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Background: Dancers have a higher prevalence of hallux valgus (HV) than the general population. However, no reports specifically addressing treatment strategies for HV in dancers, or their effectiveness have been published. This study aimed to determine the effects of 4 weeks of foot exercises on subjective clinical outcomes, the HV angle, and change of foot plantar pressure during specific dance techniques. Methods: Thirteen female elite adolescent dancesport athletes (age: 16.4 ± 3.3 years) completed the program. The HV angle was measured based on foot photographs. Clinical assessments were performed using the visual analog scale for first metatarsophalangeal (1st MTP) joint pain, and the Foot and Ankle Outcome Score. The changes in plantar pressure during two dance techniques (demi-pointe and plié) were measured. The plantar pressure was measured in six areas of the foot. All of these parameters were compared before and after the intervention by using chi-square tests and Student's paired t-test (statistical significance: p < 0.05). Results: The HV angle was significantly reduced from 20.1° to 15.4° after the intervention. Participants reported an average subjective completion rate of 70.3% ± 14.6% over 3 weeks, exhibiting no significant differences despite an apparent trend toward improvement. Significant changes were noted in 1st MTP joint pain and subjective outcomes, and toe function significantly improved in the "paper" movement. The foot-exercise program changed plantar pressure distribution during the demi-pointe and plié techniques, with increased hallux pressure and decreased 2nd-5th MTP joint pressure. Conclusions: In elite adolescent dancesport athletes, 4 weeks of foot-exercise rehabilitation reduced the HV angle and improved in subjective outcome and function during the two dance techniques. Coaches should consider utilizing foot-exercise training programs in a dancer training program for HV. [ABSTRACT FROM AUTHOR]

Motion perception is crucial in competitive sports like dance, basketball, and diving. However, evaluations in these sports heavily rely on professionals, posing two main challenges: subjective assessments are uncertain and can be influenced by experience, making it hard to guarantee timeliness and accuracy, and increasing labor costs with multi-expert voting. While video analysis methods have alleviated some pressure, challenges remain in extracting key points/frames from videos and constructing a suitable, quantifiable evaluation method that aligns with the static–dynamic nature of movements for accurate assessment. Therefore, this study proposes an innovative intelligent evaluation method aimed at enhancing the accuracy and processing speed of complex video analysis tasks. Firstly, by constructing a keyframe extraction method based on musical beat detection, coupled with prior knowledge, the beat detection is optimized through a perceptually weighted window to accurately extract keyframes that are highly correlated with dance movement changes. Secondly, OpenPose is employed to detect human joint points in the keyframes, quantifying human movements into a series of numerically expressed nodes and their relationships (i.e., pose descriptions). Combined with the positions of keyframes in the time sequence, a standard pose description sequence is formed, serving as the foundational data for subsequent quantitative evaluations. Lastly, an Action Sequence Evaluation method (ASCS) is established based on all action features within a single action frame to precisely assess the overall performance of individual actions. Furthermore, drawing inspiration from the Rouge-L evaluation method in natural language processing, a Similarity Measure Approach based on Contextual Relationships (SMACR) is constructed, focusing on evaluating the coherence of actions. By integrating ASCS and SMACR, a comprehensive evaluation of dancers is conducted from both the static and dynamic dimensions. During the method validation phase, the research team judiciously selected 12 representative samples from the popular dance game Just Dance, meticulously classifying them according to the complexity of dance moves and physical exertion levels. The experimental results demonstrate the outstanding performance of the constructed automated evaluation method. Specifically, this method not only achieves the precise assessments of dance movements at the individual keyframe level but also significantly enhances the evaluation of action coherence and completeness through the innovative SMACR. Across all 12 test samples, the method accurately selects 2 to 5 keyframes per second from the videos, reducing the computational load to 4.1–10.3% compared to traditional full-frame matching methods, while the overall evaluation accuracy only slightly decreases by 3%, fully demonstrating the method's combination of efficiency and precision. Through precise musical beat alignment, efficient keyframe extraction, and the introduction of intelligent dance motion analysis technology, this study significantly improves upon the subjectivity and inefficiency of traditional manual evaluations, enhancing the scientificity and accuracy of assessments. It provides robust tool support for fields such as dance education and competition evaluations, showcasing broad application prospects. [ABSTRACT FROM AUTHOR]

The introduction of artificial intelligence (AI) has triggered changes in modern dance education. This study investigates the application of diffusion-based modeling and virtual digital humans in dance instruction. Utilizing AI and digital technologies, the proposed system innovatively merges music-driven dance generation with virtual human-based teaching. It achieves this by extracting rhythmic and emotional information from music through audio analysis to generate corresponding dance sequences. The virtual human, functioning as a digital tutor, demonstrates dance movements in real time, enabling students to accurately learn and execute dance postures and rhythms. Analysis of the teaching outcomes, including effectiveness, naturalness, and fluidity, indicates that learning through the digital human results in enhanced user engagement and improved learning outcomes. Additionally, the diversity of dance movements is increased. This system enhances students' motivation and learning efficacy, offering a novel approach to innovating dance education. [ABSTRACT FROM AUTHOR]

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica 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.)

