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Мета статті – висвітлення педагогічної діяльності О. П. Колоска та виявлення її впливу на розвиток українського народно-сценічного танцю і хореографічної культури України в цілому. Методологія дослідження. Для досягнення мети використовувались загальнонаукові методи теоретичного та емпіричного рівнів: аналіз та узагальнення науково- теоретичних основ дослідження, логічний метод, метод інтерв’ю. Висновки щодо особливостей педагогічної діяльності О. П. Колоска зроблено на основі аналізу наукових джерел, педагогічних, методичних і творчих доробків митця, власного досвіду спілкування з ним, спогадів колег і студентів. Наукова новизна. У статті вперше висвітлено педагогічну діяльність О. Колоска у мистецьких закладах вищої освіти; проаналізовано роботу педагога над створенням фахової дисципліни «Український народно-сценічний танець»; введено у науковий обіг матеріали інтерв’ю з педагогом та його студентами і колегами. Висновки. Педагогічна діяльність професора О. П. Колоска була спрямована на розвиток традицій народного танцю в гармонійному й логічному поєднанні з виразними засобами академічного мистецтва та кращими здобутками сучасної світової виконавської культури. Завдяки його зусиллям майбутні хореографи почали вивчати дисципліну «Український народно-сценічний танець», а на методичних розробках теоретика і практика народного танцю О. Колоска нині ґрунтується викладання хореографічного мистецтва в закладах вищої освіти України. Його робота зі студентами над опануванням мистецтва балетмейстера була багатогранною, по-справжньому професійною, а балетмейстерсько-режисерське мислення сягало глибинних джерел народного танцювального мистецтва. Багаторічна педагогічна діяльність Олександра Колоска була надзвичайно плідною, тож нині йому завдячують своїм високим професійним рівнем чимало виплеканих ним молодих балетмейстерів і педагогів-хореографів.

The authors consider and analyze the peculiarities of means of dance and plastic expression: pantomime, gestures, choreographic lexics, choreographic pattern, rhythmics, remarks and exclamations. The idea of a combination of a choreographic image and music of Russian and Chinese dances, declared by the authors, is a multi aspect complicated issue which is of a significant scientific interest. The purpose of the research is to reveal the contents of a folk dance stage adaptation which is conveyed with the help of improved means of expression and is an effective tool for the expression of national peculiarities of Russian and Chinese choreography. The authors study the folk dance stage adaptation as a key means of expression of folk music in Russia and China. The scientific novelty of the research consists in a comprehensive analysis and substantiation of the need for preservation of folk dance traditions in modern China as an important component of a traditional training of a future choreography teacher. The authors prove the presence of definitive features of local invariants of Russian folk dances and dance canon and its differences from the canon of folk dances of other regions. The research actualizes the problem of music training of future choreography teachers in the pedagogical theory and artistic education practice. The consideration of this topic is determined by the solution of an urgent problem of preservation of a unique cultural phenomenon of a nation in the aspect of continuous assimilation of culture both among regions and in interstate realms (border areas of countries with unique cultural codes). &nbsp

The article considers the didactic conditions of musical training of choreographers in higher education institutions of our state. In this work the structural didactic features of musical competence of choreographers are defined, such as: feature of professional activity planning; ways and methods of performing professional activities; communication techniques; organizational skills of choreographers; features of dance and motor motility. The article also states that the author considers an individual approach to take into account the ways of adapting the properties of studentsʼ nervous system to the requirements of professional activity as an effective method of musical training of choreographers in domestic higher education institutions. The article also deals with an individual approach, which takes into account the individual differences of students, the development of techniques, tools and methods of forming professional and musical skills of choreographers, due to the typological properties of the nervous system. At the heart of the individual approach considered in the study there is the idea of understanding a developing student as a person with a unique set of individual qualities. This involves the recognition of different, but equivalent in effectiveness methods of educational and creative activities that meet the objective requirements of the professional activity of the teacher and the individual characteristics of the future specialist.Also, in this paper, it is noted that in pedagogical science didactics is connected with the methods of teaching courses. The method of teaching folk dance is somewhat different from other choreographic disciplines due to the specifics of national dance. All textbooks, programs and methodical materials on folk choreography are authorʼs versions and naturally cannot be accepted by all experts identically. Keywords: musical training, music theory, choreographer, professional training, didactics, didactic bases of training, professional skill, systematic approach to musical training.

Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.

Az EFOP-3.2.6-16 A tanulók képesség-kibontakoztatásának elősegítése a köznevelési intézményekben pályázat keretében a Magyar Táncművészeti Egyetem kidolgozott egy művészeti képességfejlesztő nevelési-oktatási programot, melynek keretében a tánc öt formanyelvéhez módszertani segédanyagok és pedagógus-továbbképzések készültek. A 2018-ban és 2019-ben lebonyolított tréningeken 57 köznevelési intézmény, elsősorban alapfokú művészeti iskola 126 diplomás táncpedagógusa vett részt az MTE munkacsoportjainak irányításával. Jelen kutatásban feltérképeztük, hogy milyen tapasztalatokra tettek szert a 2019/2020-as tanévben azok a pedagógusok, akik beépítették a továbbképzéseken elsajátított módszertani programot oktatási gyakorlatukba. Kutatási módszerként az írásbeli kikérdezést választottuk, és egy 27 kérdésből álló online kérdőívet alkalmaztunk. A kérdések 3 nagyobb témakört érintettek: (1) az akkreditált továbbképzésről való vélemény, elégedettség; (2) az új módszertani anyagok mindennapi gyakorlatba való beépítése; (3) a differenciálás, a tehetséggondozás és a hátránykompenzáció kapcsolata az új módszertannal. A válaszadó tánctanárok (n=103) összességében nagyon pozitívan nyilatkoztak a továbbképzésről, annak minden vetületéről. A legtöbben már beépítették a gyakorlatukba az új módszertant, elsősorban a változatosság, az újítás és az élménypedagógia érdekében, de voltak olyan pedagógusok is, akik módosítottak az eredeti módszertanon annak érdekében, hogy a differenciálást, a tehetséggondozást és a hátránykompenzációt eredményesebben meg tudják valósítani.

