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The article focuses on the interwoven Indigenous and diaspora identities of the author's family on the island of Guåhan. Topics include the interconnected histories of Black and Indigenous Pacific peoples, the narrative of family discovery that challenges dominant representations of Guåhan, and the author's choreographic practice as a means to engage with and honor her ancestral heritage.

As cultural boundaries expand, symbols of cultural identity, like dance forms, evolve in terms of content and practice. Bharatanatyam, originally a temple dance, originated in the Hindu culture and had long been considered a religious art. However, the art form has gradually expanded its scope beyond its religious context. Contemporary evidence suggests that artists increasingly engage in performances addressing themes that are secular and even compositions based on other religious beliefs, but not without challenges. This article brings to light the evolving religious aspects of Bharatanatyam and investigates novel elements being introduced by cross-religious practices, such as thematic innovations, choreographic patterns and symbolic representations. By analysing data from in-depth interviews with twenty artists from diverse religious backgrounds, the authors argue that religious conservatism in society hinders the evolution of art forms such as Bharatanatyam that have the potential to adapt across and beyond religions [ABSTRACT FROM AUTHOR]

Steve Paxton presented a series of three solos at Danspace in St. Mark's Church in New York City in May 1999, spanning over 30 years of choreography. The first piece, "Flat" from 1964, showcased Paxton's stillness and methodical undressing and redressing movements. The second piece, "Some English Suites" from 1991, featured Paxton's improvisational dance to J.S. Bach's music, displaying his fluidity and unique movement vocabulary. The final piece, "Ash" from 1997, told a story of Paxton scattering his father's ashes, blending movement and spoken word to create a poignant and theatrical performance. [Extracted from the article]

Background: Scholars have suggested that students' views of what is important for them to know as Physical Education (PE) teachers are a result of what is assessed in Physical Education Teacher Education (PETE). Thus, there is a risk that students will reproduce content areas such as sports and assess sport-techniques without much critical consideration. In this study, however, the risk of reproducing what is prioritised in PETE is seen as an opportunity regarding the potential reproduction of other content areas than sports. Based on the regulative principles of PE and PETE that privilege sport skills and hinder creative movement learning, we focus on a content area in PETE that provides opportunities for students to engage in creative collaboration and examine how this content area is realised in school PE. Hence, we have chosen to explore 'Movement Composition', a content area which has a long tradition at one of the PETE universities in Sweden. Based on an overarching interest in whether and how PETE matters, this exploratory study focuses on the potential transferability of Movement Composition as a particular content area in the transition from PETE to PE. Purpose and research question: The purpose of this study is to explore Movement Composition as a content area undergoing the transition from PETE to school PE. The research question is: How is the pedagogic discourse of Movement Composition constructed, recontextualised and realised in the transition from PETE to school PE? Methods: Data was generated through an interview with one of the initiators of Movement Composition. Stimulated Recall interviews and Zoom interviews were also conducted with a group of five PETE students and three experienced PE teachers. In addition, documents such as the study guide, course literature, and written assignments associated with Movement Composition in the PETE programme were included in the empirical material. In the analysis, the combination of Bernstein's pedagogic device and the Swedish didactics of PE research tradition was used to identify the pedagogic discourse of Movement Composition in the transition from PETE to school PE. Findings: The findings show how the pedagogic discourse of Movement Composition as a content area is constructed, recontextualised and realised in the transition from PETE to school PE. The construction of Movement Composition as a pedagogic discourse in PETE is about how the content area (the what) is selected and organised for pedagogical purposes. The recontextualisation of Movement Composition is about how the pedagogic discourse is interpreted and translated in relation to the PE syllabus. The realisation of Movement Composition involves how the content area in PETE is implemented in PE practice. Conclusions: This exploratory study has shown that what is articulated as a relevant content area and the way it is taught, learned, and assessed in PETE in many regards survives the transition to school PE. The transition from PETE to school PE does not only involve reproduction of sports and sport-techniques from one context to another. PETE also contributes to the use of creative, collaborative, and student-centred learning tasks in school PE. [ABSTRACT FROM AUTHOR]

