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Copyright of Veritas is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The author discusses the photographs appearing in "The Beautiful Book" by artist Jack Smith. Topics include the orientalism present in the photographs, the influence of dance particularly that of dancer and choreographer Ruth St. Denis, and the presentation of gay identity.

The article looks at dancers as creators, agents, guardians of aesthetic standards, and artists. According to the author, dance is an art form only if it can be and is performed in an aesthetically interesting manner. The article discusses the difference between passive and active dancers, aesthetic education of the dancer, and how the aesthetic embodiment in dance is connected to the expressive capability of the dancer.

The article discusses the art of dance. The nature of dance involves communication through movement. Dancers and allied performing artists are the ones assigned to incorporate any ism to their artistic work. Dance content which is embodied in existential form must be understood by the viewer before encountering the silent vocabulary of movement. While the content of the dance as art media are embodied through the body, viewers not only see what the performing instrument conveys , but they become aware of the feelings and thoughts of the choreographer.

Veteran breakers have always viewed their dance as a form of art, but the public often views it as a competitive sport, trying to standardize and commercialize this dance as other forms of physical education often are. The World Dance Sport Federation has recently succeeded in adding 'breakdance' into the Olympic movement and the first ever Olympic event of its kind took place during the 2018 Youth Olympic Games in Buenos Aires. Twenty years of historical hermeneutic research, ethnography, and social-scientific analysis have revealed a development trend in which the art of breaking has been becoming more and more similar to competitive sports, but these veterans believe that breaking is best encouraged to continue realizing its social, cultural, and artistic values. In order for more people to be able to enjoy the full range of its potential benefits, breaking should not be made to lose its unique characteristics during assimilation into the world of sports. [ABSTRACT FROM AUTHOR]

Focuses on the value of creative dance in the U.S. Ways for children to express and communicate ideas, attitudes, thoughts, and emotions through movement; Contribution of creative movement to physical skills in terms of body awareness, flexibility, coordination, and spatial awareness; Significance of preliminary movement activities for building a movement vocabulary.

An introduction to the journal is presented in which the authors discuss articles about dance and the visual arts in the twentieth century including "The dance of the future: Wassily Kandinsky's vision, 1908-1928," "Aaron Douglas and Katherine Dunham: The exploration and legitimization of African and African diasporic roots" and "Gertrud Kraus's imaginative acts at the intersection of dance and the visual arts."

This essay establishes distinctions between dance, an art of affirmation and convergence, and performance art, an art of relation and divergence. While dance generates new dimensions of time and space, performance art reconfigures the various elements it employs. Thus, in dance, interpretation always corresponds to an authorial role, evident in the dancer's quality of presence, unique to each performance. This problem engaged modernists, who advocated the use of the machine or puppet in place of flesh-and-blood performers, distancing dance from the concerns of Futurists and performance artists. [ABSTRACT FROM AUTHOR]

One can best glean painter Wassily Kandinsky's contribution to ideas about dance by looking at the totality of his writings. Kandinsky conceptualized dance as part of his theories for a new abstract art in his major book Concerning the Spiritual in Art. I consider his 1912 statement on the dance of the future as a modernist statement in its time. Kandinsky's idea for a new form of theater, Bühnenkomposition, incorporated dance, as his script for The Yellow Sound demonstrates. His later writings in Moscow and at the Bauhaus in Weimar and Dessau reveal his concern for what the modern dance might achieve. In 1928, Kandinsky finally realized his ambition to stage a new form of synthetic theater in a production of Mussorgsky's Pictures at an Exhibition. [ABSTRACT FROM AUTHOR]

The art historian Leo Steinberg regularly recommended imitating the poses of figures depicted in artworks as a means of understanding the motivations of the figures. Such an approach was related to the concept of Einfühlung, or empathy, which had been discussed in German aesthetic circles in the late 1800s. But when Steinberg began to use the approach, it was also associated with the world of dance, a sphere with which he was also familiar. This essay considers Steinberg's method in relation to the discursive traditions of art history and dance theory, detailing connections while also acknowledging distinctions in motivation. [ABSTRACT FROM AUTHOR]

The article explores the trends and aspects of modern ballet dancing. It highlights the performance "Edgar Degas: A Strange New Beauty" that was performed at the Museum of Modern Art, featuring aspects of dance choreography, ballet dance mastery and casting for the dance performance. It also notes on the influence and contribution of ballet dancing in popular dance performances.

