Science topics: ArtPerforming ArtsDance
Science topic

Dance - Science topic

Dance is a type of art that generally involves movement of the body, often rhythmic and to music.
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Dear scholars,
I have a feeling that the discussion of traditional performing arts within Cultural Evolution is almost non-existent. Maybe because the nature of traditional dance is too complex? It seems that performing arts research falls mainly either within cultural and anthropology but never within Cultural Evolution. Is it because it is impossible to discuss? What are your thoughts?
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Traditional performing arts within cultural evolution was a big topic historically for the German schools of "comparative musicology" (including dance studies). You can find many of their books and articles in English, mostly from the 1890s-1950s. In recent years, there is a bit of a revival of the topic.
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I'm an applied exercise physiologist in Bozeman, MT (USA), and I have a need to borrow or rent someone's Cosmed K5 portable metabolic system for several research projects in my lab. I've been using portable systems for the last 20+ years, but my current system (Oxycon Mobile) is unserviceable (i.e., can't get a replacement O2 cell, or SBx module, because of supposed pandemic-related shipping delays). As such, my lab has effectively been shut down for months and I'm hoping to complete a research project that was supposed to be completed already.
The Cosmed K5 seems to be only serviceable portable system in relatively common use in the USA so I'm hoping to borrow or rent a K5 from someone's lab or clinic. I can also offer the possibility of a research collaboration as part of K5 loan agreement.
Dan Heil, PhD, FACSM
Professor, Montana State University- Bozeman
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Dear Dan Heil, PhD,
I am very eager to work with you, but unfortunately, our laboratory facilities are limited.
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I look forward to work on three different systematic reviews on an exploratory sequential study which aims at testing user acceptance of a virtual museum of endangered dances. How possible is working on this under the review of related literature?
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Badly needed for my research related literature
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I would love to help, but I don’t fully understand the question. What do you mean exactly by “dance studio”? Do you mean Dance Studies or dance studio as the place where dance as praxis take place? (Like rehearsal room)
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Based on past experiences in Hungary and other central and eastern European countries, there appears to be an emphasis on nurturing an appreciation of culture (more than here in the U.S.). More specifically, the students seem to be more involved in and have a greater knowledge of the poetry, literature, folk lore, dance, music, etc. of their home country. I'm basing that on my personal experience in those countries and what I saw in the schools a number of years ago. However, I've done extensive searches of the actual curriculum and research publications in Hungary and other countries and can't find anything that says that there is an emphasis on things like traditional poetry, dance and so on in schools. Can any Hungarian educators weigh in?
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Interesting
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La connaissance issue des travaux de recherche devrait alimenter les décideurs dans la révision et/ou la définition des politiques publiques. Dans certains pays on caste le plus souvent que ces connaissances ne sont pas toujours retenues par les politiques dans leurs prise de décisions.  
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Les décisions des politiciens sont déterminées par les groupes d'intérêts qui leur sont affiliés et par les analystes.
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I am currently developing a project where the primary mode of inquiry is rooted in practice based methods and techniques. The project is focused on a social dance form. I have read several books/articles in which practiced based methodologies are used, however, I am wondering if there are methods/techniques out there that they better satisfy my project. What practice-based methods/techniques may be beneficial for examining social dance styles?
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Hola. Si lo que deseas es conocer las perspectivas que tienen las personas acerca del baile puedes trabajar con el método fenomenológico o con interaccionismo simbólico. Las técnicas básicas son la entrevista no estructurada y la observación directa o la observación participante
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I am interested in possible representations of dance in European post-Palaeolithic rock art.
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Please let me know, if the two researchers have provided any data.
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I am looking to speak with people, or be put in touch with people, who have research or practise in differentiation of teaching methods in private dance studios. Below is an outline of what I am proposing to research. I can be emailed at julie.barns@gmail.com Many thanks in advance!
An education in dance relies on a teacher's pedagogical knowledge and artistic experience. It is important for studio dance teachers to acquire pedagogical knowledge alongside their wealth of technical and artistic knowledge allowing them to dissect, question and change their practice to be inclusive of all dancers in their studio classes.
Private dance studios are available to anyone who wishes to learn dance, regardless of age, gender or motivation (recreational or otherwise). The dance community need to ensure best practice in teaching to ensure these studios encompass all who walk through their doors.
Historically, for studio teachers in Australia, pedagogical knowledge has been gained through osmosis, and while a studio teacher may have excellent technical knowledge the process through which this information is imparted has created a divide in the dance studio between gifted dancers and children who wish to dance recreationally, but are ostracised from the studio learning and teaching process due to a range of learning needs that are not being catered to. What could have been a powerful ongoing experience in a child's life is lost due to a teacher's inability to differentiate their teaching practices in the dance studio.
