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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.

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]

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 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]

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.

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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]

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]

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]

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]

The ancient Greek myth of Ariadne provides clues about the vitality of movement—its expression and action—and how it evokes a concept of selfhood that does not venerate arrival. This article analyzes how symbols from Ariadne's myth appear in performances by Martha Graham and Jeanine Durning, which similarly offer examples of dancing as liminal immanence. Ultimately this research shows how a depth psychology perspective, based on Carl Jung's theories, brings unconscious material to consciousness through analysis of image and symbol and might be a generative framework for analyzing dance and choreography as they connect to theories of individuation and anima/animus. [ABSTRACT FROM AUTHOR]

Carnival emerges as an expression filled with nuances and paradoxes. While it challenges social norms and breaks established conventions, it is also vulnerable to governmental appropriation and its transformation into a tourist product. Examples of this duality can be seen in various forms, from the revered Afro bloc Ilê Aiyê in Bahia, Brazil, to the carnivals of Mindelo, Cape Verde; Bissau, Guinea-Bissau; and the Carnival of Vitória in Luanda, Angola. These celebrations highlight the power of Carnival to amplify marginalized voices and solidify national identities in areas of rich cultural diversity. Specifically, the Carnival of Quelimane in Mozambique stands as a testament to the celebration of local traditions, particularly from the Zambézia region. Broadening the lens to the "carnivalesque" universe, defined by its paradigm shifts, performance, humor, and a world of inversions, this article highlights the artistic contributions of figures such as Ayrson Heráclito, Alex da Silva, Kiluanji Kia Henda, and Filipe Branquinho. The works of these artists are analyzed as reflections of decolonial practices, intertwined with discourses of resistance against the exploitation of natural and cultural resources. Through their art, the ambiguous contours of Carnival are outlined, emphasizing its subversive and decolonial essence. In its choreography of celebration, resistance, and critique, Carnival establishes itself as a space for innovation, questioning, and sociocultural reflection. [ABSTRACT FROM AUTHOR]

Future 6G networks are envisioned to support very heterogeneous and extreme applications (known as verticals). Some examples are further-enhanced mobile broadband communications, where bitrates could go above one terabit per second, or extremely reliable and low-latency communications, whose end-to-end delay must be below one hundred microseconds. To achieve that ultra-high Quality-of-Service, 6G networks are commonly provided with redundant resources and intelligent management mechanisms to ensure that all devices get the expected performance. But this approach is not feasible or scalable for all verticals. Specifically, in 6G scenarios, mobile devices are expected to have speeds greater than 500 kilometers per hour, and device density will exceed ten million devices per square kilometer. In those verticals, resources cannot be redundant as, because of such a huge number of devices, Quality-of-Service requirements are pushing the effective performance of technologies at physical level. And, on the other hand, high-speed mobility prevents intelligent mechanisms to be useful, as devices move around and evolve faster than the usual convergence time of those intelligent solutions. New technologies are needed to fill this unexplored gap. Therefore, in this paper we propose a choreographed Quality-of-Service management solution, where 6G base stations predict the evolution of verticals at real-time, and run a lightweight distributed optimization algorithm in advance, so they can manage the resource consumption and ensure all devices get the required Quality-of-Service. Prediction mechanism includes mobility models (Markov, Bayesian, etc.) and models for time-variant communication channels. Besides, a traffic prediction solution is also considered to explore the achieved Quality-of-Service in advance. The optimization algorithm calculates an efficient resource distribution according to the predicted future vertical situation, so devices achieve the expected Quality-of-Service according to the proposed traffic models. An experimental validation based on simulation tools is also provided. Results show that the proposed approach reduces up to 12% of the network resource consumption for a given Quality-of-Service. [ABSTRACT FROM AUTHOR]

Background Neuro-oncology care in Ontario, Canada has been historically centralized, at times requiring significant travel on the part of patients. Toward observing the goal of patient-centered care and reducing patient burden, 2 additional regional cancer centres (RCC) capable of neuro-oncology care delivery were introduced in 2016. This study evaluates the impact of increased regionalization of neuro-oncology services, from 11 to 13 oncology centers, on healthcare utilization and travel burden for glioblastoma (GBM) patients in Ontario. Methods We present a cohort of GBM patients diagnosed between 2010 and 2019. Incidence of GBM and treatment modalities were identified using provincial health administrative databases. A geographic information system and spatial analysis were used to estimate travel time from patient residences to neuro-oncology RCCs. Results Among the 5242 GBM patients, 79% received radiation as part of treatment. Median travel time to the closest RCC was higher for patients who did not receive radiation as part of treatment than for patients who did (P  = .03). After 2016, the volume of patients receiving radiation at their local RCC increased from 62% to 69% and the median travel time to treatment RCCs decreased (P  = .0072). The 2 new RCCs treated 35% and 41% of patients within their respective catchment areas. Receipt of standard of care, surgery, and chemoradiation (CRT), increased by 11%. Conclusions Regionalization resulted in changes in the healthcare utilization patterns in Ontario consistent with decreased patient travel burden for patients with GBM. Focused regionalization did not come at the cost of decreased quality of care, as determined by the delivery of a standard of care. [ABSTRACT FROM AUTHOR]