The article offers information on the issues related to the teaching music, dance and drama in schools as compulsory subject. Topics discussed include information on the role of the arts for the economic development; discussions on the role of fine arts in helping children with autism spectrum disorder and improves memory and lessens anxiety; and the information on the role of the fine arts in providing the ethnic identity to various groups.

This research aimed to measure the ability of creative thinking of dance students who became choreographer in Education University, in which their final project was creating a dance or dance creation. The method used for this research was correlative study, it was used to give a clear description of the correlation between predictor variable (ability of creative thinking) and respond variable (assessment of dance performance). The sample was collected by using purposive sampling. Based on the result, it was found that rsum was 0.510, while rtable for respondent n = 17 with significant scale 0.05 was 0.482. This meant rsum was bigger than rtable, and that meant there was correlation between the ability of creative thinking and dance performance. Significant test showed that zero hypotheses was rejected, it meant that there was significant correlation between creative thinking and dance performance. The result was table 1.75; and t sum was 2.3. It showed that H0 was rejected and H1 was accepted. It could be concluded that there was positive correlation between creative thinking and dance performance. Based on the coefficient determinant of the research result, it was found that the ability of students creative thinking was 25.96 percent, meanwhile 74.04 percent was determined by other factors which influenced dance performance. [ABSTRACT FROM AUTHOR]

The flourishing scholarship on gender and humor in recent decades has focused on written texts, film, and stand-up comedy to the near exclusion of performing arts genres--particularly those that do not use written or spoken language, such as dance and instrumental music. This article examines The Race of Life (1937-38), a collaboration by modern dancer Doris Humphrey and composer Vivian Fine. Based on a series of drawings by James Thurber, the Humphrey/Fine production alters both the order and content of Thurber's graphic narrative, ultimately creating a different interpretation that privileges women characters and female perspectives. Building on work by Regina Barreca, Joanne R. Gilbert, Kathleen Rowe, and Nancy A. Walker, this article argues that The Race of Life exemplifies how creative women in the performing arts used humor, dance, and music to satirize misogynist stereotypes of womanhood (such as "bitch" and "vamp") that were widely circulated during the Depression era. [ABSTRACT FROM AUTHOR]

Art, as nonconformist as it is gives us a chance, of being different than we were by that time, the chance to discover the others, to discover ourselves and new things. Dance may be a show about identity and overcoming existential crisis. Art Dance receives a pulse regenerator today. The proposed experiment, revealed the interest of young people to benefit from organizing as many programs aesthetic dance halls and outdoor as possible, and that the effects of these programs are felt by the participants. It also emerges the moral and social benefits, the idea of continuation of the project and extending to the population of the municipality in as many areas of the county as a "dance aesthetic, aesthetic musical background at mass level. [ABSTRACT FROM AUTHOR]

Art in traditional, religious and ritual cultures is a suitable context for manifestation of theosophical (mystical), spiritual and narrative implications, thereby researching these artworks can lead us to the exploration of encoded content will and perception of symbolic meanings. The symbolic expression in ritual dances is one of the most important branches of art studies that can be researched from sociological, religious and theosophical aspects generally as cultural studies, aesthetic characteristics and the contents of artworks. Ritual dances are among the most attractive areas containing mystical, religious and narrative concepts in addition to having aesthetic aspects of movement forms which could be realized in consecution of time and space. They are formed based on different civilizations and mystical knowledge or narrative themes, mythology and history which, in some instances comprise similar meanings as it seems the same meaning is expressed in two or more forms. The important thing here is the presence of diversity in forms of shapes and aesthetic aspects of expression to manifest the meaning. Art, as the most beautiful form of expression could provide the greatest appearance for manifestation of meaning and the intention of artist. Most of the religious, sacred and traditional art due to the dominancy of content over appearance, have found symbolic and mystic expression; these symbolic characteristics, per se does not resemble art symbols but beyond this, the symbolic features must convey artistic concepts not only in gestures and movements but also in writing as well. The conceptual function of these symbolic and metaphoric features in form and appearance is considered merely as a subordinate affair, otherwise the intention and purpose of the artist could not be emerged at higher and transcendental level. This rule applies in all areas of the arts, especially dance and music. The Shiva dance in India and the Sufi whirling dance among the followers, comprise a set of movements with aesthetics features both arisen from their equilibrium with nature, as these two dances in from and shape are categorized as cosmic dances so that the mystical concepts are associated with their contents, although in terms of appearance they are quite apart from each other. This article is based on the premise that such a ritual dances as Shiva Dance and Sufi whirling dance despite appearing in different times and places and having distinct characteristic features in appearance both express a common fact and reality which represent symbolic and mystic characteristics with conceptual and celestial contents. [ABSTRACT FROM AUTHOR]