With the rapid development of social networks, short videos have become a popular form of content, especially dance videos. In this context, research on automatically generating music for dance videos shows significant practical value. However, existing studies face challenges such as limited richness in music timbre and lack of synchronization with dance movements. In this paper, we propose Dance2Music-Diffusion, a novel framework for music generation from dance videos using latent diffusion models. Our approach includes a motion encoder module for extracting motion features and a music diffusion generation module for generating latent music representations. By integrating dance type monitoring and latent diffusion techniques, our framework outperforms existing methods in generating complex and rich dance music. We conducted objective and subjective evaluations of the results produced by various existing models on the AIST++ dataset. Our framework shows outstanding performance in terms of beat recall rate, consistency with GT beats, and coordination with dance movements. This work represents the state of the art in automatic music generation from dance videos, is easy to train, and has implications for enhancing entertainment experiences and inspiring innovative dance productions. Sample videos of our generated music and dance can be viewed at https://youtu.be/eCvLdLdkX-Y. The code is available at https://github.com/hellto/dance2music-diffusion. [ABSTRACT FROM AUTHOR]

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]

The fluidity, adaptability and complexity of a dancer's movement are often used as examples of how dance at a level of mastery is embodied. The freedom this gives the dancer to choose what and how they move is enjoyed at a subconscious level, with often tacit knowledge driving the artistic and technical brilliance. The topic of embodied agency in dance becomes more complicated when examining dance for the older person who has had little training. Embodiment is not straight forward, particularly if one examines dancing for the older adult with a neurodegenerative condition, which disrupts cognition and physical movement. Yet, as I argue, embodied agency is a key vision for socially engaged dance practices, particularly using improvisation. In the paper I examine how centring the amateur older dancer with a neurological condition means looking again at embodied agency and what it could mean in this context, as well as what the conditions are that might make it work. The paper takes the example of Dance Well, a group of community dancers in Italy that accommodates people with Parkinson's and others, including those seeking asylum. With this example I draw upon ideas from research I co-led to name some of the tacit soft skills--such as empathy and understanding and appreciating difference--developed through Dance Well's engagement with the local community, which, I now suggest, led to a process of embodied agency. I argue that in identifying this anoetic knowing, it is clear that embodied agency is not just aboutmastery of movement, but about important relational skills that are embodied and practiced through dancing, even by those with little formal dance training. I argue that moving together whilst embodying soft skill qualities may nurture an environment that could enable the transformation of relationships between those dancing and contribute to the creation of an important and meaningful activity within the community. In this way, the paper outlines ideas on how embodied agency through dancing may contribute to a vision of social justice and a characterization of embodiment that emphasizes the recognition of each other's humanity. [ABSTRACT FROM AUTHOR]

Dancers and musicians have unique physical demands that can lead to injury of the peripheral nerves. Specific dance movements and specific instrument positions, combined with countless hours of practice and repetition, create an environment for potential nerve injury. Familiarity with these variables and recognition of the common presentations of neuropathic syndromes are essential in the evaluation of a performing artist with a suspected peripheral nerve injury. Assessment should include an understanding and analysis of their dance style or instrument playing posture, particularly in the position or motion that recreates the symptoms if possible. Practice and performance schedules should also be considered. Diagnosis may require electrodiagnostic testing, imaging, or diagnostic injections. Treatment should be comprehensive and may include modifications in practice schedule, posture/position, and technique in addition to consideration of medications, splints/orthoses, physical therapy, and injections. The instructor/teacher should be involved in the treatment plan if applicable. Complete rest in this population may not be realistic or necessary. Early and accurate diagnosis of nerve injury is important for safe return to dance or instrumental music. [ABSTRACT FROM AUTHOR]

