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Literature abounds on the way gender issues are foregrounded in both literary and non-literary texts. Many of these studies, especially from the linguistic perspective, fail to pay attention to how proverbs and figurative expressions are used to expose feminist ideology in discourse. This study, therefore, considers the way these cultural elements are used to express the feminist beliefs of Femi Osofisan in some of his drama texts to lend credence to the argument that every genre of text and talk is capable of bearing ideological nuances. The study deploys Norman Fairclough's socio-cultural model of CDA which incorporates aspects of Systemic Functional Grammar (SFG) as theoretical model. Three of Osofisan's drama texts, which mostly express his feminist tendencies; Morountodun, YungbaYungba and the Dance Contest and Tegonni: An African Antigone are purposively sampled to explain the expressive capabilities of women. Proverbs and figurative expressions are subjected to descriptive linguistic analysis to bring out the underlying gender rhetoric. Osofisan projects women's ability to use proverbs and figures of speechto express power. There is the overriding feminist ideology of women as expressive and dynamic in the texts. [ABSTRACT FROM AUTHOR]

This article analyzes the tacit norms of embodied turn-taking in a specific dance activity, Lindy Hop jam circles. Building on an extensive tradition of scrutinizing turn-taking in conversation, it shows how dancing couples negotiate the right to a next turn by visual means. Using multimodal interaction analysis, the article dissects the behavior of the exiting couple, the next dancing couple, and the spectators. The analysis shows that music is but one factor in turn-taking, and that maximally three publicly visible steps are necessary for a successful entrance: displaying "couplehood," displaying imminent entrance, and occupying the exclusive central space. In a case of competition the dancers' speed and determination are decisive. [ABSTRACT FROM AUTHOR]

In the United States dance competition culture and commercial dance are both highly visible. Although connections between the two distinct dance worlds are implicitly present, they remain largely unexamined. To begin a conversation about how commercial dance and dance competition culture relate and their influence on dance education, this article provides a contextualization of nine dance competition teacher/choreographers' perceptions of how commercial dance and dance competition culture inform each other. Interview data reveal the impression of a strong, tangible link between commercial dance and dance competition culture, and that overlapping values point to a symbiotic relationship between the two. The positioning of commercial dance and dance competition culture as popular and accessible has a direct influence on how Americans consider and engage with dance. As such, examining dance competition teacher/choreographers' experiences provides valuable insight into the role of dance and dance education in the US. [ABSTRACT FROM AUTHOR]

Background: The indigenous beads-making industry in the Krobo communities in Ghana plays a significant role in improving the livelihood of rural dwellers and the national economy. However, studies have demonstrated that a host of indigenous industries in Ghana have been on the decline over the past century. Application of knowledge management (KM) methods to beads-making tacit indigenous knowledge (IK) can enhance the management and preservation of the industry in the same systematic manner as external knowledge. Objective: Being part of a PhD project, this study investigated how KM methods can be used to manage beads-making IK knowledge in the Krobo communities in eastern Ghana. Method: Qualitative data were collected using participant observation, semi-structured interviews and focus group discussions. Data were analysed thematically, and extracted manually from the transcripts and summarised into various themes. Results: The findings of the study revealed that the socialisation process of the knowledge creation model was intensively practised in the beads-making communities to create and utilise knowledge, while the internalisation, combination and externalisation processes were practised at a low rate. On the contrary, organising 'ba' and dialoguing 'ba' were practised and found in the communities, while systematising 'ba' and exercising 'ba' were rarely practised. Conclusion: The study concludes that the knowledge creation model can be partially used to manage indigenous beads-making IK in the Krobo communities in Ghana. The study recommended, among other things, the need for officials of community radio stations, especially state-owned radio and the information centres in the local communities, to develop and broadcast programmes to disseminate information relevant to beads producers so that beads-making knowledge creation and development in the communities do not disappear, and that they should utilise storytelling, drama, traditional dance and singing competitions in the local languages to support the preservation of indigenous beads making. [ABSTRACT FROM AUTHOR]

