publications.waset.org/abstracts/54108/the-fashion-fiesta-an-approach-for-creating-an-environment-of-celebration-by-uniting-two-art-forms-fashion-and-dance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54108.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">343</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15859</span> Dancing Calligraphy: An Aesthetic Study of Dancing Ink (2017)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chingwen%20Yeh">Chingwen Yeh</a>, <a href="https://publications.waset.org/abstracts/search?q=Chang%20Ning%20Hung"> Chang Ning Hung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to analysis the aesthetic qualities of Dancing Ink (2017) performed by Miao-Hsuan Dance Group in Taiwan. The premiere was performed at Taichung Seaport Art Center Exhibition Hall Room A, in Taichung Taiwan on March 11th, 2017. What calligraphic elements were applied into the contemporary dance choreography was examed by these authors. Although calligraphy and dance are two different art forms, one can see in Dancing Ink that the beauty of Yin Yang force circling; the flow of Chi from inner meditation to the outer physical action are resonated in both art forms. The aesthetic experience was documented through qualitative research methods. In-depth interviews were conducted within a focus group including the calligrapher, the choreographer, the participated professional dancers and the appreciators. Subject matter, movement qualities, characteristic and meaning are the four main areas of interpretation originated from Janet Adshead’s dance analytical theory. Based on all the research data collection and analysis, this research found: 1) Making invisible spirituality visible in relations to creative process, 2) An artistic symbol that transforms from two-dimensional into three-dimensional generates a new aesthetic value, 3) Choreography and calligraphy require different artistic skills and disciplines but expressed the similar dynamic and rhythm in their movement. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chi" title="Chi">Chi</a>, <a href="https://publications.waset.org/abstracts/search?q=Dancing%20Ink" title=" Dancing Ink"> Dancing Ink</a>, <a href="https://publications.waset.org/abstracts/search?q=Miao%20Hsuan%20Dance%20Group" title=" Miao Hsuan Dance Group"> Miao Hsuan Dance Group</a>, <a href="https://publications.waset.org/abstracts/search?q=Yin%20Yang%20force" title=" Yin Yang force"> Yin Yang force</a> </p> <a href="https://publications.waset.org/abstracts/71356/dancing-calligraphy-an-aesthetic-study-of-dancing-ink-2017" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71356.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">405</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15858</span> Effects of Aerobic Dance on Systolic Blood Pressure in Stage 1 Hypertensive Individuals in Uganda</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Loyce%20Nahwera">Loyce Nahwera</a>, <a href="https://publications.waset.org/abstracts/search?q=Joy%20Wachira"> Joy Wachira</a>, <a href="https://publications.waset.org/abstracts/search?q=Edwin%20Kiptolo"> Edwin Kiptolo</a>, <a href="https://publications.waset.org/abstracts/search?q=Constance%20Nsibambi"> Constance Nsibambi</a>, <a href="https://publications.waset.org/abstracts/search?q=Mshilla%20Maghanga"> Mshilla Maghanga</a>, <a href="https://publications.waset.org/abstracts/search?q=Timothy%20Makubuya"> Timothy Makubuya</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Hypertension is one of the most prominent risk factors for cardiovascular diseases globally, and it can be modified through lifestyle interventions such as exercise. The objective of this study was to investigate the effects of a 12-week aerobic dance programme on systolic blood pressure (SBP) in stage 1 hypertensive individuals. Methods: This study employed an experimental research design. A total of 36 stage 1 hypertensive individuals who were randomly assigned into experimental and control groups completed the study. Systolic BP was measured using a mercury sphygmomanometer at baseline, mid-point and after the program. The experimental group participants trained 3 days a week, 45 minutes per session, at a moderate intensity of 40-60% of maximum oxygen consumption (VO2max) monitored by Garmin heart rate monitors. Data were analyzed using SPSS version 20. The significance level was set at p<0.05. A paired sample t-test was used to compare mean differences within the groups. Results: Data from the 36 participants (22 males and 14 females) (experimental; n=18, control; n=18) show that the experimental group had a mean SBP of 143.83±6.382 mmHg at baseline while the control had a mean of 137.61±6.400 mmHg. Following the end of a 6-week aerobic dance, the mean SBP of the experimental group reduced to 138.06±9.539 mmHg while that of the control marginally decreased to 137.00±8.073 mmHg. At the completion of a 12-week program, the mean SBP of the experimental group reduced to 136.33±9.191 mmHg, while that of the control marginally increased to 139.56±9.954 mmHg. This implies that both the 6-week and 12-week aerobic dance program reduced the SBP of the experimental group by 5.77±7.133 mmHg and 7.50±8.487 mmHg, respectively, while the control group fast reduced marginally by 0.61 before ultimately increasing by 1.95±7.974 mmHg at 12-weeks. The changes were statistically significant (p<0.05) at both 6 and 12 weeks of an aerobic dance program. Conclusion: The study concluded that aerobic dance is an effective non-pharmacological method for managing SBP of stage 1 hypertensive individuals both in the short-term (6 weeks) and long-term (12 weeks). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aerobic%20dance" title="aerobic dance">aerobic dance</a>, <a href="https://publications.waset.org/abstracts/search?q=blood%20pressure" title=" blood pressure"> blood pressure</a>, <a href="https://publications.waset.org/abstracts/search?q=stage%201%20hypertension" title=" stage 1 hypertension"> stage 1 hypertension</a>, <a href="https://publications.waset.org/abstracts/search?q=systolic%20blood%20pressure." title=" systolic blood pressure."> systolic blood pressure.</a> </p> <a href="https://publications.waset.org/abstracts/185744/effects-of-aerobic-dance-on-systolic-blood-pressure-in-stage-1-hypertensive-individuals-in-uganda" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185744.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">54</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15857</span> 'Critical Performance,' an Arts-Based Method for Exploring HIV-Related Stigma, Social Support, and Access to Care among People Living with HIV/AIDS in Rural China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chiao-Wen%20Lan">Chiao-Wen Lan</a>, <a href="https://publications.waset.org/abstracts/search?q=David%20%20Gere"> David Gere </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background and Significance: Performance has a rich history of imparting information and encouraging reflection, yet there is a paucity of literature on applying performance as a method of analysis and not as a medium for health education. This study aimed to apply ethnodrama strategies to the issue of HIV-related stigma in rural China and to use a critical performance as a vehicle for communication of health research. Methods: The program, titled 'STOP STIGMA,' included dance, narratives and original quotes from people living with HIV/AIDS in China, and spectacle such as photographs, set, and props corresponding to the history of HIV in rural China. Results: The performance represented a step away from a completely textual interpretation of data towards a theatrical style that begins to privilege what arts-based research scholars Rossiter and colleagues have termed 'an embodied, theatrical representation of data.' It offered an opportunity to deliver individual and collective stories that represent how HIV-positive people experience living with HIV/AIDS in China, which could play an integral part in the formulation of actions to effect change. Discussion: This method of communicating health research has implications for fostering dialogue among researchers, community members, and medical practitioners. Although arts-based approaches are not new to the scientific community, the integration of dance, video, ethnodrama, and sciences provides opportunities to innovate in non-traditional research dissemination and communication. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=health%20communication" title="health communication">health communication</a>, <a href="https://publications.waset.org/abstracts/search?q=HIV%2FAIDS" title=" HIV/AIDS"> HIV/AIDS</a>, <a href="https://publications.waset.org/abstracts/search?q=stigma" title=" stigma"> stigma</a>, <a href="https://publications.waset.org/abstracts/search?q=vulnerable%20populations" title=" vulnerable populations"> vulnerable populations</a> </p> <a href="https://publications.waset.org/abstracts/114850/critical-performance-an-arts-based-method-for-exploring-hiv-related-stigma-social-support-and-access-to-care-among-people-living-with-hivaids-in-rural-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/114850.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">118</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15856</span> Impacts of Electronic Dance Music towards Social Harmony: The Malaysian Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kok%20Meng%20Ng">Kok Meng Ng</a>, <a href="https://publications.waset.org/abstracts/search?q=Sulung%20Veronica"> Sulung Veronica</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Electronic Dance Music (EDM), a musical event that so sought-after amongst the youth, is getting prevailed around the world. The emergence of this à la mode event has magnetized lots of attentions from the media as well as the public due to its high probabilities in creating social problems and menacing social harmony of one destination, for instance, two death cases occurred during the EDM events in Malaysia caused a feeling of consternation of the society. The arguments over the impacts of such events towards the society are endless. This paper focuses on the study of the impacts