This article focuses on the behaviour of the African body in performance as well as the internal organisation of the songs. In focusing on the body and mechanics of songs I want to investigate how the African body and vocal skill reflect, mediate and challenge the relations of domination and subordination between western dramatic theatre and indigenous cultural text. What identities of theatre emerge out of this process and how are they produced? I argue that Zimbabwean alternative theatre makers created a deconstructive theatre aesthetic, which adopted and separated elements of dramatic theatre for use in a radically new way. While the content of songs resists Rhodesian discourse, some of their stylistic features are adapted from western music making the notion of resistance an ambivalent one. [ABSTRACT FROM AUTHOR]

In this article, the author explores whether or not professional dancers should become critics for the field in which they are trained. Particular focus is given to insights raised from the 1891 essay "The Critic as Artist," by the writer and poet Oscar Wilde. Topics examined include the significance of dance training, how dance relates to neuroscience and the basis of aesthetic evaluation. The author suggests that dance training offers critics different neural and perceptual responses to observing dance.

This study investigated the issue of subjectivity in dance cognition by examining the amount of agreement in continuous "engagement" responses made by 12 observers to a semi-improvised dance work. Continuous judgments of engagement were collected using the portable Audience Response Facility, which sampled ratings from participants twice a second. Sample-by-sample standard deviation (SD) scores were used as a measure of observer agreement. SD varied from 19% to 34% of the total engagement scale range. Seven regions of good agreement were identified and analyzed. Sections where expectations were not interrupted were more likely to produce good agreement. A further analysis examined the effect of window size (bin width of one sample, up to 11 samples) and alternate measures of observer agreement (50% interpercentile, 90% interpercentile, and median absolute deviation, in addition to SD) on results. Window size made the least difference to the analysis of observer agreement. The results counter the views that dance response is too subjective to be worthy of experimental investigation, or that it lacks subjective, intertextual components. [ABSTRACT FROM AUTHOR]

The paper explores the theoretical necessity and practical possibility of collaboration between dance and architecture, specifically from the perspective of the architect. Space and time are the common mediums in which both exercises operate and are therefore the basis for the collaboration. TIME: The dancer in space introduces the consideration of time-the movement of the body in space. This reveals a quality that traditional, static proportions and measures can never achieve. SPACE The dancer explores all the potential orientations and interactions between the two. This process of discovery in turn reveals certain experiential qualities of inhabiting a space that would otherwise remain unseen. The possible relationships between space and the body become part of the spatial experience whether or not they are employed. The body is pushed and pulled by the possibilities of its movement in space. Being able to see these possibilities through the dancer, the explorer of space-time, provides another important layer of understanding in the phenomenology of built space. These concepts are explored first from a theoretical perspective and then through the process of developing a collaborative performance between the School of Dance and the School of Architecture at the University of Arizona. [ABSTRACT FROM AUTHOR]

The article focuses on the collection of scene designs offered by the Harvard Theatre Collection in the U.S. It mentions that the dance holdings, were formed by the acquisition of private collections, which includes, costume and scene designs. It mentions that the set designs for opera in the nineteenth century were published in the sets of engravings and lithographs.