Background. Simultaneously manifested collaboration and competition capabilities are coordinated. This harmony is determined by social interdependency of participants of the activity. It is also true about the dancesport activity. Dancesport dancers mostly compete for higher results, but collaboration is obligatory in order to achieve that result. The problem question was what the educational presumptions of the coordination of collaboration and competition in the dancesport activity are. The research aim was to create the conceptual model of the educational presumptions of the coordination of collaboration and competition in the dancesport activity. Research method was theoretical analysis and synthesis. The results of theoretical analysis are generalized and incorporated into the conceptual model. Discussion and conclusions. The theoretical model of the educational presumptions of the coordination of collaboration and competition in dancesport compiled and presented on the basis of the analysis of scientific literature reveals the conceptual basis of the educational presumptions of the coordination of collaboration and competition in dancesport. Dancesport dancers act and strive for sport and personal goals by using collaboration and competition capabilities, coordinating them and reaching the higher form of coopetition (harmony). The model of the educational presumptions of the coordination of collaboration and competition in dancesport is based on the analysis of literature about the forms of the interpersonal interaction both in the social environment and sport activity, manifestation of discussed forms of the interaction and theory of empiric learning including capabilities. [ABSTRACT FROM AUTHOR]

DanceSport belongs to the conventional group of sports, the basis of which is built upon structures of movement synchronized with some aesthetic criteria. The main goal of the research was to determine the interdependency of the components which are judged in DanceSport, using the Judging system 2.1, according to which, one should make a judgment about the validity of choosing the components which describe the successfulness of the competitors' performances. For the purpose of research, the performances of Adult couples were analyzed on the European and World Championship as well as on 6 Grand Slam tournaments (which were the highest level competitions in 2016) and both in Latin and Ballroom dancing disciplines. The research represents an observational and exploratory ex post facto study, in which the marking of couples, on 8 most important competitions in 2016, was analyzed and observed. 629 performances were analyzed. The collected data were the marks given for certain components by 12 dance judges (3 marks for every of the 4 evaluated components), and they were submitted for a descriptive statistical analysis, as well as the analysis of the differences between marks formed according to the criteria based on the level and category of competition. The analysis of the results gave a highly important interconnection between the components which were judged, between the marks of the judges for certain components, as well as between marks for different dances. It was concluded, based on these results, that there was a need to change the current system of judging regarding functionality issues. [ABSTRACT FROM AUTHOR]

Since the 1980s, Japanese dancers have won top prizes at some of the most demanding international dance competitions, and several have been promoted to the top ranks of major dance companies around the world. In this article, I explore the interplay between Japanese dancers and Western centers of dance, focusing on the paths and decisions dancers took as they went abroad to further their careers. As part of this movement, Japanese dancers are sometimes identified as such though their numbers have grown and they have become part of a globalized dance scene. At the same time, the paper explores the relationship between the development of a bodily habitus necessary to become a dancer and the artistry involved in communicating a message or emotion through the body. I argue that dancers understand their movement and growth as artists in relationship to their technique and artistry. [ABSTRACT FROM AUTHOR]

Sequential evaluation is the hallmark of fair review: The same raters assess the merits of applicants, athletes, art, and more using standard criteria. We investigated one important potential contaminant in such ubiquitous decisions: Evaluations become more positive when conducted later in a sequence. In four studies, (a) judges’ ratings of professional dance competitors rose across 20 seasons of a popular television series, (b) university professors gave higher grades when the same course was offered multiple times, and (c) in an experimental test of our hypotheses, evaluations of randomly ordered short stories became more positive over a 2-week sequence. As judges completed repeated evaluations, they experienced more fluent decision making, producing more positive judgments (Study 4 mediation). This seemingly simple bias has widespread and impactful consequences for evaluations of all kinds. We also report four supplementary studies to bolster our findings and address alternative explanations. [ABSTRACT FROM AUTHOR]

Ethnographers have amassed a large body of literature on exotic dance and strip clubs. However, this literature contains little information about strip club managers and the work they perform “behind the curtain.” This article draws on participant observation in strip clubs and semistructured interviews with managers of strip clubs to explore how managers must work to mitigate the consequences of a payment and staffing structure that exacerbates competition between dancers for tips. Managers are keenly aware of the negative effects of competition between dancers, and they employ motivational tactics to manage the dancers through economic precarity, such as normalizing uncertainty, encouraging self-blame, and using “teamwork” discourses to inculcate a sense of solidarity among dancers and to diffuse the competitive environment in strip clubs. This article reveals how managers strive to normalize and legitimate the precarious work of exotic dancing, contributing to the literatures on exotic dance and tipped employment. [ABSTRACT FROM AUTHOR]