Teaching is increasingly defined through the syntax of cognitive science, by retrieval practice, spaced learning, and interleaving, generating a computational rhythm for learning as a system of inputs and outputs that builds up an individual's memory over time. This, I argue, is at odds with the choreography of art and design education as an aesthetic, social, and material practice. An alternative mapping is required to fully understand the chronology of learning that takes place in and through the subject of art and design with human and nonhuman others. Drawing from a review of research in the field of Neuroaesthetics, I will seek to defend the unique temporality of art and design education and imagine different visualisations of learning in the subject beyond the computational. [ABSTRACT FROM AUTHOR]

The diversity of the South African higher educational student population requires innovative pedagogical strategies that facilitate transformative and collaborative embodied learning. This article demonstrates how the choreographic process emerges from the context of multiculturalism through a pragmatic learning approach called meshwork choreography. Meshwork suggests an interwoven relation that emphasises the ever-evolving nature of relationships within an environment. Choreography as meshwork is where the choreographer does not impose preconceived ideas on the dancers but rather facilitates a collaborative and exploratory process. The research employed a conceptual framework of phenomenography, embodied and collaborative learning to frame the discussion towards a model of how choreography functions as meshwork. Composition and design processes in and of themselves embrace transformative learning through collaborative, embodied, and relational practices and are bolstered when they converge within the creation of choreographic work. This article reflects on students’ experiences in the Performing Arts Dance Stream at Tshwane University of Technology in conceptualising choreography as meshwork. Phenomenography was adopted as the research methodology, where data was analysed within phenomenographic categories. The article offers a South African perspective, informed by Ubuntu, of a meshwork model for the benefits of applying transformative learning through choreography within a higher education dance context. [ABSTRACT FROM AUTHOR]

Visual storytelling, particularly through dance choreographies as showcased in previous AlgoRythmics performances, has been effective in communicating relatively straightforward algorithms in an engaging and memorable way. Nevertheless, when addressing complex algorithmic concepts, an approach with greater expressiveness and flexibility becomes necessary. Consequently, this study introduces stage performances as an innovative solution, using cinematic representation to successfully convey and communicate these intricate concepts and processes. To evaluate the effectiveness of this approach, a short film was designed, produced, and showcased to a second-semester CS2 university course audience studying programming techniques. Following an opening scene that establishes the context, the subsequent three acts vividly depict ad hoc, greedy, and dynamic programming solutions in response to the posed programming challenge. After the screening, a questionnaire was administered, built on four key constructs of the Technology Acceptance Model, as well as other potential facilitating factors. The study reveals 100% positive perceptions of educational benefits, with the vast majority of students expressing agreement regarding the utility, enjoyment, engagement, creativity, filmic quality, and cognitive benefits of short films. Additionally, a remarkable 96% reported the intent to utilize this approach. Our subsequent Structural Equation Modeling analysis discovered that students whose learning styles were in sync with this approach demonstrated a robust correlation between their perception of the method's value, their enjoyment of the process, and their overall attitude towards this pedagogical method. This study confirms the potential of visual storytelling through short films as an effective tool for delivering programming education. The findings provide valuable insights for computer science educators seeking to engage learners and convey complex information in an attractive and effective way. [ABSTRACT FROM AUTHOR]

De‐centralization has depleted the vitality of mid‐size city downtowns for years. Growing the downtown residential population will help achieve smart growth and strategic infill objectives. Demand for a downtown residential lifestyle can animate many facets of revitalization (e.g., economic, social, cultural, public space). Resident views on factors that they believe would grow the demand for living downtown is the focus of this article. A survey and focus groups were used to learn how to enhance Downtown Saskatoon as a place to live. Findings indicate a convenient lifestyle close to work, school, retail, services, and nightlife, and preferably housing within a couple of blocks of the river valley, make Downtown Saskatoon desirable. Concerns with safety, lack of food stores, and absence of a sense of shared purpose among residents, businesses, and institutions downtown are barriers. The residential context is potentially quite appealing downtown, and demand can be cultivated if downtown's efforts at revitalization are choreographed by a collaborative multi‐sectoral network of actors with strong leadership. [ABSTRACT FROM AUTHOR]

We study symmetric periodic orbits near collision in a nonautonomous restricted planar four-body problem. The restricted problem consists of a massless particle moving under the gravitational influence due to three bodies with the same positive mass (the primaries), following the figure-eight choreography. We use regularized coordinates, in order to deal numerically with motions near collision between the massless particle and one of the primaries. By means of reversing symmetries, we characterize the symmetric periodic orbits near collision. The initial conditions for these orbits were computed by solving numerically some boundary value problems. We explain theoretically, and confirm numerically, how different parts of the diagram of initial conditions are related due to the symmetry of the figure-eight choreography. [ABSTRACT FROM AUTHOR]