Whilst very few children who learn dance in studios go on to become professional company dancers, children do go on to become consumers of The Arts and dance in particular. These children may go on to become dance teachers, physiotherapists, set designers, or volunteers in theatres. They go on to recognise and value dance as a powerful tool for self expression, for physical wellbeing, for good mental health and self worth, for community building and for creating a culture of inclusiveness.
The research proposed will greatly benefit recreational and elite studio teachers across Australia, with the flow on effect making a difference in the cognitive, emotional and physical lives of our children.
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Julie Barns - Thank you for your question. I think you need to develop a curriculum with specific learning outcomes. You need to see how many years or blocks are required in order to graduate students? And if these years are allocated into phases, what are the educational objectives of each period? . The attached website covers several differentiation approaches that you may use. You might need to learn more about the construction of a curriculum.
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I would be interested in resources that pertain to how identity or the different roles we possess in dance making (dancer, teacher, spectator, mentor, etc.) influence creative processes in creating choreography. I am particularly interested in social dance, but any dance style examined with this research question in mind is warmly welcomed!
Thank you in advance!
-Olivia
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Using ideas that develop creative processes such as skills, planning and design, as well as the continuous encouragement of positive processes and correcting the wrong ones.
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Soalan Siri Simulasi Sistem RG04 AH30903
Berdasarkan Lukaszewki, Dickter dan Lyons (2017), terdapat beberapa faktor yang menyokong proses
penilaian pengrekrutan dan pemilihan pekerja atas talian. Namun umum kurang memahami faktor-faktor ini.
Perincikan.
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Are there any current articles on play, art, dance, or music therapy as a behavior intervention?
Thank you,
Jeanne
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Soalan Siri Simulasi Sistem RG05 AH30903
Sistem Human Resource Information System (HRIS) kerap mangalami kegagalan. Menurut Johnson dan Kavanagh (2018) terdapat beberapa faktor penyebab kegagalan fungsi HRIS.
Debatkan kerelevanan faktor-faktor tersebut.
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Do our inner narratives influence movement? If so, would movement then influence the narrative as well? What do our inner narratives reveal about culture and the world of movement around us?
Can the process of dance-making be described in ways that have utility beyond the personal narrative?
I am currently researching the role of the narrative in dancers and would be interested in resources as well!
Many thanks.
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here is an article i read recently though my interest in dance, the dancer/performance and subject matter in the artilce-outside academia. i will be glad to help you perform a literature review as i am sure there are many resources out there.
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Let me know which article is requested and I'll send the full-text.
Dan Bilsker
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I like to read of the dance education promotion with Tai chi article .
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Some times two plant species which are morphologically different have similar DNA sequences. What should be the final conclusion?
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@ Abhijeet Singh,
Lets focus on the original question, which is: " Can two established different species have more than 96% similar DNA sequences?"
If two different species say 'A' and 'B' have more than 96% similar DNA sequences.
Can we say these are two different species?
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It had cited in
Hassan M.K., Karim M.F., Karim M.S. (2019) Experiences and Lessons of Cash Waqf in Bangladesh and Other Countries. In: Ali K., Hassan M., Ali A. (eds) Revitalization of Waqf for Socio-Economic Development, Volume I. Palgrave Macmillan, Cham
Salmah Said, Andi Muhammad Ali Amiruddin, WAKAF TUNAI DAN PEMBERDAYAAN EKONOMI MASYARAKAT, AL-MASHRAFIYAH: Jurnal Ekonomi, Keuangan, dan Perbankan Syariah ISSN (p): 2597-4904 ISSN (e) : 2620-5661 Volume 3, Nomor 1, April (2019), h. 43-55 https://doi.org/10.24252/al-mashrafiyah.v3i1.7739
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this many not answer your question - for one thing the link you added is dead, but go to this link https://scholar.google.com/scholar?start=0&q=%22usama+alani%22&hl=en&as_sdt=0,5 which shows you the various mentions your papers have got. it may be that some of your work is referred to in one of the citations
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Thinking in terms of a social setting such as a dance, a concert, a meal, if an experiment were to be designed in such a way, how can the method be validated? Similarly, what role would reliability play in an experiment set in a social setting? How can you recreate social settings for further empirical study?
I would love to read some examples of studies if you are familiar with any!
Many thanks.
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You asked about the validity and reliability. These are the critical points. If you chose your subject from very dissimilar groups and settings there is a greater chance to get reliable data as well as external validity which is important for researcher who want to repeat the experiment. Check this out if it gives you advice: https://pdfs.semanticscholar.org/6462/54a1698a66aacb6eceb66c126309c3311997.pdf
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Looking for suggestions from the literature regarding the use of and/or effectiveness of dance (of any sort) in helping people ease the pain of grief (bereavement and non-bereavement losses) - anywhere in the world. thanks!
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Will more social prescribing save money?