of EDM towards social harmony in Klang Valley area, Malaysia by scrutinizing the contradiction of statements from several experts and the local communities. This study sampled 15-20 people that represent different social background with face-to-face and online interview through snowball sampling method. This study helps to understand the social context as a whole based on the impacts of EDM events that take place in Malaysia. It also provides valuable information to EDMs’ organizer as well as local authorities for a proper event management to minimize EDM impacts towards society as part of the sustainable growth of the event industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electronic%20dance%20music" title="electronic dance music">electronic dance music</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20harmony" title=" social harmony"> social harmony</a>, <a href="https://publications.waset.org/abstracts/search?q=impacts" title=" impacts"> impacts</a>, <a href="https://publications.waset.org/abstracts/search?q=Klang%20Valley" title=" Klang Valley "> Klang Valley </a> </p> <a href="https://publications.waset.org/abstracts/40961/impacts-of-electronic-dance-music-towards-social-harmony-the-malaysian-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/40961.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">256</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15855</span> Investigation of the Effects of Aerobic Exercise Programs on Hematological Parameters of Sedentary People</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sanjeev%20Kumar">Sanjeev Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Swati%20Choudhary"> Swati Choudhary</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background: A variety of studies warn that sedentary lifestyles can contribute to many preventable causes of death. This study was taken to determine the effects of two types of aerobic training programs on erythrocytes, leukocytes, hemoglobin concentration (Hb), platelets and hematocrit of sedentary people (N=60) with age group 20 to 30 years. Methods: All the subjects were randomly divided into three groups i.e. two experiments groups (aerobic dance & cardio fitness) and control group. Each group having 10 male and 10 females. Experimental groups undergone 60 minutes of training 5 times a week for 12 weeks whereas the control group did not participate in any training program except their daily routine. The aerobic dance group was chosen to perform exercise like step –touch, side-to-side, V-step and hand and body movements, etc. The cardio fitness group was chosen to perform exercises with modern fitness equipment like treadmill, elliptical trainer, stationary bike and rowing machine. Rating of perceived exertion (RPE) scale developed by Gunner Borg was used to monitor the intensity of the workout. Aerobic programs were encompassed of low-impact (0- 4 week & perceived exertion from 6 to 12), moderate-impact (4-8 week and perceived exertion from 12 to 16) and high-impact (8- 12 week & perceived exertion from 16 to 20). Results: To test the effectiveness of training programs paired t-test was used and significant difference (p<0.05) was observed in erythrocytes, hemoglobin concentration, platelets, hematocrit but no significant effects of training was found in leukocytes (p>0.05). Paired t-test also showed that no effect of time was seen in the control group in all the cases (p>0.05). Further analysis of covariance was used to know which program was more effective and it was seen that F value was found significant in the case of erythrocytes, hemoglobin concentration, platelets, and hematocrit as their associated p-value (p<0.05) is lesser than 0.05. As F value was found significant for hematological parameters, fishers least significant difference test was used and results of post hoc mean comparison indicated that experimental groups (aerobic dance group and cardio fitness group) had significant difference with control group in erythrocytes, hemoglobin concentration, platelets and hematocrit and insignificant difference was found between aerobic dance group & cardio fitness group in all the cases. Thus, it may be concluded that in general, both the aerobic training programs had adequate effects on all the hematological parameters except leukocytes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aerobic%20dance" title="aerobic dance">aerobic dance</a>, <a href="https://publications.waset.org/abstracts/search?q=cardio%20fitness" title=" cardio fitness"> cardio fitness</a>, <a href="https://publications.waset.org/abstracts/search?q=hematological%20variables" title=" hematological variables"> hematological variables</a>, <a href="https://publications.waset.org/abstracts/search?q=rating%20perceived%20exertion%20scale" title=" rating perceived exertion scale"> rating perceived exertion scale</a> </p> <a href="https://publications.waset.org/abstracts/56623/investigation-of-the-effects-of-aerobic-exercise-programs-on-hematological-parameters-of-sedentary-people" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/56623.