Focusing on Sri Lankan dance and placing it on the broader spectrum of South Asian dance, I propose a pedagogical process that engages critically with colonial past and present realities, a pedagogy that I term decolonial choreography. A South Asian dancer born and bred in Sri Lanka, I studied and performed the Kandyan dance of Sri Lanka and the Kathak dance of India, and received a PhD in the United States. I have also taught South Asian dances in high schools and universities in the US. Based on my experience as a researcher, educator, and choreographer, I present a pedagogy of decolonial choreography that can be used when teaching and performing South Asian dances in postsecondary dance education. Instead of teaching South Asian dances as exotic, orientalist cultural expressions, decolonial choreography introduces novel critical choreographies resulting from its analytical engagement with South Asian dance and its colonial and postcolonial histories. [ABSTRACT FROM AUTHOR]

This article explores how the police state choreographs active shooter drills as "performances of protection" or embodied actions framed around an anticipatory threat. During these scenarios choreographic imperatives—or movement directives in response to specific cues—become tools for directing bodies through public space to preempt crisis. While these measures protect students teachers and administrators they also reinforce the school-to-prison pipeline targeting communities deemed dangerous by the police state. The article examines how such measures embody control surveillance and time as methods of discipline. It also analyzes what performances of protection reveal about the school-prison pipeline in the United States. [ABSTRACT FROM AUTHOR]

This study proposes that the inclusion of the Aragonese jota (a type of folk dance) in The Three-Cornered Hat contributed to interwar transnational modernism. The modern ballet, which opened at the Alhambra Theatre in 1919, featured choreography by Léonide Massine, music by Manuel de Falla, libretto by María Lejárraga, and designs by Pablo Picasso. The jota amplified theories of Spanish philosopher José Ortega y Gasset, who identified cross-cultural exchange as a tool to strengthen a shared identity across the European continent, as well as theories of Gesamtkunstwerk put forward by Richard Wagner, who greatly influenced Falla. [ABSTRACT FROM AUTHOR]

The article "Unruly Choreographies and the Contradictions of Safety" published in Dance Chronicle in September 2024 discusses the role of bodies in protests on college campuses in the United States. It highlights the use of dance and choreography as forms of protest and resistance against violence and oppression. The text explores the tensions between claims of safety and freedom, particularly in response to student-led protests against the Israeli genocide of the Palestinian people. The article raises questions about whose bodies and feelings are prioritized in these conflicts, shedding light on the complexities of activism and institutional responses to dissent. [Extracted from the article]

In December 2023, Nika Arhar and Jaka Bombač participated in Choreographic Turn #8 (CT). Here they reflect on the dance practices of Liza Šimenc, Tina Rozman, Tina Benko and Ema Križič, as well as on the parameters of their own work and ways of adopting a more autonomous research position within the constellation of CT. [ABSTRACT FROM AUTHOR]

This text detects a current context collapse within the independent scene of dance and choreography. It looks at the political potential of artist-driven spaces and asks if and how they could provide a forum for debate and collective articulation. With the platform and space höjden studios in Stockholm as the main example, the text connects it to other practical initiatives such as PAF (Performing Arts Forum), ICC (Imaginative Choreographic Center and PIM (Para Institutional Models). The text briefly touches on theories of the commons and aesthetic autonomy in order to raise a concern about the collective attention to art works and artistic practices, and propose a direction where the production of discourse within common spaces centres it. [ABSTRACT FROM AUTHOR]

This study explores the cognitive and corporeal aspects of choreography as a means of expressing the human subconscious. Recent interdisciplinary research, including studies of somatic intelligence and mirror neurons, suggests that dance can influence human cognitive abilities through psychosomatics. Mirror neurons allow for kinesthetic empathy, enabling dance observers to experience movements, emotions, and experiences as their own. The authors argue that dance, which engages multiple aspects of a person, is a crucial tool for educating the younger generation and should be included in compulsory education programs, rather than just as extracurricular activities. [ABSTRACT FROM AUTHOR]