Labanotation is a widely used dance recording system, which plays an important role in inheriting and protecting folk dances. However, manual drawing of dance notation is time-consuming and labor-intensive. Therefore, research on the automatic generation of Labanotation has received extensive attention. In this article, a method to automatically generate Labanotation based on motion capture data is proposed. Firstly, in order to facilitate the calculation of the bending angle and motion feature sequences, the BVH-formatted Euler angle data is converted into a sequence of the 3D Cartesian world coordinates according to the analysis of human bones. Secondly, a motion segmentation method based on kinematics features and rhythms is proposed, which can segment different styles of motion into fragments for further identification. Finally, we generate the Labanotation with the platform we developed. Experiments show that our segmentation method has good accuracy in segmenting action sequences, which makes the generated Labanotation more reliable.

Bu makale Sivas semah ve halaylarının karşılaştırılmasını konu almıştır. Daha önce ayrı olarak Semahlar ve Halaylar konusunda araştırmalar yapılmış ise de Sivas Semah ve halaylarının karşılaştırılması ve Kargın Halayı Örneği konusu ilk defa detaylı olarak çeşitli kaynaklardan da faydalanılarak incelenmiştir. Konuyla ilgili olarak Karkın Halayı ele alınmıştır. Makalede öncelikle halay konusunda bilgi verilmiş ve Sivas halaylarından örneklerle halayların müzikal yapıları anlatılmıştır. Birlik, beraberlik, yardımlaşma gibi toplu hareket anlamına gelen halay, davul – zurna eşliğinde oynanmaktadır. Oyuncu sayısı en az üç kişiden başlar 5-6 kişi veya 8-10 kişi olabilir. Halaylar, tek bölümlü iki bölümlü, üç bölümlü ve dört bölümlü olmak üzere dört şekilde görülür. Tek bölümlü halaylar, hızlıdır. İki bölümlü halaylarda birinci bölüm “Ağırlama”, ikinci bölüm “Hoplatma”, “Sıktırma”, “Yürütme” adlarını alır. Üç bölümlü halaylarda üç farklı ritim vardır. “Ağırlama” ile başlar, “Yürütme” devam eder, “Hoplatma” ile sona erer. Dört bölümlü halaylarda “Ağırlama ”ile başlar, “Yanlama”ya geçer, “Yeldirme” ile devam eder ve “Hoplatma” ile sona erer. Semahlar Alevi ve Bektaşi topluluklarınca müzik eşliğinde yapılan dini bir tür törendir. Kapalı mekânda “cem” denilen ortamda yapılır. Bağlama eşliğinde dönülür. Kıyafet olarak temiz günlük halk giysileri kullanılır. 3-5-7-9-12 kişi sayısı ile oynanır. Bu sayılar Alevilerde önemlidir. Semahlarda da bölümler vardır. İki bölümlü semahlarda “Ağırlama” ve “Yeldirme” bölümleri olmak üzere iki bölümden oluşur. Altı ve üç bölümlü semahlar da vardır. Halay ve semah karşılaştırmasına örnek olarak Sivas Kargın (Garhın) yöresine ait Kargın (Gahın) halayı ele alınarak incelenmiş, çeşitli araştırmalar sonucu semahlarla olan benzerlikleri ve farklılıkları ortaya çıkarılmıştır. Kargın Halayının Semahlardan Farkları, müzik aleti olarak Davul zurna kullanılmıştır, oyuncular elele, omuz omuza figürler oluşturmuşlardır, ileriye üç adım ve geriye üç adım figürleri görülmektedir. Kargın Halayının Semahlarla Benzerlikleri ise, yanlama ve yeldirme bölümlerinde oyuncular ayrılarak kollarını yanlara sallayarak oyunu icra etmişlerdir. Nitekim müzikal yapısındaki bu duygu bize semahtan halaya dönüştüğü kanaatini vermektedir. Sonuç olarak bu makalede semah ve halaylar incelenmiştir. Sivas Kargın Halayı örnek olarak alınmış, detaylı olarak incelenmiş ve Halay özelliği taşımasına rağmen, belki geçmişinden gelen bir etkileşim sonucu olabilir, müzikal yapısında semahı andıran bir koku taşımaktadır. Nitekim bazı figürlerinden de bu benzerlik anlaşılmaktadır.