Social prescribing: coffee mornings, singing groups, and dance lessons on the NHS
BMJ 2018; 363 doi: https://doi.org/10.1136/bmj.k4857 (Published 19 November 2018)
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Chris, I am a firm believer in social prescribing, though I don't have a battery of quantitative research statistics to support this. My own specialism is arts (specifically creative dance) and social wellbeing and I have tried to promote social prescribing in my area (south-east Scotland) with little success. In recent years I have tried to engage with local GPs, offering gentle creative movement (seated or standing) for patients whom they thought would benefit. As I am retired, I was offering these for free in return for data to write a paper and the local council supported me by giving me free accommodation. In the first trawl, I received zero response from GPs. In the second, I found one GP who was willing to "suggest" my classes to suitable patients. I also advertised locally but in a public advert I could not be specific about the participants I was aiming at, so I had a very disparate class, of which 50% really wanted something more active but were drawn to my class because it was free! Among those who said they did benefit were an amputee who seldom ventured out, someone with a chronic back problem and one with a shoulder problem. None of these were my target group but if they felt they benefited, that was justification enough for running the class.
I have since found two linked surgeries in your location, which share a community liaison officer to further the cause of social prescribing and am formulating a proposal to put to one of the local universities regarding a plan to promote the concept. Clearly I cannot be specific at this stage - I'm sure you will understand.
Now I am perfectly aware that social prescribing - through arts or in any other form - does not suit everyone, but if only one person benefits, there must be a saving of medical resources. May I suggest you look at some of the references on my profile page, e.g. Burns, Oliver & Karkou (2008), Oliver (2009), Oliver (2013), Karkou, Oliver & Lycouris (Eds) (2017)? If you are interested in further dialogue on the subject, since we are in the same geographical area, I can give you more information which I don't wish to put in the public domain just yet.
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saya mahasiswa tingkat akhir yang ingin mencari project penelitian untuk tugas akhir , saya adalah mahasiswa fisika saya tertarik dengan remote sensing pemetaan dan tomografi, mungkin jika berkenan dan terkait dengan area topik di atas saya ingin bergabung menjadi tim penelitian ini
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unfortunately, this research is over. However, you could be collaborate with others who having same topic right this one. Good luck
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My colleague Heidi Höglund and I are conducting a systematic literature review of research on poetry teaching through dance and visual arts. We are interested in both poetry reading and poetry writing in primary and secondary educational settings. We have searched various data bases and found about 50 articles to be assessed for eligibility. Now we also expand our search to possibly find articles not found in the data base searches.
Does any of you know of empirical articles (in English) reporting on this topic?
Thank you in advance!
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Your PhD topic is just what is needed, Sofia, giving clarity and justification for dance in education, especially creative dance. I taught in an era of a multidisciplinary approach to education which then seemed to go out of fashion before being reinvented some years later. I combined dance with literature, science, history, etc. but became disillusioned with the formal education system so moved to community-based dance which became the basis of my PhD. I wish you well for the final stages of yours.
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One year ago I made a micronutrient stock solution for MS medium and the solution appeared colorless. Yesterday I made the solution with the same composition but the solution turned yellowish. What caused it ?
 
Composition:
CuSo4.5H2O
Na2MoO4.2H2O
H3BO3
MnSO4.4H2O
KI
ZnSO4.7H2O
CoCl2.6H20
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Check all components you add. It may be some mistake in concentration. Solution must be colorless.
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Desde tu experiencia califica ¿Cuál es la importancia que las empresas de tu ciudad le dan a la calidad de sus productos y servicios? Siendo 1 Nula y 5 Mucha.
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3 ..
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Saya sedang meneliti kinerja keuangan koperasi simpan pinjam di jawa timur
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Mr. Gede Arimbawa ,Untuk mengukur kinerja keuangan koperasi di Indonesia dapat dilakukan menggunakan analisa rasio keuangan. Titik berat rasio adalah pada pasio Kas dan Rasio Pinjaman. Secara keseluruhan indikator kinerja keuangan koperasi adalah : aspek permodalan, aspek aktiva, aspek efisiensi, dan aspek likuiditas. Maaf jika ada yang kurang.
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Beste George,
Ik werk aan een vulkanische sectie (Van Waveren et al., 2018) waarin ik meestal een wetland flora vind, maar een maal tussen door in serie opeengestapelde lahars een overgang van een droge naar weer een nattere flora (die dus de flora van de bron van de lahars voorstelt)om uit eindelijk weer bij de third order lowstand (met zeer exacte isotopen dateringen) een nog drogere flora te vinden. Omdat het een vulkanische sectie is verbeeld ik mij dat de sediment toevoer constanter is dan in een volledig fluviatiel systeem waar de sediment load eigenlijk ook weer klimaat gerelateerd is. Ik verbeeld me dat higher order low stands within lower order lowstand maar zelden bewaard blijven, hoewel ik dat niet uit Coe et al. (2005) kan halen en ik vroeg me af of je me even kon bijpraten? Heb je een uurtje de tijd, of moet je op het ogenblik veel college geven?