The document is a collection of three letters written by M. Masud R. Khan to Svetlana Beriosova. In the first letter, Khan discusses his admiration for Beriosova's dancing and references a passage from Sir Anthony Blunt's book on artistic theory. He also comments on the concept of grace in art and its absence in certain performances. In the second letter, Khan shares a folk story from a book about the experiences of African Americans during slavery. He contrasts the simplicity and directness of these narratives with the convoluted and pseudo-psychological style of Beatnik writers. In the third letter, Khan discusses T.S. Eliot as a nonsense poet and explores the concept of Nonsense literature in various art forms. He also mentions his reading of a biography of James Joyce and reflects on the parallels between Joyce's life and his daughter's mental illness. [Extracted from the article]

Background: Preserving health and physical fitness is critical to ensure independent living across the lifespan. Lower levels of physical fitness are associated with age-related cognitive decline and a higher prevalence of mild cognitive impairment (MCI). Thus, this study investigates the influence of a six-month dance intervention on selected measures of physical fitness in older adults with MCI. Methods: In this randomized controlled trial, 55 patients with MCI were randomized into a sportive dance training (IG; n = 26; age: 70.7 ± 5.6 years; 62% female) or an inactive control group (CG; n = 24; age: 69.1 ± 6.8 years; 46% female). The dance group received two 90 min dance training sessions per week over a duration of six-months, which focused on learning dance movement patterns. During the training sessions, heart rate was measured to control exercise intensity. Physical fitness was assessed using cardiopulmonary exercise testing (CPET), lower limb functional fitness via sit-to-stand test, handgrip strength, and heart rate variability (HRV). Results: We observed that the dance intervention preserved the cardiorespiratory fitness as measured by maximal oxygen uptake (VO2max) during CPET, which decreased in the CG. Furthermore, participants in the IG demonstrated increases in leg and handgrip strength, although these were not statistically significant. HRV displayed a non-significant decrease following the intervention. Conclusions: The results of this randomized controlled trial suggest that sportive dance training can preserve elements of physical fitness (i.e., cardiorespiratory fitness) in older adults with MCI. Although improvements in the other parameters (i.e., leg and handgrip strength) were statistically non-significant, likely due to the small sample size, stabilizing muscular fitness and preventing age-related decline in older adults with MCI is important for maintaining functional independence. For future studies, we recommend a longer training duration paired with precise control of regular physical activity levels, an important confounding factor. [ABSTRACT FROM AUTHOR]

Collaborations that employ methods from arts and sciences to address research questions through multimodal study design are becoming more frequent, as it is increasingly apparent that complex challenges require transdisciplinary solutions. These different modalities rely on interdisciplinary exchange while involving unique expertise in associated delivery practices. In human subject driven scientific research specifically, guidelines for arts-based interventions deserve detailed reporting to allow for fidelity, replicability, and uptake of innovation and results. Details such as frequency, duration, delivery method, expected outcomes, historical precedence, and instructor training are crucial, along with nuanced descriptions pertaining to embodied aspects of specific dance or movement style(s) and adaptations made for the population or study design. This Perspective Paper outlines the current state and challenges of reporting on dance interventions and makes recommendations based on our experience as teaching artists who work in research settings alongside researchers who collaborate with dance professionals. [ABSTRACT FROM AUTHOR]

This article aims to deepen the understanding of existential intrasubjectivity and intersubjectivity as they relate to the body, being, and nature, as experienced through the lens of Warli philosophy, particularly the Kahankar and the Ahankar. This reflexive inquiry lies at the intersection of the author's identity as a researcher, a dance movement therapist, and a spiritual being. The contemplation includes experiencing Nature as a witness, another facet of the Warli conviction of the profound interconnectedness with the natural world, recognizing our inherent composition as part of nature. Another dimension of engaging with this philosophy is through the practice of Authentic Movement, where the imagination, the psyche, and the soul all dance together as they are witnessed nonjudgmentally. I employed an external witness as well as used self-witnessing in the form of an "inner witness." Lastly, it explores the dance between the body as the storyteller and the consciousness as the affirmer of the spoken word, the truth. [ABSTRACT FROM AUTHOR]

Dance-driven music generation aims to generate musical pieces conditioned on dance videos. Previous works focus on monophonic or raw audio generation, while the multi-instrument scenario is under-explored. The challenges associated with dance-driven multi-instrument music (MIDI) generation are twofold: (i) lack of a publicly available multi-instrument MIDI and video paired dataset and (ii) the weak correlation between music and video. To tackle these challenges, we have built the first multi-instrument MIDI and dance paired dataset (D2MIDI). Based on this dataset, we introduce a multi-instrument MIDI generation framework (Dance2MIDI) conditioned on dance video. Firstly, to capture the relationship between dance and music, we employ a graph convolutional network to encode the dance motion. This allows us to extract features related to dance movement and dance style. Secondly, to generate a harmonious rhythm, we utilize a transformer model to decode the drum track sequence, leveraging a cross-attention mechanism. Thirdly, we model the task of generating the remaining tracks based on the drum track as a sequence understanding and completion task. A BERT-like model is employed to comprehend the context of the entire music piece through self-supervised learning. We evaluate the music generated by our framework trained on the D2MIDI dataset and demonstrate that our method achieves state-of-the-art performance. [ABSTRACT FROM AUTHOR]

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica 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.)