Background. The research we conducted to verify the hypothesis that the level of strength and specific mobility capacity of girls aged 12-14 is a facilitating/limiting factor in acro-dance performance, was carried out on a sample of 100 girls of the above mentioned age, who have been practicing this sport for at least one year, from various sports organizations in Romania. Aims. For this purpose, we studied the scores obtained by athletes in competitions and identified the scores for the degree of difficulty within the judging system. Methods. We used six tests to evaluate, measure and appreciate specific strength and mobility capacity: standing long jump; isometric maintenance test; the Sit and Reach test; the Back Bridge test. Results. The results recorded by the athletes highlight deficiencies in their level, especially in dynamic balance and modest scores in the difficulty criterion, which are not compatible with achieving performance in national competitions and qualifying for international ones. Conclusions. The conclusions of the study are objective arguments in the adoption of specific physical training strategies aimed at remedying these aspects highlighted by our research. [ABSTRACT FROM AUTHOR]

This collaborative autoethnography invites the reader to experience and audience four performative reflections on the prompt "tripping the light fantastic" as a foray into experiences with/through dance as performative cultural practice, along with an invitation to reflect on experiences of their own relations to culture, dance, being, and becoming. [ABSTRACT FROM AUTHOR]

Although the organ frequently occupies a prominent place in an acoustic space, the player of the instrument is often barely visible. In this special concert and listening situation, questions are raised regarding certain (missed) expressive-visual opportunities. In this article, we explore how an analysis of the organist's score-driven movements and performative experiences can lead to the development of a basic choreographic framework. Olivier Messiaen's organ piece Subtilité des Corps Glorieux (1939) is our case study. The ultimate goal is to use that framework as a practical tool for interdisciplinary creation and communication. [ABSTRACT FROM AUTHOR]

This article serves as an in-practice guide to help teachers facilitate the creation of a dance piece using the five-paragraph essay format to explore themes through motif and manipulation. It is an outline of the process that begins with the selection of a theme and the development of a motif to represent that theme. It compares the development of an introduction, body, and conclusion to the creation of a motif and its manipulations. This is done through a discussion of writing techniques including the use of attention grabbers, transition words, and FRIES (Facts, Reasons, Incidents, Examples, Statistics) and what their counterparts might be in a choreographic work. This article is based on the author's experience as both a high school language arts and dance teacher in a public high school, and it highlights the culminating activity in a high school choreography class. [ABSTRACT FROM AUTHOR]

Pursuant to Article 63 of the Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS), a state may require other treaty parties to disclose their intellectual property case law 'of general application'. While most domestic judgments in common law are indeed of general application, civil law systems theoretically employ judgments as reference only. Nevertheless, to value consistency and predictability, the hybridisation of civil law jurisdictions is increasingly leading them to devise special lists of judgments that acquire formal or factual binding status on lower-ranked courts. This trend is particularly evident in China, whose Supreme People's Court's 'Guiding Cases' join other specific categories of holdings within 'Judicial Interpretations' and further guideline documents that are factually binding domestically. When the United States and the European Union requested, through the World Trade Organization, that China disclose the full range of its case law of general application, China responded that civil law jurisdictions do not issue judgments that are binding beyond the parties. This article examines the limitations and merits of the Chinese stance. [ABSTRACT FROM AUTHOR]

This article examines social choreography as a cultural commoning practice that is embedded within a relational structure between different institutions, the people involved, and specific socio-cultural contexts. The artistic research project Une danse ancienne by French choreographer Rémy Héritier and their team is presented as a case study of this practice. This collaborative choreography is based on a dance performance and social gathering that is reactivated every year by the same dancer in the same peri-urban site in a metropolitan area of Lausanne, Switzerland. Une danse ancienne holds strong relationships to temporalities, to the changing urban space, and to communal processes of documentation. Its relational choreographic structure and sharing practices are analyzed against the concepts of 'expanded choreography' and 'cultural commoning'. This article, therefore, discusses social choreography as a cultural commoning practice that involves interactions with different social groups and institutions and practices of sharing and communal documentation. This article shows how, as social choreography, Une danse ancienne reflects upon urban transformation through cultural commoning practices. [ABSTRACT FROM AUTHOR]