Ethnic communities with different religions and languages live together in harmony in Hatay. Individuals belonging to these communities maintain their cultural ethnic identity along with their national Turkish citizenship identity. The Arab Alawite community is the largest community in Hatay who speak the local dialect Arabic. The dabke, as a folkdance, whose lyrics are spoken in their unique local Arabic dialect, is seen as an indicator of their cultural differences and cultural identities. The musical structure of dabke, which is sung in Arabic in other ethnic communities in Hatay and danced as line called halay in Turkish, is widely danced in Middle Eastern countries and cultures such as Lebanon, Palestine, Israel, Syria, and also in Europe and America where these communities live through immigration. Until now, there has been no academic study on the folkdance of dabke music and lyrics in Hatay that emerged from events such as cultural life and social solidarity. In this study, the subject of dabke dance’s lyrics and music in Hatay Arabic Alawite culture was examined and musical notes were written for the first time. The information obtained by conducting field research with the subject participant-observer method was analyzed within the framework of cultural theories from an academic perspective. The most widespread dabke pieces were determined, musicologically, to consist of six musical works which were compiled and recorded. It was determined that Ala delo’una was the most common work in the Middle East and Hatay region. In this academic study about dabke as a folk dance common in a multicultural region among the folk dances included in the UNESCO sustainable intangible cultural heritage list, the subject was examined in terms of term, etymology, history, cultural, social and social aspects., Hatay’da farklı din ve dillere sahip etnik topluluklar bir arada uyum içerisinde yaşamaktadırlar. Bu topluluklara mensup bireyler ulusal Türk vatandaşlık kimliği ile beraber kültürel olarak etnik kimliklerini de sürdürmektedirler. Arap Alevi topluluğu Hatay’da sözlü olarak yerel lehçe Arapça konuşan en kalabalık topluluktur. Sözleri kendilerine özgü yerel Arapça lehçesiyle söylenen depki halayı, kültürel farklılıklarının ve kültürel kimliklerinin bir göstergesi olarak görülmektedir. Hatay’da diğer etnik topluluklarda da Arapça olarak söylenen ve halay olarak oynanan depki, Lübnan, Filistin, İsrail, Suriye gibi Ortadoğu ülkelerinde ve kültürlerinde, ayrıca göç yoluyla bu Ortadoğu toplulukların yaşadığı Avrupa ve Amerika’da yaygın olarak oynanmaktadır. Kültürel yaşam ve sosyal dayanışma gibi olaylardan kaynaklanarak ortaya çıkan Hatay Arap Alevi kültüründeki dabke halay müzikleri ve sözleri hakkında şimdiye kadar akademik bir çalışmaya rastlanmadı. Bu çalışmada Hatay Arap Alevi kültüründe depki oyunu söz ve müzikleri hakkındaki araştırma konusu ele alınarak incelendi ve ilk defa müzikal notaları yazıldı. Konu katılımcı-gözlemci yöntemiyle alan araştırması yapılarak elde edilen bilgiler akademik açıdan kültür kuramları çerçevesinde ele alınarak incelendi. En yaygın depki havaları tespit edildi, müzikoloji ve etnomüzikoloji bilimleri çerçevesinde incelenen altı adet oyun havasının notaları derlenerek kayıt altına alındı. Ortadoğu ve Hatay yöresinde en yaygın depki havası Ala delo’una olduğu tespit edildi. UNESCO sürdürülebilir somut olmayan kültürel miras listesinde bulunan halk oyunları içerisinde çokkültürlü bir bölgede yaygın olan bir halk oyunu olarak depki hakkında yapılan bu akademik çalışmada konu terim, etimoloji, tarih, kültürel, sosyal ve toplumsal açılardan da ele alınarak incelendi.

In the article, folk art - artistic, creative-practical and amateur activity of the masses; folklore, folk music (folklore), folk theater (performing arts), folk dances (dances), puppetry, wood and wooden foot games (folk circus), folk fine and applied arts of traditional material and intangible culture information and examples of art and technical and artistic hobbies

Background and Study Aim. To determine the influence of professional training disciplines on the physical fitness level of the folk dance department students. Material and Methods. The study involved students majoring in "Choreography" (males - n = 5; females - n = 10). Tests were used to determine the level of general and special physical qualities development. It was also determined the level of physical fitness at the beginning of training and after two years of training. Results. At the beginning of the study, students had average and low rates of speed and strength qualities development and low indicators of dorsal spine mobility. There were significant changes in increasing the level of coordination and dorsal spine mobility (p

The Fit to Dance survey has been conducted using primarily Western participants and has provided foundation data for other studies. The purpose of the current study was to replicate the Fit to Dance 2 survey focusing on features of health and injuries in pre-professional and professional Chinese dancers of different genres. The survey was translated into Chinese with several new and modified questions. The survey was posted online for a 3-month period. A total of 1,040 individuals (82.8% female) completed the questionnaire, including 871 dance students (83.7%) and 169 professional dancers (16.3%), with focus in Chinese folk dance (44.4%), Chinese classical dance (25.6%), ballet (10.2%), and contemporary dance (9.8%). Compared to the Fit to Dance 2 survey, alcohol consumption (29% vs 82%; p

Dance emotion recognition technology is of great significance for the digitalization, virtual performance, inheritance and protection of folk dance. Based on the mechanism that emotion expression in dance performance can be fully expressed through the strength and rhythm of dance movements, a novel dance emotion expression method is proposed to train hybrid deep learning neural network, to effectively identify the seven basic dance emotions of fear, anger, boredom, excitement, joy, relaxation and sadness. First, in order to fully express the emotions contained in the dance movements, this paper defines a dance emotion expression method through Laban Movement Analysis (LMA) method, which includes the characteristic parameters of the three aspects of body structure, spatial orientation and force effect, and converts the original dance movement data into three characteristic expression parameters to obtain dance emotion data. Then, Convolutional Neural Network (CNN) and Long Short-Term Memory (LSTM) hybrid neural network models are used to test and train dance emotion data. Finally, in order to verify the applicability of the CNN-LSTM model, decision tree, random forest, CNN and LSTM are established and compared for accuracy. The results show that it is feasible to identify dance emotion from the perspective of dance movement, and the CNN-LSTM model is of high accuracy.