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica 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.)

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao 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 explores the significance of the stove as a recurring image in Henrik Ibsen's play, A Doll House. The stove serves as a source of physical warmth and psychological energy for the characters, symbolizing their transformation throughout the play. It represents comfort, security, and familial unity, but also reveals the characters' vulnerabilities and power dynamics. The article argues that the stove propels the development of the play, witnessing Nora's growth and Helmer's downfall, and ultimately transforming the characters' doll-like identities. [Extracted from the article]

Featured Application: Virtual Reality Simulation and Training for Dance Performance Improvement. As a significant form of physical expression, dance demands ongoing training for skill enhancement, particularly in expressiveness. However, such training often faces restrictions related to location and time. Moreover, the evaluation of dance performance tends to be subjective, which necessitates the development of effective training methods and objective evaluation techniques. In this research, we introduce a self-training system for dance that employs VR technology to create an immersive training environment that facilitates a comprehensive understanding of three-dimensional dance movements. Furthermore, the system incorporates markerless motion capture technology to accurately record dancers' movements in real time and translate them into the VR avatar. Additionally, the use of deep learning enables multi-perspective dance performance assessment, providing feedback to users to aid their repetitive practice. To enable deep learning-based dance evaluations, we established a dataset that incorporates data from beginner-level dances along with expert evaluations of those dances. This dataset was specifically curated for practitioners in a dance studio setting by using a total of four cameras to record dances. Expert annotations were obtained from various perspectives to provide a comprehensive evaluation. This study also proposes three unique automatic evaluation models. A comparative analysis of the models, particularly contrastive learning (and autoencoder)-based expression learning and a reference-guided model (where a model dancer's performance serves as a reference), revealed that the reference-guided model achieved superior accuracy. The proposed method was able to predict dance performance ratings with an accuracy of approximately ±1 point on a 10-point scale, compared to ratings by professional coaches. Our findings open up novel possibilities for future dance training and evaluation systems. [ABSTRACT FROM AUTHOR]

As the foundational element of sports dance, music serves as its quintessential "soul," profoundly influencing the artistic allure and evolutionary trajectory of the discipline. Frequently, it unveils the distinctive charisma of sports dance to global audiences through its intricate rhythmic patterns, melodious compositions, and fervent and uninhibited style. Given the imperative of harmoniously integrating sports dance technique with musical artistry to enhance its expressive capacities, this research endeavours to scrutinize the impact of piano accompaniment music on the psychology and expressive dimensions of sports dancers. Experimental findings substantiate the noteworthy influence of piano accompaniment music training on the expressive prowess exhibited by sports dance athletes. This investigation systematically scrutinized the expressive capacity inherent in sports dance art through the lens of music. By methodically analysing pertinent factors encompassing music training and the expressive capabilities inherent in sports dance art, the pivotal role of music training in augmenting the expressive potency of sports dance art was validated. To corroborate this assertion, a pedagogical experiment employing a single-factor comparative analysis was adopted, elucidating the artistic manifestation within sports dance from an empirical vantage point. Following the experimental intervention, the measurement scores of students within the experimental cohort exhibited a statistically significant elevation in comparison to those of the control group (P < 0.05). These outcomes underscore the pronounced impact of music training on the rhythmic acuity and coordination of sports dancers. Moreover, post-experiment performance in sports skills demonstrated a notable enhancement within the experimental cohort relative to the control group (P < 0.05), further affirming the beneficial effects of music training on sports performance. By honing the rhythmic sensibility instilled through dance music, mastering sequences of movements, grasping the intricacies of dance music, and undergoing collaborative training integrating music with choreographed routines, the artistic expression of dance athletes can be significantly enhanced. Facilitating the fusion of artistry and athleticism, policymakers are encouraged to advocate for the amalgamation of art and sports, thereby fostering an environment conducive to the development of sports dance. This entails provisioning of enhanced artistic resources and training opportunities tailored specifically for sports dance athletes, including guidance and collaboration in musical accompaniment. Provision of professional accompaniment teams is recommended, with policymakers contemplating the establishment of dedicated piano accompaniment teams for sports dance athletes to ensure the calibre and adaptability of musical accompaniment, thereby elevating athletes' performance standards. [ABSTRACT FROM AUTHOR]