Met vr. gr.
Isabel Van Waveren
(Naturalis)
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Hi Arden, Are you thinking that in the tropics pluviosity (and hence discharge) and sediment load are negatively correlated? Maybe the role of the tropical forest is a bit more complex because in the Sedimentary Record of Sea-Level Change of Coe et al. (2005) deltas have thickest deposits at the high and transitional stage, and thin deposits at low and falling stages. I think a high stand rather correlates to warm/wet and a low stand to colder/xeric. The low and falling stage are often distal or basin deposits. I was simply hoping there was something about the preservation chances of these distal basin deposits. It seemed to me these have a lower chance of being preserved because of reworking through shelf currents or in the case of basin deposits (off the shelf) they are very rarely found in the sedimentary record. I was hoping for a paper on that. We palaeobotanist look at deposits that are often found proximally, on the shelf. Thank you for the brainstorm, Isabel
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Dear Colleague.
I have a data set consist of 30 variables plus two identity information (subject's ID dan c=subject's group) from 56 respondents.
From those 30 variables, one is performance evaluation of respondents from their supervisors and the other 29 variables are results of self report filled by respondents about their personalities.
I have conducted a linear regression analysis to predict performance ("Mean_total") using 29 self report results as criterions.
For this size of data set (N=56), the critical r value (p=.05) is around .255+. Normally, for the same data set which consist same respondents, higher correllation coefficient (i.e R/r >.700) is accompanied by lower p value (p<.05 or p<.01) and vice versa.
Strangely, for my data set I got the opposite. When I ran linear regression analysis, I got a strange result, as follow.
1. On the linear regression analysis for all 30 items using ENTER method, I got larger R value (.722) but not/less significant (p=.530).
2. On the linear regression analysis for all 29 items (after eliminating item cso179r) using STEPWISE method, I got smaller R1 value (.271) but more significant (p=.044).
Looking forward for comment and enlightenment from dear colleagues.
PS
I've attached some documents to be discussed.
1. Screenshot of 2 model summaries (R= .722 and R =.271)
2. Critical value table for r (correlation)
3. Data set (in SPSS)
4. Three output files (SPSS version 13, 16, and 23). Initially I was affraid that the program is have some err, but after re-run the same analysis in different version of SPSS, I still got the same results.
Cordially
Bagus
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Bagaimana menafsirkan hasil dengan r tinggi tetapi (0,722) tanpa nilai p signifikan (p = 0,530).?
Rekan yang terhormat.
Saya memiliki satu set data yang terdiri atas 30 variabel ditambah dua informasi identitas (ID subjek dan c = kelompok subjek) dari 56 responden.
Dari 30 variabel tersebut, satu adalah evaluasi kinerja responden dari pengawas mereka dan 29 variabel lainnya adalah hasil dari laporan diri yang diisi oleh responden tentang kepribadian mereka.
Saya telah melakukan analisis regresi linier untuk memprediksi kinerja ("Mean_total") menggunakan 29 hasil laporan diri sebagai kriteria.
Untuk ukuran kumpulan data ini (N = 56), nilai r kritis (p = .05) adalah sekitar .255+. Biasanya, untuk kumpulan data yang sama yang terdiri dari responden yang sama, koefisien korelasi yang lebih tinggi (yaitu R / r> 0,700) disertai dengan nilai p yang lebih rendah (p <0,05 atau p <0,01) dan sebaliknya.
Anehnya, untuk kumpulan data saya, saya mendapat sebaliknya. Ketika saya menjalankan analisis regresi linier, saya mendapat hasil yang aneh, sebagai berikut.
1. Pada analisis regresi linier untuk semua 30 item menggunakan metode ENTER, saya mendapat nilai R yang lebih besar (0,722) tetapi tidak / kurang signifikan (p = 0,530).
2. Pada analisis regresi linier untuk semua 29 item (setelah menghilangkan item cso179r) menggunakan metode STEPWISE, saya mendapat nilai R1 yang lebih kecil (0,271) tetapi lebih signifikan (p = 0,044).
Menantikan komentar dan pencerahan dari rekan-rekan sekalian.
PS
Saya sudah melampirkan beberapa dokumen untuk dibahas.
1. Cuplikan layar dari 2 ringkasan model (R = .722 dan R = .271)
2. Tabel nilai kritis untuk r (korelasi)
3. Kumpulan data (dalam SPSS)
4. Tiga file hasil/output (SPSS versi 13, 16, dan 23). Awalnya saya takut bahwa program ini memiliki beberapa kesalahan, tetapi setelah menjalankan kembali analisis yang sama di versi SPSS yang berbeda, saya masih mendapatkan hasil yang sama.