Labanotation is one of the well-known notation systems for the documenting and archiving of human motion. It plays a powerful role in dance protection, choreography analysis, and so on. Recently, researchers are committed to using computer technology to automatically generate Labanotation rather than manually drawing. However, the existing generation methods cannot deal with the various changes in motion data, such as different scales, angles, motion modes and limbs. In this paper, we aim to generate Labanotation from motion capture data acquired through real folk dance performances. The main steps include feature extraction, motion segmentation and unit movement analysis. Firstly, a normalized feature named Lie group feature is extracted, which can cope with the challenges of different scales and angles in motion data. Secondly, in order to divide motion with different modes into unit fragments for further recognizing, we propose a segmentation method that combines the speed threshold and the region partition. Thirdly, to generate Laban symbols of unit movements for different limbs, two kinds of neural networks are used for the analysis. On the one hand, LieNet, a powerful network for analyzing time series data based on Lie group structure, is utilized to recognize the lower limb movements. On the other hand, extreme-learning machine, a single hidden layer feedforward neural network, is used to identify the upper limb postures. Experimental results demonstrate that our method of feature extraction, motion segmentation and unit movement analysis achieves better results than the previous works, which makes the generated Labanotation score more reliable.

In today's digitization and informationization, all walks of life in society are labeled as BD. With the abundance of data information and increased data openness, various fields have been affected by BD. With the rapid growth of the Internet and new media, ethnic dance has inevitably entered the "BD era" as a manifestation of traditional culture. Way, folk dance has always played an important role, and its unique performance and ethnic style stimulate people's senses to give it artistic charm. Due to the continuous acceleration of the overall reform process in our country, national dances are also faced with the task of how to advance with the times, and scientific training is a breakthrough in this issue. This article aims to study the application of BD research methods in the field of national dance scientific training. This article uses case study methods, literature research methods, survey methods, mathematical statistical analysis methods, etc. to explore how BD can provide scientific training methods for ethnic dance, and combine the research results of previous experts or scholars to further explore ethnic dance under BD thinking. The scientific training path forms a relatively comprehensive understanding. Then through the sorting and analysis of various national dance technique materials, combining with practice and theory, put forward the content of scientific training, and then summarize the solutions to the difficulties faced by national dance training under the BD thinking. Experiments show that there are not many folk dance educators who know BD well, only 27%, but most teachers and students still have a certain understanding of BD, and believe that BD can make folk dance training methods more scientific or It has an auxiliary effect on the training methods of national dance.

Introduction: Physical fitness has been defined as the individuals’ ability to meet the demands of a specific physical activity. Dance is recognized as a mode of physical activity, which requires physical fitness activities like sport and exercise. Garba is a folk dance of Gujarat, India, composed of multiple levels of speed, co-ordination and full body movements with fast steps synchronized with the rhythm of music and lyrics. Aims and Objective: To measure the effects of Garba dance on physical fitness, cardiovascular fitness, and emotional status in women. Materials and Methods: The study design was non-experimental. 25 female college students, age range 19-25 years, gave voluntary consent. All participants performed Garba, 3 times per week for 10 weeks, for total 30 sessions. Each session lasted for about 30 minutes. Sessions were composed of the following activities: 5 minutes warm up, 20 minutes Garba and 5 minutes cool down. Variables measured were flexibility, BMI, skin fold thickness, cardio-vascular fitness and emotional status of participants. All statistical analyses were performed using the SPSS version 20.0 (IBM, Armonk, NY, USA) for Windows. Results: Post training, significant changes (p for skin fold thickness, sit to stand, and sit and reach test have significant changes with a P value Conclusion: A 10-week Garba programme improved physical fitness, cardiovascular fitness, lower body flexibility lower body strength as well as exercise tolerance. Keywords: Folk dance of Gujarat – Garba, Physical fitness, Cardiovascular fitness, Emotional status.

Labanotation is a symbol system for recording human motions. It is a powerful tool for protecting, inheriting and disseminating folk dances and other action arts. At present, Labanotation data are mainly recorded manually by professionals, and the working efficiency of the system is low. This paper proposes a method that automatically generates Labanotation from three-dimensional human-motion capture data. The method identifies the elemental movements corresponding to basic Laban symbols. The method contains two components: motion segmentation and unit movement analysis. The motion segmentation divides the motion capture data into segments that are easily identified by the speed threshold method. To standardize the Laban symbols and improve their accuracy, the motion segments are then matched to the Labanotation rhythms. In the unit movement analysis, Labanotation divides the movements into support and non-support ones. As the two movement types have different characteristics, they are identified by different methods. In experiments, the proposed method successfully transformed the movements represented by the motion-capture data into digitized Labanotation. The automatic Labanotation generation is far more efficient than manual recording. Therefore, the method can quickly record ethnic dances on the verge of loss, helping to protect and preserve the intangible cultural heritage of action arts.