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">272</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15854</span> The Functions of Music in Animated Short Films: Analysing the Scores of the Skeleton Dance, Fox and the Whale and la Vieille Dame et les Pigeons</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shally%20Pais">Shally Pais</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Film music holds a special relationship with the narrative systems and dramaturgical operations in animation. Though the roles of cartoon music closely resemble those fulfilled by traditional film scores, which have been extensively studied, there is a large knowledge gap regarding non-mainstream or non-Hollywood animation music. This paper is an investigation of the understudied compositional materials and narrative contexts in three distinct films by exploring the main narrative and dramaturgical effects of music in The Skeleton Dance, Fox and The Whale, and La Vieille Dame et les Pigeons. The study uses a Neoformalist approach towards qualitative analysis of the music in these films to document ways in which music can be made to function differently depending on the individual films’ contexts and the desired effects to be had on the audience. Consequently, the paper highlights these factors’ influence on the films’ narratives and aims to widen the discourse on composition for animation film scores, suggesting the further study of non-mainstream film music. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=animation%20film%20music" title="animation film music">animation film music</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20score%20analysis" title=" film score analysis"> film score analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Fox%20and%20The%20Whale" title=" Fox and The Whale"> Fox and The Whale</a>, <a href="https://publications.waset.org/abstracts/search?q=La%20Vieille%20Dame%20et%20les%20Pigeons" title=" La Vieille Dame et les Pigeons"> La Vieille Dame et les Pigeons</a>, <a href="https://publications.waset.org/abstracts/search?q=Neoformalist%20analysis" title=" Neoformalist analysis"> Neoformalist analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=The%20Skeleton%20Dance" title=" The Skeleton Dance"> The Skeleton Dance</a> </p> <a href="https://publications.waset.org/abstracts/132083/the-functions-of-music-in-animated-short-films-analysing-the-scores-of-the-skeleton-dance-fox-and-the-whale-and-la-vieille-dame-et-les-pigeons" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132083.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">163</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15853</span> Effects of Aerobic Dance Circuit Training Programme on Blood Pressure Variables of Obese Female College Students in Oyo State, Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Isiaka%20Oladele%20Oladipo">Isiaka Oladele Oladipo</a>, <a href="https://publications.waset.org/abstracts/search?q=Olusegun%20Adewale%20Ajayi"> Olusegun Adewale Ajayi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The blood pressure fitness of female college students has been implicated in sedentary lifestyles. This study was designed to determine the effects of the Aerobic Dance Circuit Training Programme (ADCT) on blood pressure variables (Diastolic Blood Pressure (DBP) and Systolic Blood Pressure (SBP). Participants’ Pretest-Posttest control group quasi-experimental design using a 2x2x4 factorial matrix was adopted, while one (1) research question and two (2) research hypotheses were formulated. Seventy (70) untrained obese students-volunteers age 21.10±2.46 years were purposively selected from Oyo town, Nigeria; Emmanuel Alayande College of Education (experimental group and Federal College of Education (special) control group. The participants’ BMI, weight (kg), height (m), systolic bp(mmHg), and diastolic bp (mmHg) were measured before and completion of ADCT. Data collected were analysed using a pie chart, graph, percentage, mean, frequency, and standard deviation, while a t-test was used to analyse the stated hypotheses set at the critical level of 0.05. There were significant mean differences in baseline and post-treatment values of blood pressure variables in terms of SBP among the experimental group 136.49mmHg and 131.66mmHg; control group 130.82mmHg and 130.56mmHg (crit-t=2.00, cal.t=3.02, df=69, p<.0, the hypothesis was rejected; while DBP experimental group 88.65mmHg and 82.21mmHg; control group 69.91mmHg and 72.66mmHg (crit-t=2.00, cal.t=1.437, df=69, p>.05) in which the hypothesis was accepted). It was revealed from the findings that participants’ SBP decrease from week 4 to week 12 of ADCT indicated an effective reduction in blood pressure variables of obese female students. Therefore, the study confirmed that the use of ADCT is safe and effective in the management of blood pressure for the healthy benefit of obesity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aerobic%20dance%20circuit%20training" title="aerobic dance circuit training">aerobic dance circuit training</a>, <a href="https://publications.waset.org/abstracts/search?q=fitness%20lifestyles" title=" fitness