Dengan hormat
Bagus
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Bagus -
Are you certain that you are reading your SPSS results correctly?  I haven't used SPSS in many years, but I'm not certain that what you have makes sense. 
First, you do want to use adjusted R, but even that can be misleading.  It may not give you a good idea of model performance.  Using graphical residual analysis with estimated residuals on the y-axis, and predicted y on the x-axis can help determine model fit, and saving test data not used to estimate regression coefficients can help you to avoid overfitting. 
Also, p-values are impacted by sample size, so you need to adjust the threshold accordingly.  In fact p-values  are usually not helpful.  And here, are you sure you are reading from the correct parts of the table?  These are p-values for what, one of the regression coefficients?  You are really interested in predictions, perhaps prediction intervals for predicted y values, not confidence intervals for each regression coefficient.  Because of interactons, such as collinearity, between "independent" variables, such confidence intervals aren't very stable anyway.  The estimated coefficients themselves may even change sign. 
I note that you are looking at "change," as in the change when one independent variable is added or deleted, which might be interesting, but I'm not sure if you are really reading p-values there.  I am more certain regarding the dubious usefulness of p-values. 
Your sample size appears to be rather small, unless you have small variances of prediction errors given such a sample size.  Note that the estimated variance of a prediction error is different for each predicted y, given the natural heteroscedasticity due to different sizes (predicted y) for each member of your population.  Because the estimated variance of the prediction error uses an estimated sigma which is impacted by bias, this estimated variance may be a good overall indicator of accuracy. 
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I suggest that you use your subject matter expertise to pick a few reasonable models, and use graphical residual analyses and test data to compare their performances. 
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You also should make certain that you are using the software correctly and reading the results correctly.  Perhaps you are doing that, but it might be good to check with an SPSS representative online and confirm this. 
As for the very low adjusted R-square values, they would usually be expected to be associated with large variances of prediction errors and regression fits which are not very good, but this is not straightforward.  Also, the perhaps low sample size can cause interpretation problems. 
Cheers - Jim
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I'd like to show a particular dance company as a kind of organic or dynamic organization whose cast of actors/dancers shifts its members (the cast grows or decreases in size for every show) as a way of adaptation according to the demands of the company (i.e., types of show scheduled). Thank you.
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Théorie de la contingence
Approche systémique
...
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I'd like to show a particular dance company as a kind of organic or dynamic organization whose cast of actors/dancers shifts its members (the cast grows or decreases in size for every show) as a way of adaptation according to the demands of the company (i.e., types of show scheduled). Thank you.
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Thank you Sue!
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I am researching whether dance can be considered a language, and different languages effects on movement quality. i am interested in how dancing to spoken word, interpreting it affects dancers cognition, is it that we are listening to the rhythm of the words and sentences using our embodied movement vocabulary or is it that dancers are trying to interpret the spoken language in its literal meaning if they understand the spoken languages? Is it possible to translate spoken word with just movement and allow the audience to understand it without previous knowledge of the spoken languages? is it possible to understand spoken languages through movement only, even in its simplest context?
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Hello Karolina,
I've just happened on your discussion. We are always communicating through movement, intentionally or not aren't we? I work and dance a lot with people who don't have verbal language, so yes dancing, moving and touch is their language. I'm also interested in your ideas around being multi-lingual. It is not something I'd considered before, how speaking a different language changes the language of the body. However, since I moved to France 3 and a half years ago and observed my children become bilingual I am fascinated in how the tone of the body (as well as the voice of course), quality of movement and gestures change when they speak French. They quite literally become different people and I think respond differently to situations depending on whether they are 'in' English or French. You are probably experiencing that when you teach in different languages, are you teaching from a different place, attitude, orientation? I think it is more than just sound and rhythm etc....Just thoughts but I'm interested in your research...
Thanks Lisa
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There is a constant bail out of national airlines and budget airline by administrators. How can we avoid airlines going into administration or liquidation?
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It is a combination of factor. As such a very good strategy is required to be in business. This include being mindful of the competitiveness in the industry, gathering information about business and it competitors and being innovative to enable one take a-first-mover step to beat the competition.
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Hello,
Can the vicon's plug in gait model be used to collect data for symmetrical dance movements? Or is there a need for a separate code to be written for each dance movement?
Thanks,
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Hi Shruti Shenoy , my honest answer is I don't know, I have used the plug-in gait model of Vicon to capture children performing fundamental movement skills, and it performed pretty well, with minimal data loss or missing. As for dancing, I guess it would depend on the style and tempo of the dance? Also may be worth considering how you are effectively and securely attaching the retrofeflective markers. All the best, Cain
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Dance for PD is based in New York City. They provide movement and dance classes to all bodies living with Parkinson’s Disease.