The author of the article wishes to compare Hungarian textual and musical folkloristics at the turn of the 20th century with regard to changes in fieldwork methodologies. Hungarian folklore studies in the 19th century preferred text-oriented recording of performances, while by the first half of the 20th century the need for a performance-centered study of folklore with the help of audio recording emerged. Owing to a fundamental change in the method of folklorecollection, Hungarian folklorists studying folk music and folk dance by the middle of the 20th century applied the method of participant observation. In the meantime extensive collection gave way to intensive collection focusing on the repertoire of a given local community or of an outstanding performer. In this process Bela Vikar had a distinguished role as he was the first one to use phonograph in collecting folk poetry and folk music in Hungary besides which, with the help of stenography, he has a remarkable manuscript legacy of folktales and folk customs as well. The approach and objectives of Bela Bartok and Zoltan Kodaly differed from those of Vikar's, since for them quantitative considerations were still important, while Vikar's approach borrowed elements from social sciences as well. The break-through in this respect was marked with the oeuvre of Laszlo Lajtha, a disciple of Bartok, who dealt with vocal and instrumental folk music alike. During five decades Lajtha as a collector shifted paradigms a number of times and on the peak of his folklorist oeuvre he published monographs on the vocal and instrumental musical repertoire of bands and villages. His studies inspired Gyorgy Martin, dance folklorist as well as the revival folk dance movement in the 1970s. The performer-centred study of narration that Gyula Ortutay elaborated on at the beginning of the 1940s proved to be successful primarily in the study of prose epic genres and it unreflexively followed the method of folk musicologists.

Insufficient tailoring of individual needs of nursing home residents can lead to standardized (leisure) activities. Virtual Reality (VR) provides the potential to offer a multimodal experience of individualized activities to residents. The aim of the VR4Care study is to explore attitudes, knowledge, and expectations regarding the use of VR glasses for (leisure) activities in female residents living in rural nursing homes. A mixed method approach in two phases (phase 1: interviews with a complementary standardized questionnaire; phase 2: measurement of affective states) was used. In total, 20 participants were interviewed regarding nine categories. The results show that the most described VR-scenarios for (leisure) activities include arts and crafts (e.g., sewing and knitting), followed by gardening (e.g., farmhouse garden), washing and ironing clothes and dancing (e.g., Austrian folk dances). This study serves as an important basis for scenario development and for testing the use of biosensor measurements in phase 2.

Purpose: This paper is To explore the best education path of Chinese folk dance in the wave of the information and technology revolution. This thesis adopts the methods of literature review and information research to study the promote methods of Chinese folk dance culture in colleges. The study finds that conventional teaching in physical education classes cannot achieve the efficient and rapid promotion of Chinese folk dance, and cultural education is even harder to achieve. Suggestions: it is suggested to break through the offline and online teaching barriers; improve the abilities of relevant teachers, and enrich teaching methods with the help of network live broadcast platforms such as Bilibili, Dingding, and Tencent Conference, etc. It is also suggested to deepen the cultural connotation of Chinese folk dance, enrich and authorize the contents in the text-book, and build a channel for students to promote this culture. With the help of network platforms and several dimensions can we reconstruct the cultural education path of Chinese folk dance, and realize the unique national cultural inheritance and educational value of Chinese folk dance.

The Chiru are one of the recognized tribes of Manipur. They are found mostly in the states of Manipur, Assam and Nagaland. Perhaps, the neighbouring states are yet to recognize the tribe. Traditionally, Chirus are very rich in culture, tradition, folklore, folk tale, folk dance, folk song religion belief etc. The menfolk wear different types of clothing for different purposes based on social, cultural, geographical, psychological, economic reasons and physical requirements. Traditional dresses of a community or a tribe play an important role in preserving the identity of the people. The Chiru tribe is one of the ethnic groups of north-east India that inhabit mainly the states of Manipur, Assam and Nagaland. They have their own traditional dresses, ornaments, costumes, dances, music, folksongs, folklore and folk tale. Christianity has brought significant changes in the social, political, economic and religious life of the people of the Chiru tribe.

This research aims to design a folk dance Expression program for refugee women in Canada and to find its impact on some morphological and physiological variables (cortisol level) for refugee and the psychological stress . The research also aims to study the effectiveness of the applied folk dance Expression program on these variables and Obtain self-Assessment on the folk dance program from the research sample of refugee .The results are 1- The folk dance Expression program improved morphological and physiological variables in the range between (10.46%: 67.47%) in favor of post measurement.2- The folk dance Expression program relieved some psychological stresses as economic stress improved by 47.26%, work stress improved by 19.35%, health stress improved by 18.06%. The overall score of the scale improved by 14.10% in favor of post measurements.3- The self-Assessment of the program was positive, as the research sample of refugee agreed on the program at a rate ranging from (81.6% to 100%).4- Defining a day each year dedicated to disseminating different Arab cultures (the second week of December every year) which contain a set of activities that help to stand by the Arab refugees "International Exhibition of Multiple Cultures".Recommendations:1- The necessity of paying attention to measuring psychological stress for different groups of society and the good planning to overcome it.2- Caring for refugees, providing health care and psychological support to solve their problems .3- Preparing more studies on refugees and providing more rehabilitation programs to help them .

The article deals with the process of revival of folklore stylist in domestic cinema, which took place in the early 2000s. The paper points out that during the 1960s and 1970s Ukrainian moviegoers suffered almost the greatest number in the second half of the twentieth century harassment by official Soviet power. Most films of the notorious poetic direction, started by director S. Paradzhanov and continued by his colleagues and associates – L. Osika, V. Denysenko, Y. Illenko, M. Maschenko, I. Mykolaychuk and other artists, were banned; much of the interesting ideas were not realized.With the beginning of the 1990s and the gaining of independence by Ukraine, the situation began to change gradually: the focus of attention of domestic writers and directors was the history of Ukraine, in particular the pages of its previously forbidden chronicle; a new original reading of Ukrainian literary classics appeared, involving many ethnographic components in the film process; there was a revival of the mystical and folklore trend in cinema.Initiated in the 1990s, the processes intensified in the early 2000s and continue to strengthen in our time. In particular, a number of feature films have been released into Ukrainian cinema, in which the naturalistic nature of the shoots, the picturesque visual series, the attraction of authentic music, folk dances, the use of various dialects of the Ukrainian language, the reliance on literary classics and other stylistic features, have directed them to poetic folk. Philosophical understanding of the surrounding world, rooted in the sources of folk wisdom, was observed in short films and national documentary, which continued the development of stylistics of Ukrainian folk film school in the mid-twentieth century.