Cognitive and emotional ability are relevant during sport assessments and decision-making. This study explored the impact of vigilance, perceived effort, and mood state of DanceSport adjudicators during a High Level Competition. Thereby, seven international adjudicators completed Borg's Rate of Perceived Exertion (RPE) Scale, BRUMS questionnaire and Attentional Task (Psychomotor Vigilance Task - PVT) before and after a dance competition. The results indicated differences in RPEs (p = .05) with a high RPE after competition (pre competition M = 9.14, SD = 2.67 and post competition M = 13.71, SD = 3.30). Furthermore, their mood tension and vigor, resulted negatively affected after competition. Moreover, younger adjudicators produced more anticipations than older ones to the reaction to external stimuli. In conclusion, DanceSport competitions entail physical, emotional and cognitive changes that could affect the quality of decisions while judging. [ABSTRACT FROM AUTHOR]

The article offers information on the dance and modernization in late 20th century in Montreal, Quebec including amateur and semiprofessional dancers, dance competition and sudden embrace of modernity. Topics include forces of traditionalism, immigrants transforming the possibilities for cultural renewal and musicians.

Purpose. To determine the energy expenditure in dancers and the nature of energy transformations which take place during a simulated final round of sports dance competition in standard style. Methods. The study involved 6 sports dancing couples in highest dance classes (4 couples in S class, 2 couples in A class) according to WDSF (World Dance Sport Federation). There were two phases of the study. The first phase was to determine anthropometric indices, the second - to carry out a simulation of a tournament round in standard style. During a simulated final round of sports dance competition, heart rate (HR) and lactate concentration (La−) were measured, respiratory indicators were recorded (VO2, VCO2, RER), and energy expenditure was calculated. Results. The VO2 values rated during each round differed statistically significantly between the group of men and women, (34.59 ± 3.82 ml · min−1 · kg−1 and 44.18 ± 4.34 ml · min−1 · kg−1; F = 41.07, p = 0.01). The mean respiratory exchange ratio was 1.08 ± 0.07 in men and 1.06 ± 0.07 in women. During a round, the lactate concentration increased, and at the end, after the last dance, it reached the value of 12.9 ± 2.1 mmol · l−1 in women and 13,3 ± 2.7 mmol · l−1 in men. The energy expenditure after the completed round in men was 16.6 ± 1.3 kcal · min−1 and was higher than in the group of women, 10.7 ± 1.0 kcal · min−1 (F = 3.67; p = 0.01). The highest energy expenditure in all subsequent dances was noted during quickstep. Conclusions. The study results complement the knowledge on the intensity of dance effort and confirm that the dance effort during sports competition is one of the heavy forms of physical activity based on aerobic and anaerobic energy processes. Therefore, the periodization of dance couple training process should considerably take into account the implementation of training loads that would help building solid aerobic and anaerobic capacity. [ABSTRACT FROM AUTHOR]

Background. The paper deals with the precompetitive emotional state of dancesport athletes before competition. Research aim was to analyze pre-competition emotional state of dancesport athletes. Methods. The pre-competition emotional state of dancesport athletes was established using methods of indepth interview and participant observation. The main reasons for different types of emotional states were identified, and finally, recommendations for athletes and coaches how to overcome immoderate anxiety interfering with good competition results were developed. Results. Precompetitive emotional state before competition may be described as a complex multi-faceted phenomenon which consists of different psychological categories such as: anxiety, arousal, stress, self-confidence, concentration. The results of the interviews and participant observation showed that precompetitive emotional states of the dancesport athletes were both positive and negative. Positive emotional state was shown by the majority of participants. There were found six reasons of positive emotional state and five reasons of negative emotional state as well. Conclusion. To overcome the negative emotional state or reinforce positive emotional state before the competitions it is suggested to listen to pleasant music, do breathing exercises or do the mental exercise. The choice depends on the personal characteristics of athletes. [ABSTRACT FROM AUTHOR]