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I am a volunteer with the Dance for PD class at Edinburgh's Dance Base. It operates under the auspices of Scottish Ballet in Glasgow, who had the initiative to bring it to Scotland, and of course it is under the overarching leadership of the organisation in New York.
I have done the initial, online part of the training, available through People Dancing (formerly the Foundation for Community Dance), although I do not intend to undertake the practical training for full registration. This has given me valuable insight into the dancers' condition, and I gain pleasure from sharing the dance experience with the PD dancers: when we are dancing, we are all equal. We volunteers remain vigilant throughout, but are still allowed to enjoy the experience! As an older adult volunteer, I feel totally at ease with the dancers (although not all are as old as me). I hope it is mutual as we share the dance experience and chat over refreshments at the end.
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Turing spoke of population dynamics. I would start with a cellular structure with 12 connections. Move on to development of awareness, Self, Other and Environment using multi-sensory inputs and a sematosensory cortex. You will need to dynamically encode, store, sort and delete memory. Your internal clock will be points, not intervals as explained by Oliver Sacks in the river of consciousness. Your synthetic must have time to incubate in a safe environment. Sacks was wrong about salience, it is dynamically selected. But emotion in evolution is generated by the dance of the sympathic and parasympathic nervous systems, not the CNS. Hope this helps.
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I hypothesize that diamond lanes are a major factor in highway congestion. As a corollary it also contributes for additional undesirable / unproductive exhaust fumes.
Carpool-worthy vehicles entering the highway "force" their way into the leftmost diamond lanes, causing other vehicles to reduce their speed. The reverse is also true; vehicles traveling in car pool lanes wait until the last possible moment to exit and force their way out of the highway, again, causing other vehicles to reduce their speed.
As highway utilization increases, this diabolical dance worsens congestion and excessive fume exhaustion significantly.
I'm interested in discussing the matter with anyone who has studied and simulated it. I also, would love to collaborate in doing simulations, should this be possible.
Thanks in advance for your collaboration.
Rodrigo
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Mike Cassidy at UC Berkeley has done work on this topic: https://www.ce.berkeley.edu/people/faculty/cassidy/publications
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I am very confused because it is not very clear to me whether there is a dance between reflexivity and bracketing as Finaly(2008) suggests.Anyone with that eBook please send it to me?
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Dora, I don't have Finaly (2008) and the references on my bookshelves are probably a bit out of date (e.g. Ahern 1999) but still provide a useful foundation for understanding. In my view, the two are sequential. Given that your research topic has probably been derived from your own interest, reflexivity is almost bound to be built in - as soon as you have data to analyse, you will reflect on it in light of personal experience. You can never (I believe) be totally objective or unbiased because your own experience will colour your perceptions, but you then need to bracket off your own instinctive responses when you are interpreting the data further so that your findings are - as far as possible - based on your respondents' views, not your own. You can compare/contrast them as you wind up towards conclusion. I offer this based on my own experience and others might disagree - that's the nature of qualitative research! But that, to me, is what makes it vibrant and challenging.
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How to coreograph dances from gesture corporals?
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Often called dance composition, choreography is the act of designing dance. From the semiotics perspective we can discuss the ways of choreographic significations. An appropriate approach can come from the area of social semiotics and multimodality (kinesic figures, postural configurations and categories as semiotic resources). The body can be regarded as a „expressive space” through which the individual can build cultural representations of social experiences.
You can also refer to The Philosophy of Dance in Stanford Encyclopedia of Philosophy. There you can find the following references:
For an anthropological and semiotic approach to dance see Hanna 1987. For a phenomenological approach to dance see Albright 2011. For a phenomenological approach to dance, movement and thought that makes recourse to evolutionary biology see Sheets-Johnstone, 1981 and 1984. For a process philosophy approach to dance see Manning 2013. For more on the relation between philosophy and dance see Foster, Rothfield and Dunagan 2005, Sparshott 2004, and Van Camp 2009.
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Museums in town tell about history and culture. We need some interesting media to attract them, giving experience beside learning culture and history. especially for children. Any Reference or Information will be help so much. thank you.
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Naila, I hope that by now you have found lots of references for your task of exploring interactive media for traditional dance. I knew of one motion capture scheme for Greek folk dance; I can't remember its name but I looked for it online and, although I didn't find that one, there are plenty of others. I just Googled 'interactive media in Greek dance' and found masses. The same must apply to other culturally specific dance forms.
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I'm interested in researching the effects of dance on elderly persons with impairments (e.g. Parkinson's) and am usually stymied by behavioral inventories that (while well validated for the populations I'm studying in capturing gross functional changes) do not capture movement changes from a dance intervention that translate into improved function, as well.
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The Mark Morris Dance Center in Brooklyn, NY offers classes to adults with Parkinson's Disease. You can find more information on the company's website. If you would like to pursue this, I can consult a friend who is involved in those classes and ask if i can pass on her e-mail address to you.