This article aims to take part in the ongoing discussion on the social and political potentialities as well as the conceptual premises of choreography and to contribute to the discussion about world relations in the choreographed movement. The much-used definition of Western choreography is "organized movement in space and time". Although this definition always applies, it does not specify the world relations and worldmaking capacities of the choreographed movement. The main focus of this article is an ontological rethinking of the basic concepts of choreography: movement, space, time and organization, with the addition of kinaesthetic fields, kinaesthetic and spatial intelligence, virtual and actual realms, striated and smooth spaces (Deleuze and Guattari) and different conceptions of time. By analyzing these concepts, the aim is to provide a view of ontologically elementary units in choreography (such as a change in space, the difference over time and space, and passage to shared actuality), with a wider understanding of the inherent social relationality in choreographed movement. After discussing these topics, a few social choreography events and protests are described to represent different choreographic aims and organizational modes arising from each specific situation. The article concludes by proposing that choreography could be seen as organizing movement in space and time but also as a choreographic actualization of intensities in different discursive fields. [ABSTRACT FROM AUTHOR]

What are the implications of a bejeweled dancer in fine silk on the proscenium stage performing a piece that undeniably centers caste? As the Bharatanatyam field reflects on the art form's appropriation from the hereditary dance community, analyzing choreography reveals different bodily representations of caste. Many Bharatanatyam dancers globally perform excerpts of the Nandanar Charitram, by Tamil composer Gopalakrishna Bharathi. The plot traces Nandanar, a Dalit saint who is not allowed in many temples and ends with his immolation, allowing his "purified" self to unite with the Hindu god Shiva. I study performances of the Nandanar Charitram comparing two Bharatanatyam showings and the 1942 film "Nandanar". To recognize how caste is both articulated and understood, I analyze choreography, interviews conducted with dancers, and forums where audience members share their responses to the works. I use Judith Butler and Dwight Conquergood's theorization of performativity, acknowledging that while Bharatanatyam choreography is often "iterative", it has the potential to "disrupt" dominant norms on caste and politics. Nandanar remains the most prominent Dalit figure seen in the Bharatanatyam repertoire. By studying representations of his story, I highlight the relevance of bodily caste politics in the South Asian diaspora today. [ABSTRACT FROM AUTHOR]

This article delves into the concept of formlessness in black aesthetic practices, specifically in African contemporary/experimental dance. It asserts that the formlessness of blackness is not merely a visual or performance element, but rather a result of structural violence. The article analyzes the work of choreographers Germaine Acogny and Faustin Linyekula, who utilize dance to examine colonial violence and challenge Western ideas of form. It also explores the relationship between choreography and colonialism, as well as how black choreographers disrupt and dismantle traditional forms and techniques. The article concludes by critiquing Western narratives of artistic innovation and the exclusion of African contributions to the avant-garde. [Extracted from the article]

The main purpose of this article is to show how Functional Grammar of Dance (FGD) can be applied to dance discourse analysis to reveal the discursive strategies that underlie choreographies and support movement-based communication. In recent years, studies in Systemic Functional Multimodal Discourse Analysis (SF-MDA) have benefited from the development of several models of analysis, and from the emergence of a new focus on the materiality of semiotic modes. The Functional Grammar of Dance is a recently developed model of analysis that draws on Systemic Functional Linguistics theory and focuses on movement-based communication starting from dance (particularly ballet as a starting point). The Functional Grammar of Dance has been adopted as a central theory in an international collaborative project funded by the AHRC (Arts and Humanities Research Council) in the UK and the DFG (Deutsche Forschungsgemeinschaft, 'German Research Foundation') in Germany, The Kinesemiotic Body, where it has been used with the ELAN annotation system. ELAN annotation based on the Functional Grammar of Dance was used for both live-collected data from dance rehearsals and for dance videos and revealed aspects of dance performances that are not necessarily captured by the naked eye. This paper proposes three case studies where we show that our ELAN annotation with the FGD provides an effective and very flexible interface for the grammaticalization of movement-based communication and the study of movement-based discursive strategies. [ABSTRACT FROM AUTHOR]

Climate change is a contemporary global crisis that necessitates pedagogical innovation for the middle school dance classroom. This article describes an integrated design for a dance and science unit. Building on students' kinesthetic abilities, teachers are able to create a unit comprising a series of lessons on bird migrations effected by climate change, culminating in a final performance. Students engage in research on climate change and its effects on global bird migrations and view past performances reflecting avian formations from Marius Petipa and Lev Ivanov's Swan Lake (1895) to non-Western influences on dance. Yoga poses such as Swan, Eagle, and Pigeon evolve into dance phrases. The teacher facilitates students' selection of a musical soundtrack for the choreography of an ensemble performance with props and upcycled costumes. An assessment of the dance and science unit is performed through a continuous feedback loop during practice and through a final group interview after the performance. [ABSTRACT FROM AUTHOR]