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Decentralized autonomous organization (DAO)-based applications can revolutionize traditional centralized decision-making procedures and services by enabling scalable, decentralized, autonomous, and democratized decision-making processes. Unlike traditional applications, DAO-based decentralized applications use Ethereum blockchain-based smart contract programs to execute policies or make automated decisions. To that end, 6 G technologies can improve the latency and reliability of many existing blockchain-based DAOs. Previous research did not investigate the execution of DAO and non-DAO-based applications, as well as an adaptive resource choreography scheme, while accounting for various 6 G technologies, blockchain, and mobile-edge cloud (MEC). To prevail over the previous shortcomings, this article supplies a street smart multi-platform coordination, application scheduling, and low-latency-aware resource choreography scheme for both DAO and non-DAO-based application execution over blockchain and MEC-enabled 6 G networks by taking heterogenous DAO and non-DAO application count, application requirements, physical worker, virtual worker, and communication resource status into account. The results verified that the proposed kaizen scheme delivers at least 11.26% app work completion delay gain, 7.2% user energy overhead gain, 6.55% user economic charge gain, and 21% service provider profit than the compared schemes. [ABSTRACT FROM AUTHOR]

The article is devoted to the analysis of the activities of the ballet troupe of M.Jalil Tatar Academic State Opera and Ballet Theater in the Soviet and post-Soviet periods. It shows that after the premiere of the first ballet “Vain Precaution” by P.Hertel in 1939, the troupe continued to master the performances of the classical heritage “Giselle” by A.Adam (1945) and “Swan Lake” by P.Tchaikovsky (1947). At the same time, the troupe was working on creating a national ballet performance. Turning to the historical past and folklore, the authors of the libretto and choreographers immersed the viewer in the life and culture of the Tatar people, and the composers built the score based on centuries-old musical traditions. All this was expressed in the ballets “Shurale” by F.Yarullin (1945) and “Zyugra” by N.Zhiganov (1946). At this time, new productions appear in the repertoire, reflecting the current ideas of Soviet art at the time of creation. These are “Bakhchisarai Fountain” by B.Asafiev (1946) and “Laurencia” by A.Crane (1953). In the 2000s, a number of premieres took place produced for the Kazan ballet stage – “The Tale of Yusuf” (2001) by L.Lyubovskiy, choreography by N.Boyarchikov, G.Kovtun; “Peer Gynt” (2003) by E.Grieg, “The Golden Horde” (2013), R.Akhiyarova – choreography by G.Kovtun; “Сarmina Вurana, or the Wheel of Fortune” (2013) by K.Orff, choreography by A.Polubentsev. The author sets the task of identifying trends in the development of the repertoire in the post-Soviet period. His focus is on original ballet performances. The conclusion was that the result of the search for choreographers on the Kazan stage, expressed in the synthesis of genres, styles, and appeal to new subjects for the ballet theater, was the enrichment of the repertoire of M.Jalil Tatar Academic State Opera and Ballet Theater and entertainment culture in general.

AbstractResearch on cargomobilities has emphasised containerisation, algorithmic management, and the cost-driven calculus of logistics firms. Less visible is the necessary human labour that coordinates cargomobilities in challenging environments—for example, those workers who manoeuvre ships at seaports. In response, we take to the water to learn how ports function as spaces of everyday mobilities work. We follow a day in the working life of marine pilots—a specialist, locally-based workforce who board foreign-flagged ships to dock them safely. Their labour process is, we argue, a form of choreography: executing motions in correspondence with other workers, infrastructures, vessels, and environmental forces. Increasingly volatile oceanic conditions require technical knowledge of ships and guiding equipment, plus deep place-based knowledge of port idiosyncrasies and responsiveness to elemental forces—working with rather than against swell and wind, tides, channels, and weather. While global shipping becomes ever more cutthroat in pursuit of efficiencies, marine pilots choreograph mobilities with respect for earthly forces and the bulk and power of ships and seas, and thus perform the necessary infrastructural labour that offsets risk. Amidst worsening environmental hazards, we offer choreography as an analytical frame to centre the work, workers, collaboration, and more-than-human interactions underpinning mobilities. [ABSTRACT FROM AUTHOR]