Interdisciplinary creative practice in the arts provides a fertile context for innovation and research. By crossing disciplinary boundaries and engaging in collaboration with other artists, dancers have developed new genres, including film/ video/ digital dance for camera. I consider the creation of digital dance, drawing on a feminist and phenomenological perspective that emphasizes embodied experience. I am interested in exploring how digital dance making can be re-conceptualized from a dancer's perspective, rather than from a film-maker's perspective. Drawing on Rosenberg's (2000) understanding of video/digital space as a site for dance, I explore the nature of lucid imagery and non-representational liminal imagery. [ABSTRACT FROM AUTHOR]

Art is considered a defining feature of the human psyche, a humanness that distinguishes us from all other creatures. Scientists regard art - communication in word, paint, sound, and motion - fruit of the human brain's sophistication. The desire to revel in self-awareness and connection with the world inspires us to communicate these experiences. This impetus to create has blossomed through the ages. Humanity knows itself through its traces of the muse. [ABSTRACT FROM AUTHOR]

Abstract: In this paper we ask, who does cultural policy serve? We test the applicability of two theoretical approaches that explain the motivations that underlie public funding of the performing arts. One approach emphasizes the role of cultural policy in making the arts accessible to the wider public. The second approach emphasizes how cultural policy facilitates processes of hegemony–distinction. Using data from Israel, we document trends in the public funding of arts organizations in the domains of dance, orchestras, theater, and opera over a period of 48 years. Employing a time series analysis, we demonstrate how these trends in funding are associated with changes in level of education, ethnic composition, and level of income in the population. Our main conclusion is that in terms of how funding responds to changes in education and income—support for the performing arts in Israel benefits the wider public. However, in terms of how funding responds to changes in the size of ethnic groups—support for the performing arts in Israel caters to elite interests. This intricate set of relationships is discussed in the light of the two theoretical approaches. [Copyright &y& Elsevier]

Since the development of interdisciplinary practice, dance has fashioned and cultivated many relationships with other art forms. In this search to uncover new territory choreographers often merge art forms to facilitate the broadening of their field. Writing has always been a successful tool in the communication and critique of dance performance. However, writing has also played a considerable role in the process of creating dance, yet this association remains under-represented. This writing aims to demonstrate some of the ongoing and recent perspectives that dance and writing have nurtured, paying particular attention to the act of creative writing and dance in a collaborative partnership. This investigation concerns itself with the act of writing as creative discourse, presenting the argument for the writer to be considered an invaluable partner in the creative process. Through practical research, a case study was carried out examining the ongoing collaboration between choreographer Rosemary Lee and writer Niki Pollard. The findings from this research provide evidence of how modes of writing can contribute to choreographic investigation, providing a performative research bridge between practical and theoretical negotiations. [ABSTRACT FROM PUBLISHER]

This paper investigates teaching artists in the USA whose work is rooted in dance and dance-related disciplines. Teaching artists, although the descriptor itself remains both ambiguous and debated in the USA, provide a good deal of arts education delivery in K12 schools and afterschool programs. Based on survey data from a range of dance teaching artists across the nation (n = 64), the study presents emergent themes including: (1) insufficient preparation, (2) obstacles and challenges in the workplace and (3) diverse perspectives on teaching artist professionalization and credential programs. The paper concludes with recommendations for post-secondary (tertiary) curriculum development in dance programs. [ABSTRACT FROM PUBLISHER]

While perfectionism is a personality characteristic that may energise heightened achievement striving and lead to considerable success, it may also elicit a range of maladaptive processes which undermine motivation, impair performance and contribute to psychological distress. This paper is informed by research on perfectionism in social, clinical and sport psychology. It presents evidence to suggest that perfectionism may have paradoxical effects on those seeking to excel in sport, and warns that the same debilitating processes may be observed in other performance contexts. After first outlining the nature of perfectionism, the paper attempts to differentiate perfectionism from adaptive achievement striving, and explain the process by which perfectionism may undermine the quality of motivation and contribute to burnout in aspiring athletes. It then presents evidence to demonstrate that this characteristic may have similarly debilitating consequences in the performing arts. Finally, the paper offers some practical strategies for those working with performing artists exhibiting perfectionistic tendencies. These strategies focus upon modification of psychological mechanisms which underpin debilitating patterns of cognition, affect and behaviour, and they suggest how perfectionism and its destructive effects might be successfully managed in performance contexts while enabling individuals to sustain high quality motivation in their pursuit of excellence. [ABSTRACT FROM AUTHOR]