To examine the effect of synchronous dance movements on social bonding and perceived closeness between generations, 168 young (20–45 years) and older (65–90 years) participants were randomly assigned to six dyad conditions. These included dancing synchronously or asynchronously with an in-age-group or out-age-group unfamiliar partner for 11 min. The participants then completed social bonding and group closeness questionnaires. To assess variation across individuals' and dyads' measurements, a generalized estimating equation modeling analysis was conducted. In line with the hypotheses, synchronized dancing increased social bonding, and young adults showed an enhanced perception of closeness between generations. The hypothesis that synchronous dancing with out-age-group members would foster greater perceived closeness compared to in-age-group members was not confirmed. Surprisingly, the results indicated that asynchronous movements with the in-age-group led to a higher degree of closeness between generations than asynchronous movements with the out-age-group. Avenues for future studies on the mechanisms by which intergenerational dance fosters intergenerational bonding and closeness are discussed. [ABSTRACT FROM AUTHOR]

Copyright of Monatsschrift fuer Kriminologie und Strafrechtsreform is the property of De Gruyter 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 Greater Bird-of-Paradise (Paradisaea apoda) is a bird that performs a courtship display (lekking) to attract females during the mating season. The objective of this study was to examine the display behavior of adult and sub-adult males on lek trees as a learning process by a sub-adult and identify the lek trees. The research was conducted in the Tunas Timber Lestari Ltd. Production Forest in central mainland Papua, in a non-breeding season. After a lek tree was found, a video recording was conducted. Analysis was performed from the video. The lek tree was an emergent species with a dense canopy. An adult male was observed to perform a dance display in front of sub-adult males, even in the absence of females. When adult males performed display, the sub-adult were observed the adult males in an upside-down position. The sub-adult also danced, but not as complete as the adult, suggesting that there was a learning process by the sub-adult. This study revealed that the sub-adult/young males of the bird-of-paradise has the ability to dance inherit from their fathers, and then perfect the dance through practice and watching adults. The lek tree surely need to be protected for the survival for this species. [ABSTRACT FROM AUTHOR]

This in-depth exploration delves into the transformative possibilities of integrating ChatGPT into the realm of dance education. Examining its roles as a learning ally, creative mentor, knowledge transmitter, and perceptual guide within the unique context of dance instruction, the study navigates through the Technological Pedagogical Content Knowledge (TPACK) framework. It showcases how ChatGPT can elevate teaching efficiency, provide real-time feedback on dance movements, kindle artistic curiosity, and extend emotional support to students. While emphasizing its positive impact, the study also acknowledges potential risks, underscoring the irreplaceable role of educators in guiding students on effective ChatGPT utilization, ensuring it complements the nuanced aspects of dance education. The supporting framework presented highlights the dynamic synergy between ChatGPT, educators, and students, promising a more engaging and enriched dance education experience. [ABSTRACT FROM AUTHOR]

Demi-plié is a coordinated dance movement involving knees bent while keeping hips turned out and heels grounded. It consists of descending and ascending phases, the latter often preparing for the next move. Task goals may influence its trajectory. Ten classical dancers (eight females, two males), aged 20–45 years old performed demi-plié itself and prior to pirouette en dehors, relevé, sauté, and sissonne fermée de côté. Lower limb and hip trajectory data were collected through a motion capture system. Time-series data were aligned across all conditions using a dynamic time warping algorithm. The Euclidean distance measured the hip trajectory between each ballet movement, providing a continuous dissimilarity function over time. Descriptive analysis focused on each participant’s maximum dissimilarity values across conditions. Results showed maximum hip trajectory differences of 40% for demi-plié before sauté, 30% before sissonne, 20% before relevé, and 10% before pirouette. Dissimilarities began in the descending phase of the demi-plié. ANOVAs for repeated measures and Bonferroni’s post-hoc showed that the standard deviation of dissimilarity had the largest effect size for the demi-plié – demi-plié before sauté, and the smallest for the demi-plié – demi-plié before pirouette. Demi-plié prior to jumps demands plyometric forces and has open-loop motor planning, requiring acceleration, whereas demi-plié is closed-loop, relying on proprioceptive updating. [ABSTRACT FROM AUTHOR]