This article examines teaching strategies to empower metacognition through dance writing and collaborative dance making based on a project for middle school dance students at a Title I middle school during the Fall of 2020. This project draws on theoretical frameworks of critical pedagogy, intersectionality, and educational constructivism. Based on class interactions and informal conversations with students, the project was designed to develop class community across the digital divide of virtual and hybrid learning environments, promote social-emotional skills of self and social awareness, and to support the unique needs of diverse learners. The goal of the project was to empower student metacognition and cognitive monitoring within a middle school dance class through dance writing and collaborative dance making. Through this project the dancers examined complex social issues that matter to them personally, cultivated social emotional skills of self and social awareness, and gained confidence in higher order thinking and metacognition. [ABSTRACT FROM AUTHOR]

Dance educators frequently function in a performance situation–teaching, leading discussion, rehearsing, choreographing. Because of the nature of the work, introverts may be driven to behave in a more extroverted manner and less like themselves. How do introverted teachers navigate the demands of teaching and preserve their energy while best serving their students and themselves? This paper shares strategies on teaching, learning, and leading as an introverted teacher. I draw on existing literature about the introverted teacher, learner, and leader, as well as ideas on effective teaching, and I apply these ideas specifically to dance. While many introverted dance educators successfully teach and perform as extroverts, by openly claiming their introverted personality and implementing practices for teaching, leading, and learning that are specific to introverts, they can feel more confident and engaged in their teaching and working lives. [ABSTRACT FROM AUTHOR]

Dorsal Practices is a process-based, interdisciplinary artistic collaboration between choreographer Katrina Brown and writer–artist Emma Cocker. This research enquiry explores the notion of dorsality and the cultivation of a back-oriented awareness in relation to how we as sentient bodies orientate to the self, others (human, more-than-human), and interconnected world. Since 2021, Dorsal Practices has unfolded through the interrelation of three fields of experimental, embodied research practice: movement-based practices, conversation practices, and experimental reading practices. Dorsal Practices explores how the tilt or inclination towards dorsal (dis)orientation might enable new modes of thinking–perceiving and being–with, and more connected, sustainable ways of living and aliveness based on the reciprocal, entangled relationship between self/environment. We ask: How does the cultivation of a back-oriented awareness and attitude shape and inform our embodied, affective, and relational experience of being-in-the-world? Rather than a mode of withdrawal, of turning one's back, how might a back-leaning orientation support an open, receptive ethics of relation? Central to this enquiry is an attempt to explore how different linguistic practices might be developed in fidelity to the embodied experiences of dorsality: how the experiences of listening, languaging, even thinking, might be shaped differently through this embodied tilt of awareness and attention towards the back. [ABSTRACT FROM AUTHOR]

The Ensemble of Folk Dances and Songs of Serbia "Kolo" was founded in 1948 in Belgrade, on the initiative of the Committee for Culture and Art of the Federal People's Republic of Yugoslavia. The task of the Ensemble was to artistically interpret and present the so-called folk artistic creativity, which predominantly encompassed various folklore creations of the rural population, on stage, in the country and abroad. Although seemingly simple and folk-oriented, the art of traditional dance choreography has clear ideological and politically important messages of the then state leadership embedded in it foundations, intended to be spread among the Yugoslavs, but also beyond the state borders. The ensemble was supposed to present a desirable and appropriate image of Yugoslavia in its performances. The aim of this paper is to reconstruct the formation of the “Kolo” Ensemble and the process of constituting the art of traditional dance choreography, taking into account the socio-political and historical context of the Second Yugoslavia. In addition, the paper approaches the deconstruction of the intention of choreographers and artistic directors, in order to reveal the ideological messages embedded in the artistic expression. The basic assumption in this paper is that dance troupes and traditional dance choreographies are strongly connected to the ideology and cultural policy of the nation-state. In this regard, even when choreographers and artistic directors create programs without direct political-ideological objectives, their decisions always rely on the socio-political context and the dominant ideologies within the state. The theoretical framework of the work is based on contemporary anthropological discussions about the concepts crucial for the interpretation of the material, primarily referring to the concept of ideology, understood in the Althusserian sense, but also to the ideas of the combination of state ideology, cultural policy, and dance with the aim of presenting the dance troupe with a desirable image of the nation-state. The methodology of the work consists of a combination of two approaches: classical anthropological, qualitative and archival research. Qualitative research includes conducted in-depth semi-structured interviews with 15 dancers who worked in "Kolo" in different time contexts, while archival research included reviewing the documentation of the "Kolo" Ensemble, the Archives of Yugoslavia and the personal and family archives of the dancers.