In today's rapidly developing society, the traditional promotion and publicity of Chinese folk dance has been impacted to some extent. The new technology in the information age is unique. New media has played a more extensive role in promoting Chinese folk dance art, and has a good future development prospects. This paper aims to study the development and promotion of new technology in the information age in Chinese folk dance. Therefore, under the perfect integration of science and technology with Chinese folk dance art, extensive and accurate publicity effect is presented. The publicity form of Chinese folk dance is full of modern sense and flexibility. Find a new way for the development and promotion of Chinese folk dance.

This research has demonstrated the importance of combining elements of popular culture and its spiritual aspects Social, material,and everything that moves between members of society, whether it is obtained through individual effort, Or through the structuredknowledge that is gained within formal institutions, and this research has focused To connect some elements of popular culture,such as crafts, tools, clothes, music and dance through Forms of cultural expression in which the spirit of human creativity isreflected, and the role of folk dances in Preserving the popular heritage.

The idea for the present article emerged from a short, humorous dance sketch for a TV show from 1981 that was based on a scene from the national epic Kalevipoeg, which portrayed the nationalist gender stereotypes in an ironic fashion. The sketch, choreographed by director and former dancer Sulev Nommik, was not wholly original, but rather used earlier choreographic versions (1934, 1948) on the same theme as its reference point. Th is article discusses the creation of national dance language and the construction of gender in staged folk dance, as well as the gender stereotypes of the above mentioned choreographed versions of Kalevipoeg: the hero (Kalevipoeg/ Kalev’s Son), the bad guy (Sorts / the Devil), the pure maiden (Saarepiiga/ the Island Maiden), the mother (Linda, Kalevipoeg’s mother) and the evil woman (Sortsipiiga / the She-Devil). The article also discusses a later version of Kalevipoeg by Ulo Vilimaa (1986), which can be described as self-ironical and in which gender roles are portrayed in a slightly mocking manner. The analysis is based on reviews of the period, as well as recordings in the Estonian National Broadcast archives. The lack of sources allows only a brief mention of Exitus by Dmitri Harchenko (1998), which was written in a postmodern and post-dramatic manner with a non-linear narrative and in which gender was presented in a less stereotypical manner than in the earlier versions. This version did not make use of Eugen Kapp’s score, any folk dance materialor the original libretto by Andres Sarev. Keywords nationalism, gender roles and stereotypes, Estonian ballet, staged folk dance

Graduate programs should be operated based on professionalism. The purpose of this study was to investigate the professionalism of thirteen doctoral dance programs in Korea. The study included thirteen doctoral programs from 10 universities in Korea. Data on the dance programs were collected using school bulletins, websites, and booklets. Educational goals, doctoral program requirements, and syllabi were analyzed based on the documents of each graduate school. Although most graduate school dance programs offered similar characteristics of courses, programs majorly comprised theory, performance, and workshops. Dance performance appeared to be an important aspect of dance programs in Korea. Interestingly, three different genres of dance (Korean folk dance, modern dance, and ballet) were overwhelmingly present in doctoral programs. This study recommended that more research- and scholastic-oriented programs should be provided in doctoral programs to enhance the fundamentals of the dance academic environment. Overall, more specialized programs are required to meet the various needs and choices of the doctoral students. It is certain that students’ interests and academic excellence are the greatest assets for doctoral dance major students. The concepts of diversity, culture, and interdisciplinary cooperation should be applied more to the description and research of graduate courses. Operationalizing these efforts through rigorous assessments of students’ mastery of key competencies in the curriculum is another evolving task for sustainable education leaders.

According to philosophers and paedagogists, from antiquity until today, arts and dance in particular have played a determining role in shaping the human personality, as well as in helping people gain a positive perspective of their multi-aspect development in terms of knowledge, perception, creative ability, psychomotor actions, emotional and social elevation. This holistic and anthropocentric approach in antiquity set new ways for perceiving motion -particularly dance- through the dance education. The aim of this study is to provide a well-documented review of dance in religious events of the ancient Greek world, by collecting and processing data related to female deities connected to the most important dances and music in public feasts of Ancient Greece -feasts of both religious and war character. Dance, music and poetry; the three elements that managed to influence and configure the education of the Ancient Greeks, leading to one of the most fundamental elements of Greek aesthetics: “harmony”.

The possibility of accurate recognition of folk dance patterns is investigated in this paper. System inputs are raw skeleton data, provided by a low cost sensor. In particular, data were obtained by monitoring three professional dancers, using a Kinect II sensor. A set of six traditional Greek dances (without their variations) consists the investigated data. A two-step process was adopted. At first, the most descriptive skeleton data were selected using a combination of density based and sparse modelling algorithms. Then, the representative data served as training set for a variety of classifiers.