This article deals with recent writings on dance and theology by Riyako Cecilia Hikota and the authors of Heike Walz's Dance as Third Space (2022). It suggests, based on the writings of Vincent Lloyd, Sarah Coakley and recent discussions on theory and practice in the Nordic context, that the field of Dance and Theology needs a more rigorous understanding of practice. The article proposes a theoretical framework and Lloyd's distinctions between ritual and liturgy as a way to understand the gap between practice and norms, which is often missing in theological discussions. It then proceeds to exemplifying this by going into dialogue with Hikota's criticism of the current use of the term "perichōrēsis" in theological discussions aiming at promoting dance. [ABSTRACT FROM AUTHOR]

Background: Pole dancing is a physically demanding sport that combines dance and acrobatic movements on a vertical pole. Despite its highly growing popularity, there is currently limited research in the field. The aim of this study was to create and evaluate a strength assessment protocol for athletes in pole dancing, with a specific focus on functional positions on the pole. Methods: Thirty-two female pole dancing athletes participated in this study. Maximal voluntary isometric contractions (MVIC) were measured at three different sport-specific positions on the pole (shoulder abduction and adduction, and hip adduction), on two separate days (test and re-test) with a five to seven day interval between them. A hand-held dynamometer (Activ5- Activbody) stabilized on the pole was used for this study. Results: The intra-session reliability was good to excellent for all sports-specific positions and for both sides of the body, across all different movements (ICC = 0.837–0.960, SEM = 5.02 Kg–2.24 Kg, and SDD = 27.46%–14.92%). Slightly better results were found regarding inter-session reliability (ICC = 0.927–0.970, SEM = 3.72 Kg–1.97 Kg, and SDD = 22.86%–15.19%). There was not a statistically significant difference between the MVICs between the left and right or dominant and non-dominant side in shoulder abduction (p = 0.105) and hip adduction (p = 0.282), in contrast to shoulder adduction (p = 0.00). Conclusion: The strength assessment protocol developed in the current study has proven to be a reliable and functional tool, with the potential for utilization in clinical practice as part of objective strength testing. Further studies are needed in order to expand the protocol to other muscle groups and positions and to generalize the results in all pole dancing populations such as male athletes. [ABSTRACT FROM AUTHOR]

Utilising Pierre Bourdieu's (1977) concept of 'doxa', this article proposes the notion of a 'doxic agreement', exploring its relationship with agency in the context of contemporary dance technique training. The discussion draws on the data gathered from two cycles of action research, which the author conducted in an undergraduate dance training setting in a British university. During this research, a 'reflexive-dialogical' (RD) approach to dance technique training was developed; this approach subverts dominant training structures by allowing dialogue and critical reflection to occur alongside physical dance practice. Data analysis reveals that the environment constructed through the application of the RD approach created a doxic agreement, a mutually negotiated structure that determined a code of behaviour in the training setting. Positioning the doxic agreement as a flexible structure that disrupted the recursive reproduction (Giddens1984) of the dominant training structures, the author examines the extent to which the agreement facilitated agency, leading to an expanded understanding of how agency is developed and displayed through the body-minds of undergraduate dance students. [ABSTRACT FROM AUTHOR]

Introduction: Numerous studies within the school and academic contexts have underscored the profound impact of psychometric variables such as academic self-efficacy, self-esteem, and loneliness on academic achievement among children. Although physical activities and dance practices are known to bolster academic self-efficacy and enhance academic outcomes, the effect of Artistic Sports Activities on these psychological determinants among left-behind children (LBC) in rural schools remains underexplored. Method: This study was conducted from September 2020 to January 2022 among 405 LBCs aged 9 to 13 from six randomly selected primary schools in Hunan Province, China. Schools were chosen in collaboration with the Hunan Women and Children's Federation, ensuring informed consent through stakeholder informational sessions. The study employed rigorous sampling and data analysis methods, including the Shapiro--Wilk test for normal distribution and Cronbach's alpha for reliability, alongside Pearson correlation, independent and paired t-tests, and multiple linear regression analyses to investigate the effects of Artistic Sports Activities on psychometric variables and academic performance among LBCs. Data collection involved standardized questionnaires assessing academic self-efficacy, self-esteem, and loneliness before and after intervention. Results: Findings indicate that Artistic Sports Activities significantly improved academic self-efficacy and self-esteem and reduced loneliness, leading to enhanced academic performance. Notably, loneliness was identified as mediating the relationship between academic self-efficacy and self-esteem among LBCs. Discussion: The findings highlight the critical role of integrating Artistic Sports Activities in educational frameworks to bolster psychological and academic outcomes for LBCs. The study reveals the intricate interplay between loneliness, self-esteem, and academic self-efficacy, underscoring the necessity for targeted educational interventions. [ABSTRACT FROM AUTHOR]