The purpose of the work is to identify, analyse, and structure one of the understudied lexical components of papping and illusory styles. Research methodology. In the process of research, the principle of induction was used, as well as the following methods: analysis and synthesis - in the process of working with information sources; comparison - to identify identical facts and patterns; formalisation - for recording the detected timings in a single format. Scientific novelty. For the first time, in the process of analysing the dance vocabulary of popping and other illusory styles, their little-studied lexical component - timings - was revealed. A clear definition of this term is given, that is, the main characteristics of this component. Most of the used (basic) timings are identified and described, and their graphic record is also given. Conclusions. The analysis of the dance vocabulary of popping and other illusory styles made it possible to highlight their little-studied lexical component - timings. A clear meaning was also given to the term "timing", which is rhythmic after the use of dance technique (muscle control), which the dancer can impose on their own dance (dance movements, position). Research into this lexical constituent process has identified several "baseline" timings for popping and illusory styles. They are based on two basic dance techniques - pap and dime stop. Some of them correspond to individual dance movements or a specific illusory style. For a simple analysis and understanding of the timings, the article used a graphic model of their recording, which allows you to visually display the timings in accordance with the musical score. Thus, timings can be used as a separate lexical component of papping and its adjacent styles with their own characteristics and specificity. This component is closely related to music and, for the most part, a conflict for the dancer to diversify their performance by adding to its various rhythms. [ABSTRACT FROM AUTHOR]

The purpose of the article is to analyse the formation, tendencies and peculiarities of the development of stage ballroom dance in Ukraine from the mid-90s of the twentieth century to the early 20s of the twenty-first century. The research methodology is based on the principles of objectivity, historicism, and systematicity. To achieve the goal, the following methods were used: systematisation - to understand the combination of events in stage ballroom choreography; synthesis - to analyse the specifics of the processes of development of stage ballroom choreography in Ukraine; included observation - to review individual choreographic works, stage performances and their preliminary comprehension. Scientific novelty. For the first time, an art historical analysis of the formation and development of stage ballroom choreography in Ukraine was conducted, the specifics of the existence of ballroom choreography in the stage space were highlighted through the prism of the activities of theatres, show ballets and ballroom dance groups that have been operating since the 90s of the twentieth century. Conclusions. It is important to note that one of the most powerful areas of national choreographic art is stage ballroom choreography. Ukraine is a leader among other countries in the world in popularising ballroom dancing through theatrical and stage practice. In other countries of the world, the competition and sports direction are developing more actively, and foreign show ballets are synthesised forms of classical and modern dance with some elements of ballroom dance. Instead, Ukrainian dancers, including students and graduates of the Department of Choreographic Arts of the Kyiv National University of Culture and Arts (specialising in ballroom choreography), create a large number of choreographic productions, concerts, show programmes, musicals, ballets based on the vocabulary of ballroom choreography, which, unfortunately, remain the property of the local dance community. In our opinion, it is the lack of promotion of this art form, as well as the absence of systematic state support for this industry, that makes it impossible to convey to a wide range of viewers the high potential of ballroom choreography as a spectacular stage and dramatic art form. [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal the peculiarities of the phenomenon of screen dance in the context of dialogism of choreographic and audiovisual art. Research methodology. The method of analysis and synthesis was applied (to study the scientific literature on the research topic and identify the main concepts of screen dance), the terminological method (to clarify the concept of "screen dance"); the typological method and the method of historical and cultural analysis (to identify the peculiarities of the interaction of choreographic and audiovisual art in historical retrospect), the method of generalisation. Scientific novelty. The phenomenon of screen dance is studied in the context of dialogism of choreographic and audiovisual art in historical retrospect; the concept of "screen dance" has been clarified; the properties of screen dance are understood, the points of common influence and mutual exchange between film and dance are considered, which define it as an autonomous practice; little-known and unknown sources, as well as the results of research by modern foreign scientists, were introduced into scientific circulation. Conclusions. The study found that there are no strict criteria for defining screen dance in the scientific literature. During the historical development, this art form was usually denoted by a number of terms limited by indications of materiality (video dance, film dance, dance film), but it is screen dance that formulates the common denominator between them. Within the problematics of dialogism of choreographic and audiovisual art, screen dance can be considered as a form of research that studies the relationships between composition, choreographic language, and the meanings of body, movement, space, and time in the context of contemporary debates about cultural practices. Screen dance can take many forms and features and cross genres, with no limits on how it can be produced, filmed, edited and distributed. The coexistence of choreographic and audiovisual in the concept of screen dance is characterised by a constant dynamic interaction, the specifics of which are determined by innovative technological inventions and trends in the socio-cultural space. [ABSTRACT FROM AUTHOR]