The starting point of the paper is represented by the desire to erase the barriers between theatre and dance, strongly affirmed by both Grotowski and Barba in their theoretical writings. This idea also guided their work with the actor. The approach allows the author of the paper to emphasize the unifying principles which represent the basis of Grotowski's different creation stages (Laboratory Theatre, Theatre of Sources, Art as Vehicle) and which can be encountered in his work on the body (of the actor, of the Performer). This refers to work on movement techniques, on the impulses and organic processes that take place inside the actor, allowing him to become not just a plastic instrument, but "a body-memory", "a body-life" opened towards the spiritual. On the other hand, by evoking Barba's admiration of the oriental actor, the author analyses the director's reflections on the actor-dancer and on the fusion between theatre and dance, which allows him to create a "fictive body", an "artificial body", a "dilated" body, through which the world of emotions and thoughts becomes visible. [ABSTRACT FROM AUTHOR]

The article focuses on films that depict art forms by connecting dance movements and statutes. The 1968 film "Hand Catching Lead," by Richard Serra enabled the connection of the bodily movements of a dancer to an operated material that allowed the creation of a formless projected image. The film "Witch's Cradle," by Maya Deren is also discussed.

Copyright of Revista del Centro de Investigación Flamenco Telethusa is the property of Centro de Investigacion Flamenco Telethusa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on several dance exhibitions and dance performances. They include "Beat Nation: Hip Hop as Indigenous Culture," held at Grunt Gallery in Vancouver, from June 26-August 1, 2009, "Dance with Camera," held at the Institute of Contemporary Art of the University of Pennsylvania in Philadelphia, and "While Bodies Get Mirrored: An Exhibition about Movement, Formalism and Space," held at the migros museum fur gegenwartskunst in Zurich, Switzerland, from March 6-May 30, 2010.

The author discusses Guru Shri Surendranath Jena Dance School located in Ural. A brief history of the Indian dance art in Russia is provided. The author describes a dance style of Guru Surendranath Jena performed by her daughter through a composition named "Mangalacharanam-Amba." A discussion on three dance streams in the world that could be classified as classical is given, classical ballet, classical flamenco and classical Indian dance.

The experience of dance, of bodies moving in space, might reasonably be considered as ineffable – as located in our tacit or embodied knowledge but beyond the scope of articulation in language. Responding to this perception, this paper explores the process and findings of a project that used visual arts workshops to uncover audience experiences of a dance performance. The paper engages with questions of epistemology and research methodologies, considering the transformative impact of the research process on the articulation of experience. In particular it discusses how the production of creative art works allowed for a kind of communication different from language, exploring the impact of drawing on participants' representations of their experience of dance through factors such as process and time, materiality and medium, choices in representation, and chance and instinct. By reading from the art works to the participants' own interpretations of their art works and back again, the paper suggests that the act of visual expression both transformed and made present audience experiences in a manner that reveals a new visual or presentational knowledge of dance. [ABSTRACT FROM AUTHOR]

This article investigates how written and spoken discourse has influenced dance pedagogy, performance and choreography in Palestine (and subsequently the Occupied Palestinian Territories) during the last 150 years. This includes an analysis of imperial, nationalist and Islamist cultural commentaries through published literature and public oral forums on Palestine. Whilst these verbal expressions are varied (and include travel accounts, anthropological studies, critical reviews, artists' reflections and political debates), they share an interest in critically appraising the value of local dance activities. The historical review leads into a consideration of how foreign hegemony and subsequent shifts in domestic politics can influence dance writing and present obstacles to dance artists working within such politically marginalised and collectively traumatised population groups. It concludes with a review of strategies for how critical discourse may be made more inclusive and sustainable. The article draws upon ethnographic, historical and action research undertaken within the West Bank city of Ramallah between 2000 and 2007. [ABSTRACT FROM AUTHOR]

Copyright of Musicology of Lithuania / Lietuvos muzikologija is the property of Lithuanian Academy of Music & Theatre and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)