Dance plays a vital role in human societies across time and culture, with different communities having invented different systems for artistic expression through movement (genres). Differences between genres can be described by experts in words and movements, but these descriptions can only be appreciated by people with certain background abilities. Existing dance notation schemes could be applied to describe genre-differences, however they fall substantially short of being able to capture the important details of movement across a wide spectrum of genres. Our knowledge and practice around dance would benefit from a general, quantitative and human-understandable method of characterizing meaningful differences between aspects of any dance style; a computational kinematics of dance. Here we introduce and apply a novel system for encoding bodily movement as 17 macroscopic, interpretable features, such as expandedness of the body or the frequency of sharp movements. We use this encoding to analyze Hip Hop Dance genres, in part by building a low-cost machine-learning classifier that distinguishes genre with high accuracy. Our study relies on an open dataset (AIST++) of posesequences from dancers instructed to perform one of ten Hip Hop genres, such as Breakdance, Popping, or Krump. For comparison we evaluate moderately experienced human observers at discerning these sequence's genres from movements alone (38% where chance = 10%). The performance of a baseline, Ridge classifier model was fair (48%) and that of the model resulting from our automated machine learning pipeline was strong (76%). This indicates that the selected features represent important dimensions of movement for the expression of the attitudes, stories, and aesthetic values manifested in these dance forms. Our study offers a new window into significant relations of similarity and difference between the genres studied. Given the rich, complex, and culturally shaped nature of these genres, the interpretability of our features, and the lightweight techniques used, our approach has significant potential for generalization to other movement domains and movement-related applications. [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]

This text discusses the contributions of dance critics Mary Clarke and Clement Crisp, focusing on Crisp's unconventional and provocative approach to criticism. It highlights his extensive knowledge and intelligence, as well as his ability to provide historical context and accuracy in his writings. The text also explores the original connection between dance and religion in various cultures, emphasizing how dance was initially associated with worship and spirituality. It concludes by praising Crisp's vivid and entertaining writing style and his ability to capture the essence of different dance forms. [Extracted from the article]

• Research Focus: Importance of merging traditional clothing and precise movements in dance digitization. • Technology Evaluation: In-depth review of mocap technologies for accurate dance capture. • Efficient Digitization Pipeline: Streamlined process for digitizing folk dances with "extreme clothing." • Comparative Analysis & Impact Assessment: Evaluation of mocap devices' performance with and without traditional costumes. • Virtual Reality (VR) Exploration: Study on how traditional attire affects user experience in VR. [Display omitted] This work studies the challenges associated with capturing the movement of dance performers wearing traditional African masquerade garments, specifically focusing on the Eyo masquerade dance, a cultural heritage creation from Lagos, Nigeria, and discusses the crucial role the costume has in enhancing the overall performance. The work particularly investigates the capabilities and limitations of current motion capture technology in effectively capturing the movements of both the dancer and the costume, especially when the performer wears what we refer to as "extreme clothing", such as full body costumes or heavy garments. To overcome these challenges, we employ a combination of motion capture technologies to precisely capture the movements of the performer both with and without the costume, while assessing their respective advantages and limitations. Furthermore, we analyze the disparities in motion quality between these two scenarios to comprehend the influence of the costume on the overall performance. This research has led to the development of an efficient pipeline for digitizing and visualizing folk dances featuring intricate and bulky costumes. The findings of this study offer invaluable insights into the application of motion capture technology for acquiring the movements of performers, including the deformation of their costumes, in cultural heritage dances. As a final outcome of this work, we present a visually captivating animation showcasing an Eyo masquerade dance performance, underscoring the potential of motion capture technology as a tool for preserving and promoting cultural heritage dances. [ABSTRACT FROM AUTHOR]

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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.)