The object of research is the modular approach to application development using SOA, as well as the comparison of synchronous and asynchronous request processing methodologies using a reactive programming architecture. SOA allows applications to be divided into independent components, ensuring easy integration and scalability in distributed computing environments. With SOA, it is possible to create a network of loosely coupled services, providing users with the flexibility to develop applications tailored to specific needs. One of the main issues is thread blocking and system instability under heavy loads when using synchronous methods. The study compares synchronous and asynchronous request processing methodologies using WebFlux, and examines key components of SOA, such as service discovery mechanisms and interaction models, particularly orchestration and choreography. The results show that asynchronous approaches, using a non-blocking, event-driven architecture, reduce the number of active threads, increase system resilience, and improve performance. This is because the proposed nonblocking, event-driven approach has several features, including reducing thread blocking and enhancing system stability under heavy loads. Synchronous methods, while straightforward, have drawbacks such as thread blocking and system instability under excessive loads. As a result, there is a high efficiency in processing a large number of requests in real-time. Compared to similar known approaches, this provides advantages such as increased system resilience and efficient resource utilization, making this approach particularly useful for scalable application architectures in distributed computing environments. [ABSTRACT FROM AUTHOR]

The article examines the impact of AI tools in extracurricular online dance classes on student learning outcomes. The approach to interactive dance learning within Choreography (which is the mandatory discipline) using innovative M-learning platforms and apps such as Moodle and STEEZY has been introduced. An educational experiment was conducted among 40 students of the Institute of Music and Choreography at Ningxia Pedagogical University. The dance accomplishments in the control and experimental groups were assessed using the Choreographic Creativity Rating Scale in three areas: physical skills, presentation, and creativity. The mean levels of dancers' choreographic skills, as assessed by experts and audience at the end of the educational experiment, were determined. Students' projects were presented in such directions as: Hip-hop, Open Style, K-pop, House, Breaking, Popping, Whacking, Krump, Jazz Funk. The assessment of 4 levels of dance choreography (level 1—below expectations, level 2—meets some expectations, level 3—fully meets expectations, and level 4—exceeds expectations) in the areas of physical skills, presentation, and creativity of dancers' skills made it possible to compare learning outcomes in the control group and the experimental group. The expert assessment of students' achievements suggested that additional online extracurricular activities contribute to better dance skills, effective development of dancers' physical (+1.6), presentation (+1.16) and creative (+1.01) skills. This article is intended for dance instructors developing effective courses using relevant digital tools. [ABSTRACT FROM AUTHOR]

Operetta is a musical and dramatic performance similar to, yet shorter than opera, composed to a dramatic libretto with humorous elements. It is a complex production engaging the viewer in an appealing visual and audible experience marked by a harmonious blend of movement, colour and form. From a choreographic perpective, operetta brings a particular approach in that nearly the entire performance consists of planned dance sequences or ample parts of scenic movement. The research topic is the ball organised by Prince Orlofsky of Die Fledermaus (The Bat) operetta by Johann Strauss – The Son, a part of Act II, staged by Matteo Mazzoni, choreographed by Roxana Colceag and acted out by Victor Bucur. The wide range of sequences of dance steps in an operetta performance is due to the themes of such performances which allow and even impose the existence of choreographic moments, on the one hand, and to the rhythmic, danceable music often inspired from various dances specific to the geographical area where the action takes place, on the other. The performers must accurately execute the dance technical elements. The method used in creating the choreographic moment under research is immitation–based learning. Immitation is the best-known and frequently used dance composition means and consists in the reproduction by the performer, as faithfully as possible, of a dance phrase given by the choreographer. The scenic movement and the planned sequences of dance steps are the valuable fruit of the choreographer's searches and of the performers' endeavours towards achieving a flawless creative behaviour on stage, always starting from the director's perspective. In embodying their character, the performer does not truly rely on the external models they refer to, but on a great amount of spontaneity and creativity. [ABSTRACT FROM AUTHOR]