lifestyles"> fitness lifestyles</a>, <a href="https://publications.waset.org/abstracts/search?q=obese%20college%20female%20students" title=" obese college female students"> obese college female students</a>, <a href="https://publications.waset.org/abstracts/search?q=systolic%20blood%20pressure" title=" systolic blood pressure"> systolic blood pressure</a>, <a href="https://publications.waset.org/abstracts/search?q=diastolic%20blood%20pressure" title=" diastolic blood pressure"> diastolic blood pressure</a> </p> <a href="https://publications.waset.org/abstracts/158585/effects-of-aerobic-dance-circuit-training-programme-on-blood-pressure-variables-of-obese-female-college-students-in-oyo-state-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/158585.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">76</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15852</span> Critical Success Factors of Information Technology Projects</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Athar%20Imtiaz">Athar Imtiaz</a>, <a href="https://publications.waset.org/abstracts/search?q=Abduljalil%20S.%20Al-Mudhary"> Abduljalil S. Al-Mudhary</a>, <a href="https://publications.waset.org/abstracts/search?q=Taha%20Mirhashemi"> Taha Mirhashemi</a>, <a href="https://publications.waset.org/abstracts/search?q=Roslina%20Ibrahim"> Roslina Ibrahim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Information Technology (IT) is being used by almost all organizations throughout the world. However, its success at supporting and improving business is debatable. There is always the risk of IT project failure and studies have proven that a large number of IT projects indeed do fail. There are many components that further the success of IT projects; these have been studied in previous studies. Studies have found the most necessary components for success in software development projects, executive information systems etc. In this study, previous literature that has looked into these success promoting factors have been critically reviewed and analyzed. Fifteen critical Success Factors (CSF) of IT projects were enlisted and examined. These factors can be applied to all IT projects and is not specific to a particular type of IT/IS project. A hypothesis was also generated after the evaluation of the factors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=critical%20success%20factors" title="critical success factors">critical success factors</a>, <a href="https://publications.waset.org/abstracts/search?q=CSF" title=" CSF"> CSF</a>, <a href="https://publications.waset.org/abstracts/search?q=IT%20projects" title=" IT projects"> IT projects</a>, <a href="https://publications.waset.org/abstracts/search?q=IS%20projects" title=" IS projects"> IS projects</a>, <a href="https://publications.waset.org/abstracts/search?q=software%20development%20projects" title=" software development projects"> software development projects</a> </p> <a href="https://publications.waset.org/abstracts/2420/critical-success-factors-of-information-technology-projects" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/2420.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">400</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15851</span> A Text in Movement in the Totonac Flyers’ Dance: A Performance-Linguistic Theory</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Luisa%20Villani">Luisa Villani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The proposal aims to express concerns about the connection between mind, body, society, and environment in the Flyers’ dance, a very well-known rotatory dance in Mexico, to create meanings and to make the apprehension of the world possible. The interaction among the brain, mind, body, and environment, and the intersubjective relation among them, means the world creates and recreates a social interaction. The purpose of this methodology, based on the embodied cognition theory, which was named “A Performance-Embodied Theory” is to find the principles and patterns that organize the culture and the rules of the apprehension of the environment by Totonac people while the dance is being performed. The analysis started by questioning how anthropologists can interpret how Totonacs transform their unconscious knowledge into conscious knowledge and how the scheme formation of imagination and their collective imagery is understood in the context of public-facing rituals, such as Flyers’ dance. The problem is that most of the time, researchers interpret elements in a separate way and not as a complex ritual dancing whole, which is the original contribution of this study. This theory, which accepts the fact that people are body-mind agents, wants to interpret the dance as a whole, where the different elements are joined to an integral interpretation. To understand incorporation, data was recollected in prolonged periods of fieldwork, with participant observation and linguistic and extralinguistic data analysis. Laban’s notation for the description and analysis of gestures and movements in the space was first used, but it