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I want to know minimum sample size of the previous research for dance teachers' job stress using questionnaire, or if someone uses dance teacher as their participants in psychological area, how many participants they used for quantitative research? please offer me some suggestions or the journals' link, please! Thank you for your help.
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The population size for dance teachers will be much smaller, and very dependent on the university. Unless this is a national survey, I would try to sample every individual in the population. You then must decide if you are describing the extant population, or are trying to understand the population of teachers at universities that were not sampled, or the population of teachers who might be hired in the near future. This may be a very difficult project because your population may only be 10 to 20 teachers. Even if you get everyone, you will need to be careful about drawing conclusions.
So how do you identify the inherent stress associated with the job as opposed to the job stress caused by the unique composition of the faculty at the time you take the survey? Joe enjoys working with Mike but hates Bob who is a stupid moron and could not dance his way out of a wet paper sack. The social dynamic could enhance or diminish the stress inherent in the job. One possibility is to sample at multiple universities.
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I am producing a systematic review on this subject and would also be interested in works about Dance and ODD, TS, anxiety, learning and other concerns related to ADHD. Other disciplines, such as Yoga, Tai Chi, Feldenkrais Method, and Mindful Movement are also being included in the review.
So far, I have found two publications focusing on ADHD management through DMT (Grönlund et al., 2005; Anderson, 2015) and have asked for a few full-text articles in the ResearchGate community about the subject.
Would you know of any work that could fit the search criteria? Would it be possible for me to have full-text copies of them? 
Thank you very much for your help!
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I want to make a pedagogical project for dance classes that helps kids exploring body moviments and criativity, but i don't want to use kinect... 
I will appreciate any help. 
Thanks. 
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My friend Harmony Bench (OSU) writes frequently about dance on the internet and dance for the camera. 
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Dear all,
Researcher: Jack Gilbert
Dissertation Supervisor: Dr Prithvi Perepa
My name is Jack Gilbert. I am a final year student studying BA Special Educational Needs and Inclusion student at the University of Northampton. For my dissertation, I wish to conduct research on whether dance and movement can be an intervention for children with autism with the focus on developing their social-communication skills. The research is going to be conducted under the supervision of Dr Prithvi Perepa who can be contacted on prithvi.perepa@northampton.ac.uk.
The questionnaire is based around the field of dance/movement and autism and your own experiences of working within the field. The questionnaire will take approximately 20 minutes to complete.
Your confidentially and anonymity will be protected throughout the research and your data will be securely stored in accordance to the university ethical guidelines. You also have the right to withdraw from taking part within this research by the 1st April 2016. The information will be stored on an external hard drive which will be protected and secured in a safe place. However please note that Google may store this information on their system.The findings of the research could possibly be published and will be used for my dissertation, which will be submitted to the University.
The link to the questionnaire can be accessed here:
If you need any additional information, please do not hesitate to contact me. I can be contacted on jack.gilbert13@my.northampton.ac.uk. I would like to thank you for taking the time to consider taking part within my research.
Yours Sincerely,
Jack Gilbert
The University of Northampton
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Done, inclusion is the way forward gives a new dimension to dance
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Dear Sir/Madam's
My name is Jack Gilbert. I am a final year student at the University of Northampton studying BA Special Educational Needs and Inclusion. I am currently undertaking some research on whether dance/movement could be used as an intervention to support children with Autism. I am asking whether it would be possible to interview anybody who works within this field.
The interview would last approximately 30- 40 minutes and can be in a location that is virtually for you (whether face to face, telephone or virtually). 
Your confidentiality and anonymity will be remained throughout and the research will abide with the University of Northampton's ethical guidelines. The research will also be stored securely.  
I am very aware you must all be extremely busy so I would like to thank you in advance for reading this text. Any information would be useful. 
If you would like to take part within my research, or have any questions about the research, please contact myself 
Kind Regards,
Jack Gilbert 
BA SEN & Inclusion student at the University of Northampton 
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Jack, I have certainly heard of some children on the spectrum benefiting from karate or other more formalized movement disciplines. using dance for "therapy" to help improve in those areas  like dance and gymnastics, and karate helps so much in morale, especially when morale can be so difficult in other areas of life.  My own daughter, who didn't have autism, but had issues in motor skills when she was little, was in a gymnastics program at Easter Seals that took place in a regular gymnastics facility where other children were becoming athletes.  I think that setting became an important aspect to the success of that program.  Yes, there were children on the spectrum in her classes, but it was better for these classes to be conducted in a public facility rather than somewhere dedicated exclusively to children with special needs.  It gave them a way to feel proud of their accomplishments.