This article presents an overview of the process of researching, reimagining, and reconstructing Doris Humphrey's Felipe "El Loco," the missing work from her trilogy of Spanish repertoire. In 1954, Humphrey created Felipe "El Loco" for her protégé, José Limón, and his then-emerging company, and showcased it in that year's American Dance Festival. Although the debut had an enthusiastic reception, the 1955 performances had mixed reviews, and the work was lost and forgotten, leaving no filmed, written, or notation recordings. In 2022, M. Gabriela Estrada undertook the project of restoring Felipe "El Loco" to bring awareness of its legacy as a unique example of interdisciplinary collaboration and multicultural repertoire connecting modern dance, ballet, and flamenco's history. This restoration project has aimed to pay tribute to the dance pioneers represented in this choreographic project: Doris Humphrey, José Limón, Pauline Koner, and Félix Fernández, the flamenco dancer on whose legend this choreographic work is based. [ABSTRACT FROM AUTHOR]

Sports visualization has developed into an active research field over the last decades. Many approaches focus on analyzing movement data recorded from unstructured situations, such as soccer. For the analysis of choreographed activities like formation dancing, however, the goal differs, as dancers follow specific formations in coordinated movement trajectories. To date, little work exists on how visual analytics methods can support such choreographed performances. To fill this gap, we introduce a new visual approach for planning and assessing dance choreographies. In terms of planning choreographies, we contribute a web application with interactive authoring tools and views for the dancers' positions and orientations, movement trajectories, poses, dance floor utilization, and movement distances. For assessing dancers' real‐world movement trajectories, extracted by manual bounding box annotations, we developed a timeline showing aggregated trajectory deviations and a dance floor view for detailed trajectory comparison. Our approach was developed and evaluated in collaboration with dance instructors, showing that introducing visual analytics into this domain promises improvements in training efficiency for the future. [ABSTRACT FROM AUTHOR]

The European Commission has traditionally held a key position in setting the legislative and political agenda of the EU. However, its role has become increasingly challenged in an era of polycrisis. This is notably due to the rise of the European Council as crisis manager, which possesses the political clout, resources, and legitimacy to deal with urgent challenges. While much of the literature has debated changes in the relative powers and influence of the EU's dual executive constituted by the European Council and Commission, a close look at their interactions in dealing with crises yields interesting insights and suggests a more complex interinstitutional choreography in agenda setting than first appears. Systematic comparative case study analysis promises to shed light on agenda setting strategies and practices across different areas and issues in the context of politicisation of EU affairs. [ABSTRACT FROM AUTHOR]

This paper makes the case for the connection between making land-use regulatory changes and the process of destruction and redevelopment. Under the capitalist imperative, buildings that do not fulfil the full potential for profit are likely to be demolished (or refurbished) but demolition and new development are not shaped exclusively by the immutable laws of the market as they are mediated and facilitated by specific institutional contexts. Using the case of East Midtown rezoning in New York City, the paper examines the amendments of two land-use regulatory mechanisms: the enlargement of development rights (rezoning or upzoning) and the relaxation of the spatial limitations on the usage of existing unused rights (transferable development rights). While apparently unconnected, upzoning and transferable development rights are part of the regulatory framework that seeks to secure the ongoing generation of the highest-possible profits for private as well as public interests. By examining the choreography of rezoning and transferable development rights, the paper shows how the mechanics of creative destruction work while substantiating an existing body of knowledge on land use policies and practices in New York City. When used together, rezoning and transferable development rights are instrumental in remaking the built environment. Essentially, the rezoning of a 78-block area in East Midtown Manhattan unlocks captured and latent development rights that otherwise could not come about, and demonstrates the necessity of institutional arrangements to make creative destruction actually work. [ABSTRACT FROM AUTHOR]

This paper seeks and examines N-symmetric vortical solutions of the two-layer geostrophic model for the special case when the vortices (or eddies) have vanishing summed strength (circulation anomaly). This study is an extension [Sokolovskiy et al. Phys. Fluids 2020, 32, 09660], where the general formulation for arbitrary N was given, but the analysis was only carried out for N = 2 . Here, families of stationary solutions are obtained and their properties, including asymptotic ones, are investigated in detail. From the point of view of geophysical applications, the results may help interpret the propagation of thermal anomalies in the oceans. [ABSTRACT FROM AUTHOR]