was later transformed and gone beyond this method, which is still a linear and compositional one. Performance in a ritual is the actualization of a potential complex of meanings or cognitive domains among many others in a culture: one potential dimension becomes probable and then real because of the activation of specific meanings in a context. It can only be thought what language permits thinking, and the lexicon that is used depends on the individual culture. Only some parts of this knowledge can be activated at once, and these parts of knowledge are connected. Only in this way, the world can be understood. It can be recognized that as languages geometrize the physical world thanks to the body, also ritual does. In conclusion, the ritual behaves as an embodied grammar or a text in movement, which, depending on the ritual phases and the words and sentences pronounced in the ritual, activates bits of encyclopedic knowledge that people have about the world. Gestures are not given by the performer but emerge from the intentional perception in which gestures are “understood” by the audio-spectator in an inter-corporeal way. The impact of this study regards the possibility not only to disseminate knowledge effectively but also to generate a balance between different parts of the world where knowledge is shared, rather than being received by academic institutions alone. This knowledge can be exchanged, so indigenous communities and academies could be together as part of the activation and the sharing of this knowledge with the world. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dance" title="dance">dance</a>, <a href="https://publications.waset.org/abstracts/search?q=flyers" title=" flyers"> flyers</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=embodied" title=" embodied"> embodied</a>, <a href="https://publications.waset.org/abstracts/search?q=cognition" title=" cognition"> cognition</a> </p> <a href="https://publications.waset.org/abstracts/183641/a-text-in-movement-in-the-totonac-flyers-dance-a-performance-linguistic-theory" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/183641.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">58</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15850</span> Examining Whether the Reflection Activities Help and Encourage Students’ Writing and Critical Thinking Skills Within the Law faculty, 3rd year students</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Motlatjo%20Ntatamala">Motlatjo Ntatamala</a>, <a href="https://publications.waset.org/abstracts/search?q=Natasha%20Ravyse"> Natasha Ravyse</a>, <a href="https://publications.waset.org/abstracts/search?q=Michael%20Laubsher"> Michael Laubsher</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As much as students are being assessed through reflective activities, it is important to examine and check if those very same activities really assist in influencing and shaping both their writing and critical thinking skills. The skills which students will acquire from the reflective activities will not only be beneficial for the present or immediate moment, but they will also carry them over to their 4th year of writing a mini dissertation and in future for those who would want to explore their post-graduate studies. Thus, the only way to source the reliable and raw feedback on whether students think the reflective activities help them think about their writing and critical thinking skills is to get a direct students’ perspective by analysing their submitted reflective activities. Writing a research proposal implies that critical thinking is a talent that will grow in a holistic manner, as evidenced by previous studies. However, no research has been conducted to investigate the impact of critical thinking on legal writing skills in the South African setting. This study seeks to examine the effectiveness of the reflective activities in 3rd years’ students’ writing and towards their critical thinking. The proposed paper aims to examine the effectiveness of the reflection activities as an encouragement and motivation to their both writing and thinking skills. The paper will make use of students’ activities as a means of data collection and the activities will thus be analysed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=reflection%20activities" title="reflection activities">reflection activities</a>, <a href="https://publications.waset.org/abstracts/search?q=writing%20skills" title=" writing skills"> writing skills</a>, <a href="https://publications.waset.org/abstracts/search?q=critical%20thinking%20skills" title=" critical thinking skills"> critical thinking skills</a>, <a href="https://publications.waset.org/abstracts/search?q=reflective%20thinking" title=" reflective thinking"> reflective thinking</a> </p> <a href="https://publications.waset.org/abstracts/170709/examining-whether-the-reflection-activities-help-and-encourage-students-writing-and-critical-thinking-skills-within-the-law-faculty-3rd-year-students" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170709.