The idea of synthesis, compilation, collaboration of contemporary dance with folk elements can be seen in various works of modern choreographers. This kind of synthesis is aimed to enrich modern dance with energy and vitality; it is a know-how of modern Russian choreographers. Thus, there is a current need to define this phenomenon, as it appeared in theoretical discourse. This art icle investigates a phenomenon of contemporary dance, which has never been theorized before (hereinafter “postfolk dance”). The author makes an effort to distinguish the term “postfolklore” (existing in the modern Russian folklore studies) and the term “postfolk dance”, introduced by the author, by using a comparison chart. The chart shows some similarities and differences in using the term “postfolk” in the studies of modern folklore and contemporary dance (six positions). As a result, “postfolk dance” is defined as quite a new phenomenon in professional postmodern choreography, appearing due to development of interdisciplinary processes and multimedia integrating in modern art techniques. Dance pieces of modern choreographers, where contemporary dance structure is combined with folk elements, creating a certain signature style, are given as examples, i. e. a subject of possible investigation.

Lower extremities, especially the knee region, are susceptible to traumatic injuries because of long-lasting hard landings and impacts. Most of the injuries described in the literature are associated with ballet. In this review study, the authors tried to present the traumatic knee injury patterns of the Anatolian folk dance. The Fire of Anatolia dance group consists of 82 dancers (37 males [45.1%] and 45 females [54.9%]) with the mean age of 27.96 (SD = 5.05) years (range: 18-38 years). The major folk dances of the region are Zeybek, Halay, Horon, Teke, Roman, Karsilama, Bar and Lezginka ("the Caucasian"). The dancers suffered from 9 orthopedic injuries requiring surgical treatment (3 meniscus tears, 4 anterior cruciate ligament tears, 1 posterior cruciate ligament tear, 1 patellar dislocation) during a 10-year period. The authors investigated solely the traumatic injuries of these folk dance styles and aimed at revealing the traumatic knee injury patterns in this case series and literature review. On the one hand, the Anatolian folk dancers experienced meniscus tears following frequent squats and twists on single leg stances, typical of Horon and Zeybek. On the other hand, anterior cruciate tears happened after jumps and landings in the Caucasian (Lezginka jump) dance. A posterior cruciate ligament tear was also seen after the Caucasian dance landing. The split figure in the Karsilama dance ended up with patellar dislocation. Certain dance figures seem to be related to specific types of injuries. Int J Occup Med Environ Health. 2019;32(5):585-93.

In view of the problems that current existing line dance movement and folk dance culture evolution models are time-consuming and computationally inefficient, this article proposes the line dance movement and folk dance culture evolution model based on ultra-gradient fuzzy rules. It ranks the line dance movement and folk dance cultures according to their evolutionary characteristics, establishes an evolution model based on the ultra-gradient fuzzy rules; then uses the local optimization schemes to add elite samples or delete weaker samples to the selected feature sets. It gradually conducts optimization operations during the evolution process of the line dance movement and folk dance cultures to reduce the overall computational costs. Finally, comparative experiments show that: the evolution quality and speed of the line dance movement and folk dance cultures of this model are better than those of other models, and can maintain better diversity in the evolution process of line dance movement and folk dance cultures.

Analysis and comparison of human motion are very important for games and virtual reality. In the case of dances, teacher's or professional performance is considered as the ground truth. To provide feedback to the learner, learner's movements are compared to the teacher's movements. Recording human motion using optical motion capture system is often considered as gold standard. In this paper, the problem of getting ground truth data has been analyzed. Professional dancers, male and female, were recorded performing folk dances, alone and with a partner using an optical motion capture system. Two cases for dancing in pair, one person was wearing the suit with passive markers, and both were wearing suits. Three-dimensional marker trajectories and quaternions were compared using dynamic time warping and multidimensional dynamic time warping. Initial results show that dances performed in pair are the most similar and could be used in the applications for learning purposes.

Many people of our age have lost touch with the subjective experience of the living body, and dance is one of the links that can take us back to a time when this was not so. Some folk dances have evolved in unbroken tradition from ancient religious cults. A dance still performed in some Greek villages is thought to derive from a Minoan ritual connected with the Theseus story. It is danced in a spiral, a form that has deep roots in nature and that is also associated with the labyrinth. Ritual labyrinths may have originated as danced figures. Accompanied by images posted on the Archive for Research in Archetypal Symbolism (ARAS), this chapter explores the symbolism of dance, the spiral, and the labyrinth, particularly in Minoan culture.

Among different exercise models proposed for individuals with Parkinson's disease (IwPD), the popularity of traditional forms of dance is increasing. The aim of this study was to evaluate the effects of Sardinian folk dance (Ballu Sardu, BS) on functional performance and motor and nonmotor symptoms in IwPD.Single-blind, randomized controlled pilot trial.Outpatient health clinic.Twenty IwPD (13M, 7F; 67.4 ± 6.1 years) were randomly assigned to BS (n = 10) or usual care (n = 10). The dance program consisted of two sessions/week, 90-min/class, for 12 weeks.Motor and nonmotor symptoms, as well as functional performance, were evaluated using different questionnaires and tests such as the Unified Parkinson's Disease Rating Scale Part-III (UPDRS-III), 6-min walking test (6MWT), Berg Balance Scale (BBS), Timed Up-and-Go (TUG) test, Five Times Sit-to-Stand Test (FTSST), Back Scratch Test (BST), Sit-and-Reach Test (SRT), instrumented gait analysis, Parkinson's Disease Fatigue Scale (PFS-16), Beck Depression Inventory, Starkstein Apathy Scale (SAS), and Montreal Cognitive Assessment (MOCA) scale.Repeated-measures analysis of variance revealed significant Time × Group interactions for UPDRS-III and functional variables such as the 6MWT, BBS, FTSST, TUG (all, p 0.001), BST (p = 0.04), and gait analysis parameters (stride length, p = 0.031; gait speed, p = 0.049; and gait fatigue index (GFI), p = 0.005). For nonmotor symptoms, significant Time × Group interactions for depression (p 0.001), apathy (p = 0.016), and MOCA scores (p = 0.012) were observed. Of note, for GFI and SAS, the BS group only showed a trend toward improvement, while the condition of the controls worsened significantly. No between-group differences were observed for SRT and PFS-16.BS is an enjoyable activity, which has been proved to be superior to usual care alone in inducing changes in different motor and nonmotor symptoms associated with PD. Results show that BS can be considered a safe tool for contrasting impairments observed in IwPD due to the intrinsic nature of the neurodegenerative disease.