Belgium is internationally renowned for its vibrant contemporary dance scene. Since the advent of the so-called 'Flemish Wave' in the late 1980s, it has been home to not only renowned companies like Rosas, Les Ballets C de la B, Ultima Vez and Damaged Goods but also a thriving community of lesser-known choreographers. Additionally, the country also houses several important art centres for dance, as well as the internationally acclaimed school for contemporary dance, P.A.R.T.S. Amidst this dynamic scene, however, a silence looms – a scarcity of inclusivity, particularly the absence of disabled and crip performers. Even though trailblazing choreographers like Alain Platel and Wim Vandekeybus have long pushed against traditional bodily norms, integrating non-trained dancers into their works, Belgium's disability-centred dance scene remains relatively small, lagging behind its UK and US counterparts. In this round-table, we – Jonas Rutgeerts and Leni Van Goidsenhoven – joined forces with Fanny Vandesande, Anna Dujardin, Saïd Gharbi, Lisi Estaras and Inge Blockmans to delve into the positioning of disabled dancers and choreographers in Flanders. Together, we explored the burgeoning recognition of disability and crip aesthetics in this vibrant dance landscape. [ABSTRACT FROM AUTHOR]

Representation of 'differing bodyminds' in dance has expanded how dancing bodies are imagined. Examining two performances in Helsinki, Finland, Dancer and rampa landscape: lazy, late, absent through collaborative autoethnography we consider in what ways these works might choreograph for disabled spectators. We argue that choreography addressing disability and neurodivergence that does not consider the diverse access needs of spectators, risks creating hermeneutical injustice. This occurs when individuals experience harm due to their inability to understand or articulate their own experiences. Hermeneutical injustice is characterized by inequitable access to disability knowledge and a declarative approach to access where performances, venues and artists claim to be accessible for spectators without attention to what is necessary for access. Through this process, spectators without access needs have more access to the choreographic knowledge of disability. We alternate our experiences of these performances with reflections on spectator access and draw on framing materials to provide context. We focus on how the performance choreographs for disabled spectators – relating our own embodied experiences and observations as audience members. Ultimately, cripping choreography cannot just involve onstage representation; it must consider and welcome the disabled spectator. [ABSTRACT FROM AUTHOR]

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This article explores the dances that George Balanchine created in Russia between 1920 and 1924 and places them within the short movement of constructivism in dance. It concentrates on the choreographic conventions used by Balanchine and other constructivist choreographers. Moving beyond an assessment of how constructivism influenced Balanchine's work, the article proposes that he was an influential player in the movement, not merely influenced by it. A foundation is laid through a detailed review of both primary and secondary source material, as well as by examining the work of other artists who were pivotal to the development of constructivist ballet. [ABSTRACT FROM AUTHOR]

Implementing approaches based on process mining in inter-organizational collaboration environments presents challenges related to the granularity of event logs, the privacy and autonomy of business processes, and the alignment of event data generated in inter-organizational business process (IOBP) execution. Therefore, this paper proposes a complete and modular data-driven approach that implements natural language processing techniques, text similarity, and process mining techniques (discovery and conformance checking) through a set of methods and formal rules that enable analysis of the data contained in the event logs and the intra-organizational process models of the participants in the collaboration, to identify patterns that allow the discovery of the process choreography. The approach enables merging the event logs of the inter-organizational collaboration participants from the identified message interactions, enabling the automatic construction of an IOBP model. The proposed approach was evaluated using four real-life and two artificial event logs. In discovering the choreography process, average values of 0.86, 0.89, and 0.86 were obtained for relationship precision, relation recall, and relationship F-score metrics. In evaluating the quality of the built IOBP models, values of 0.95 and 1.00 were achieved for the precision and recall metrics, respectively. The performance obtained in the different scenarios is encouraging, demonstrating the ability of the approach to discover the process choreography and the construction of business process models in inter-organizational environments. [ABSTRACT FROM AUTHOR]

This article introduces the second issue of Dance Chronicle, which focuses on the history of the journal itself. Dance Chronicle was co-founded by Jack Anderson and George Dorris in 1977 and has emphasized historical research in dance. The article includes an interview with George Dorris, who discusses the journal's inception and its early supporters. The article also announces the Dance Chronicle Book Review Award, which aims to recognize the intellectual labor of book review authors in the field of dance studies. Additionally, the article highlights four research articles included in the issue that explore various aspects of dance history and criticism. [Extracted from the article]