I also would be interested in seeing interdisciplinary approaches used to tie in issues in the biochemistry with any difficulties in movement.  I've dreamed of seeing some occupational and physical therapists formalizing evaluations in this sort of area...evaluating such things as stiffness, and vestibular function and even strength and muscle mass and speed.  I've seen what is possible at a gait clinic that deals mainly with people recovering from injuries or  from MS.  An autism center could develop formal standards  that later could be used to evaluate function for many adults with other developmental disorders.  But, for "treatment", the more normal setting (how people with no diagnosis build these skills), seems better overall.
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The intention is sustain the heritage of a community
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Joann, I am a bit confuse here: Creating a dance or Studying an existing dance group? If it is creating a new dance, you need to employ demonstrative approaches such as dance steps and body movements to match the sound rhythms (by drums, songs, or other musical instruments); but if you are studying an existing dance, first of all consider the duration of the research. If it is longer, you can combine both participatory  and non-participatory observation. Above all, I agree with Vaccaro that qualitative mode of inquiry is suitable for this kind of research. I also know that, some community dance in Africa demands initiation before joining. If it is so, you can decide how to go about it, particularly if their terms do not infringe on your belief or faith.    
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Soon I am going to India, I would like to take photos and interviews from Kathakali dancers. Can you recommend me a contact to get in touch with?
Thank you very much.
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Dear Bella Volen,
Unfortunately I have no information.
Best regards,
Nikola Benrin
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In regards to adolescence: I am wondering what is it that is the enjoyable side of coming to classical ballet, if the aim is not to become (ballet) dancers? What is it that makes them come to dance? Why do many quit during the adolescence years? What are the experience for adolescence in dance? What are the stories that the adolescence tell themselves about dance?
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Thank you Fides and  Sue, I will check it out;)
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I am looking for references to dancing, and possible changing attitudes towards dancing in Scotland during 1914-1919 period around World War 1. The war reduced the number of tradition bearers in music, song and dance greatly but also attitudes towards dance seems to have shifted during the war years. Any references are welcome.
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Have you found this reference, Mats:
Casciani, E. 1994. Oh, How We Danced! Edinburgh: Mercat Press.
It's predominantly about ballroom dancing in Scotland, but there's a chapter which covers 1910-1920.
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I am not looking for stories abiout Shantala Devi. I need specific outlooks on dance in the temples.
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Thank you! Will definitely look up your references.
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I am only curious, since I'm working on some sports nutrition research.
Has there ever been any research into nutritional practices concerning musicians, especially singers, actors/ performing artists or dancers in order to optimize their performance specifically?
I am aware that dancers may be the most appropriate for this so I'm looking more into musicians or actors - Not particularly pop culture celebrities.
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In ballet dancers the nutritional recommendations for athletes are used, this is my practical experience
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researching the emotional connection that dancers have with their body, to be able to interpret and convey an idea, concept, story. Any comments, remarks or reading material about the subject is welcome
I am currently doing a Master degree in dance education, I am more interested in the expressive part of dance, I feel strongly that dance-technique is only a means to the greater goal, to be an artist is to express ourselves through our medium, technique is to help us better express this. It is my research to develop the artistry, as a writer, a painter or a sculptur need technique, (having a vast vocabulary, being able to draw nice lines, being able to hold clay in a certain shape) they are only great artists because of their ideas, many might be great in technique, but without their imagination, expressivity, personal ideas, their would be ART. 
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I would suggest you read Gabrielle Roth: Sweat you Prayers
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Pilates efects on performance of dancers
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Here is the web link for the AAWP (Australasian Association of Writing Programs) – aawp.org.au. Just click on Publications. TEXT is textjournal.com.au
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Social exclusion, gender exclusion, etc. Related to dance as a cultural expression and practice.
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Helena Wulff's book Ballet Across Borders, based on field work in three major world ballet companies, has some interesting findings on the relationship of class origins and solo or star performer status.
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Are you aware of a existing measure that looks into whether or not the respondent has a background in the arts or an exposure to formative arts-based experiences?  We are looking generally into the four main arts disciplines: music, dance, visual arts, and drama.  Any assistance is greatly appreciated.
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The most accurate measure would of course be transcripts from formal educational institutions-- grade school, high school, college, graduate school-- reflecting courses taken in the arts. Yearbooks of these various institutions show participation in extracurricular artistic activities. 
Another measurement could be questionnaires asking the respondent about participation in or attendance at museums and performances.  Such questionnaires could include questions on courses taken in the arts and extracurricular participation through attendance or performance. 
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By folk media I mean traditional means of communication like music, dance, rituals and oral narratives. Using which I want to understand the social set-up of a community.
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Take a look at this one:
Title: Indigenous folk media in rural development.
Authors: Compton, J. L.
Editors: D. W. Brokensha, D. M. Warren;O. Werner
Book: Indigenous knowledge systems and development. 1980 pp. 307-319