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">81</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15849</span> Constructing Notation for Music Learning in Athletes: Identifying Key Concepts in Music and Body Movements</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fung%20Chiat%20Loo">Fung Chiat Loo</a>, <a href="https://publications.waset.org/abstracts/search?q=Fung%20Ying%20Loo"> Fung Ying Loo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper discusses, suggests, and constructs a notation system to facilitate the learning and understanding of the two aspects of music and movement in a sports routine. This model serves to provide a simple and logical notation that does not require training in both music and choreography. Notation is an important medium in many art forms, particularly in music and dance, transmitting information that cannot easily be expressed using words or language. Another field that is closely associated with dance and music is sports routine, which equally requires choreography and music. However, from the perspective of music, it is common to observe many incongruencies appearing between the music used and the choreography that impede an optimal perception of the performance. The concept of the notation proceeds with a discussion and review of existing dance notations that could contribute to sports routines, along with rules and a code of points in selected sports routines. The author's involvement as an insider of numerous musical theatre productions also contributed to this study. The notation constructed includes time (tempo), significances of musical accents, direction, and phrasing, along with significances of movements (jump, punch, shape). It is believed that the level of congruence between music and movement will provide optimal visualization, and in that, the notation serves to provide adequate information on both entities for the understanding of athletes and coaches. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=notation" title="notation">notation</a>, <a href="https://publications.waset.org/abstracts/search?q=choreography" title=" choreography"> choreography</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20learning" title=" music learning"> music learning</a>, <a href="https://publications.waset.org/abstracts/search?q=sports%20routines" title=" sports routines"> sports routines</a>, <a href="https://publications.waset.org/abstracts/search?q=congruence" title=" congruence"> congruence</a> </p> <a href="https://publications.waset.org/abstracts/160824/constructing-notation-for-music-learning-in-athletes-identifying-key-concepts-in-music-and-body-movements" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160824.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">83</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15848</span> The Nimbārka School of Vedānta and the Indian Classical Dance: The Philosophical Relevance through Rasa Theory</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shubham%20Arora">Shubham Arora</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper illustrates a relationship between the Dvaitādvaita (dualistic non-dualistic) doctrine of Nimbārka school of Vedānta and philosophy of Indian classical dance, through the Rasa theory. There would be a separate focus on the philosophies of both the disciplines and then analyzing Rasa theory as a connexion between them. The paper presents ideas regarding the similarity between the Brahman and the dancer, manifestation of enacting character and the Jīva (soul), the existence of the phenomenal world and the imaginary world classification of rasa on the basis of three modes of nature, and the feelings and expressions depicting the Dvaita and Advaita. The reason behind choosing such a topic is an intention to explore the relativity of the Vedantic philosophy of this school in real manner. It is really important to study the practical implications and relevance of the doctrine with other disciplines for perceiving it cogently. In our daily lives, we use various forms of facial expressions and bodily gestures in order to communicate, along with the oral and written means of communication. What if, when gestures and expressions mingle with the music beats, in order to present an idea? Indian Classical dance is highly rich in expressing the emotions using extraordinary expressions, unconventional bodily gestures and mesmerizing music beats. Ancient scriptures like Nāṭyaśāstra of Bharata Muni and Abhinava Bhārati by Abhinavaguptā recount aesthetics in a well-defined and structured way of acting and dancing and also reveal the grammar of rasa theory. Indian Classical dance is not only for entertainment but it is deeply in contact with divinity. During the period of Bhakti movement in India, this art form was used as a means to narrate the vignettes from epics like Rāmāyana and Mahābhārata and Purānas. Even in present era, this art has a deep rooted philosophy within. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Advaita" title="Advaita">Advaita</a>, <a href="https://publications.waset.org/abstracts/search?q=Brahman" title=" Brahman"> Brahman</a>, <a href="https://publications.waset.org/abstracts/search?q=Dvaita" title=" Dvaita"> Dvaita</a>, <a href="https://publications.waset.org/abstracts/search?q=Jiva" title=" Jiva"> Jiva</a>, <a href="https://publications.waset.org/abstracts/search?q=Nimbarka" title=" Nimbarka"> Nimbarka</a>, <a href="https://publications.waset.org/abstracts/search?q=Rasa" title=" Rasa"> Rasa</a>, <a href="https://publications.waset.org/abstracts/search?q=Vedanta" title=" Vedanta"> Vedanta</a> </p> <a href="https://publications.waset.org/abstracts/62063/the-nimbarka-school-of-vedanta-and-the-indian-classical-dance-the-philosophical-relevance-through-rasa-theory" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62063.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">299</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15847</span> Unveiling Mental Health Nuances of Male Indian Classical Dancers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Madhura%20Bapat">Madhura Bapat</a>, <a href="https://publications.waset.org/abstracts/search?q=Uma%20Krishnan"> Uma Krishnan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Exploring the redefinition of masculinity through the experiences of male Indian classical dancers, this qualitative research focuses on their perceived quality of life, psychosocial challenges, and coping strategies. This study aims to explore the mental health nuances of male Indian classical dancers through an in-depth understanding of their lived experiences with dance. The benefits and personal journeys of dancers, particularly in Indian classical forms, reveal insights into culture, gender, and societal expectations. Men in Indian classical dance frequently encounter stigma due to prevailing gender norms in the arts and society. Acknowledgment of these experiences is key to understanding issues of identity, mental wellness, and communal acceptance of male Indian classical dancers in the Indian dance scenario. This study follows an interpretive phenomenological approach to follow the lived experiences of male Indian classical dancers. Male Indian classical dancers were selected using criterion-based sampling. The participants are male, fluent in English and pursue Indian classical dance styles professionally, like Kathak, Bharatanatyam, Chhau, etc. Six participants were recruited for personal, semi-structured, in-depth interviews. A focus group discussion with four participants was conducted to explore the stigma surrounding their roles. The data were analyzed using interpretive phenomenological analysis (IPA), revealing superordinate themes of (1) identity fragmentation and negotiation in gendered social contexts; (2) gendered constraints and artistic expression; (3) psychosocial distress and mental health challenges; (4) coping mechanisms and resilience; and (5) stigmatization and social integration dynamics. Male Indian classical dancers grapple with identity formation, navigating a paradox of self-perception, artistic identity, and societal expectation. They reported experiencing emasculation, compromising artistic expression, and struggling with gender norms and gendered training constraints. They have faced name-calling, bullying, taunting, slandering, and discrimination. These experiences have led to psychological challenges and distress. However, the paradox continues as male dancers use adaptive coping strategies despite the adversities that intertwine self-perception, societal pressures, and their passion for dance. This research sheds light on the intersection of gender, mental health, and art. These findings provide a strong foundation for making changes in the dance community for acceptance of male dancers, policy making for better job opportunities for male dancers and mental health services to be provided to help them deal with distress. The study offers valuable insights into how male classical dancers navigate stigma and mental health challenges in gendered social contexts, contributing to a deeper understanding of identity formation in the arts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gendered%20experiences" title="gendered experiences">gendered experiences</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20classical%20dance" title=" Indian classical dance"> Indian classical dance</a>, <a href="https://publications.waset.org/abstracts/search?q=male%20dancers" title=" male dancers"> male dancers</a>, <a href="https://publications.waset.org/abstracts/search?q=mental%20health" title=" mental health"> mental health</a>, <a href="https://publications.waset.org/abstracts/search?q=stigma" title=" stigma"> stigma</a> </p> <a href="https://publications.waset.org/abstracts/190193/unveiling-mental-health-nuances-of-male-indian-classical-dancers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/190193.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">44</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=critical%20dance%20studies&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=critical%20dance%20studies&page=3">3</a></li> <li class="page-item"><a class="page-link" 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