Introduction. Folk dance is a form of physical activity which helps develop the ability to use the whole body in a coordinated way with music, and folk dancers’ characteristics vary according to the particular type of dance practised in a given geographic region. The aims of the study were to evaluate the effects of 12-week folk dance training on blood oxidative stress level, lipids, lipoproteins, as well as muscle damage markers and to define some physical and physiological properties of folk dancers. Material and methods. Thirty-eight healthy male folk dancers aged 21-28 years having an average of 11 years of dance training experience voluntarily participated in the study. All of the physical and physiological measurements and the blood analysis were performed twice, before and after the training period which focused on different regional dances (Caucasus, Bar, Zeybek, Spoon Dance, Thracian dances, and Horon). The training was done 2 hours per day (a total of 10 hours a week), during a 12-week-long period. Results. All the blood parameters were found to be within the specified reference ranges. The training programme had no significant effect on the blood lipid profile, whereas it was found to have positive effects on body fat (p ≤ 0.012), peak oxygen consumption (VO2peak; p = 0.000), muscle damage markers (creatine kinase, Δ% = −19.6), and total antioxidant capacity (p ≤ 0.002). Conclusions. Regular folk dance training was found to have positive effects on body fat, VO2peak, blood total antioxidant capacity, and muscle damage markers. Based on these results, the community should be encouraged to perform folk dance as a recreational physical activity, and public awareness should be raised about the health benefits of practising folk dances.

The purpose of the research is to theoretically ground and experimentally verify the effectiveness of the effect of artistic gymnastics exercises on the development of coordination abilities of female high-schoolers. To achieve the tasks set, the research used the following methods: study and analysis of pedagogical, scientific and methodological literature, interviews with experts, pedagogical observations, pedagogical testing, methods of mathematical statistics. Research results. The paper grounds and experimentally verifies the effectiveness of the effect of artistic gymnastics exercises on the development of coordination abilities in female high-schoolers. It proves that the use of exercises borrowed from artistic gymnastics in physical training classes of high school (particularly: with no object (specific movements, balance, turns and jumps) and with objects (skipping rope, hoop, ball)) and of auxiliary exercises (classical choreography, ballroom and folk dances, musical-rhythmic and acrobatic exercises) helps improve the ability to feel the rhythm, movement coordination, the ability to maintain balance and spacial awareness.

In this paper, we scrutinize the effectiveness of classification techniques in recognizing dance types based on motion-captured human skeleton data. In particular, the goal is to identify poses which are characteristic for each dance performed, based on information on body joints, acquired by a Kinect sensor. The datasets used include sequences from six folk dances and their variations. Multiple pose identification schemes are applied using temporal constraints, spatial information, and feature space distributions for the creation of an adequate training dataset. The obtained results are evaluated and discussed.

This paper aims at designing and constructing an ontology, representing and allowing Vietnamese folk dances annotation. An effective approach proposed is based on movement analysis. It is possible to divide Vietnamese folk dances into basic units, then movement phrases, movement primitives and dance poses. Studying deeply Vietnamese folk dances features and characteristics allows to find out 5 different types of relationships between main dance components. Typical relationships could be written in the form of logical predicates. For enriching ontologies, a formal encoding of the ontology expertise knowledge in the domain is performed by DL-Lite. The paper uses OWL-2 for building, organizing and visualizing ontologies. A case study — Mo folk dance with a knowledge base, is structured simply but effectively, with reasoning in DL-Lite and answering queries in SPARQL.

In this study, it was aimed to determine the effect of Artvin region and Antep region folk dance program applied for 12 weeks on some physical fitness parameters on children at primary education level. The study aimed to examine the development of some of the motoric characteristics of folk dance studies of different regions applied in the 9-10 year old children two days a week. In Gaziantep region, 12 girls and 7 boys (X age =10±0.61), totally 19 children, and Artvin region as 10 girls and 5 boys (X age =10), totally 15 children participated in the study. Flexibility, Vertical Jumping, Stopping Long Jump, 20 m Sprint test values were evaluated before (pre-test) and end (test) 12 week application. For the analysis of the data, Wilcoxon t test was used in non-paramatic tests in SPSS 20 package program. There were significant differences in sit-in, vertical jump (p

The Bratachari movement, officially inaugurated in 1934, was shaped by the bodily anxieties of educated middle-class Bengalis and aimed at the all-round development of the body, mind and soul through the invention of a specific tradition. Though the founder of the movement, Gurusaday Dutt, attempted to construct a ‘martial’ genealogy for the ‘effeminate’ Bengalis through adequately ‘masculine’, ‘indigenous’ folk dance forms, the ideology around which the movement was built was not entirely ‘indigenous’. Indeed, it seemed to borrow from the English agenda of the revival of folk traditions and the German idea of Volksgeist to a large extent.