This paper delves into the specialized domain of human action recognition, focusing on the Identification of Indian classical dance poses, specifically Bharatanatyam. Within the dance context, a "Karana" embodies a synchronized and harmonious movement encompassing body, hands, and feet, as defined by the Natyashastra. The essence of Karana lies in the amalgamation of nritta hasta (hand movements), sthaana (body postures), and chaari (leg movements). Although numerous, Natyashastra codifies 108 karanas, showcased in the intricate stone carvings adorning the Nataraj temples of Chidambaram, where Lord Shiva's association with these movements is depicted. Automating pose identification in Bharatanatyam poses challenges due to the vast array of variations, encompassing hand and body postures, mudras (hand gestures), facial expressions, and head gestures. To simplify this intricate task, this research employs image processing and automation techniques. The proposed methodology comprises four stages: acquisition and pre-processing of images involving skeletonization and Data Augmentation techniques, feature extraction from images, classification of dance poses using a deep learning network-based convolution neural network model (InceptionResNetV2), and visualization of 3D models through mesh creation from point clouds. The use of advanced technologies, such as the MediaPipe library for body key point detection and deep learning networks, streamlines the identification process. Data augmentation, a pivotal step, expands small datasets, enhancing the model's accuracy. The convolution neural network model showcased its effectiveness in accurately recognizing intricate dance movements, paving the way for streamlined analysis and interpretation. This innovative approach not only simplifies the identification of Bharatanatyam poses but also sets a precedent for enhancing accessibility and efficiency for practitioners and researchers in the Indian classical dance. [ABSTRACT FROM AUTHOR]

Purpose of Research is to clarify the meaning of the concept of "contemporary dance" in optics of art history approaches to the interpretation of the term "contemporary art". Methodology. The terminological method made it possible to correlate the terms and the concepts denoted by them; methods of analysis, comparison, and theoretical generalization are also applied. Scientific novelty. The term "contemporary dance" is analyzed through the prism of the term "contemporary art", the unique dualistic nature of contemporary dance (an integrative system of technicaltechnological and ideological-philosophical components) is proven. Conclusions. The term "contemporary dance" is consonant with the term "contemporary art" in the aspect of modernity, relevance, but acquires specific features in the choreographic and choreographic discourse. The terms "modern dance" and "contemporary dance" are not identical: the first is used to denote a wide range of varieties, directions, styles of modern dance of the 20th - early 21st centuries, the second - to denote an independent variety of modern dance that arose at the end of the 20th - at the beginning 21st century Contemporary dance can be considered as a complex phenomenon, which is not only a set of methods and techniques of dance (technical-technological level), but also is in the plane of philosophical and cultural-artistic concepts (spiritualmental, ideological-aesthetic level), which simultaneously become the source of contemporary dance, and its regulator. Contemporary dance is dualistic in essence, integrates immanent dance features and features of contemporary art as a whole, is an integrative system of technical-technological and ideological-philosophical components. [ABSTRACT FROM AUTHOR]

The article explores the digital innovations that are being used in a folk performance in West Bengal, namely the Chhau dance. The COVID-19 pandemic foregrounded the relevance of digital space across disciplines. Being an expression of the collective experience of the people of the Purulia district, Chhau dance is commonly associated with fostering and perpetuating folk and mythical beliefs through its extensive use of masks and dance movements steered by the Jhumur songs. While the common urge to archive the traditional dance-drama form in its 'authentic' essence precipitates a digital turn within the performance, the digital contact paradoxically reorients the 'authentic' identity of this cultural practice. The present study seeks to use the 'identity–authenticity' interplay in the context of globalization as the crux of the article. Within this framework, the article analyses how a folk cultural practice like Chhau dance, with its recent innovations in masks and performances mandated by the pandemic, problematizes the debate. It further strives to recognize the implications of the digital presence of the performances as well as the performers, which, for many of the traditionalists, might have jeopardized the ritualistic practices that were considered the 'essence' of the performance. The research was conducted through ethnographic methods gathered through fieldwork to gain first-hand knowledge of the ground reality. [ABSTRACT FROM AUTHOR]

Fragile geological features must undergo frequent structural health assessments to prevent catastrophic failure events. The mechanical behavior of natural sites is largely guided by vibrations of the earth and environmental exposure, but damage is rarely assessed, except empirically. The Chauvet‐Pont d'Arc cave, a UNESCO World Heritage Site, represents a shining example of fragility that would benefit from monitoring. It is overhung by a rock column known as Abraham's pillar that extends out from the cliff like a natural tuning fork. For this study, we monitored dancing movements of this pillar for over 2 years to analyze its elastic response to weather conditions. Using ambient‐seismic‐noise‐based methods, we identified the pillar's first two natural resonance modes. Through extensive monitoring of the site, we observed the striking temporal evolution of these two resonance frequencies on hourly, daily, seasonal, and pluriannual scales in response to changes in air temperature and insolation. Based on thermo‐acousto‐elastic modeling with a simplified 3D geometric structure, we determined how thermally‐induced stress stiffening affects the rock material, by applying convective and radiative heat fluxes to the model. From the results obtained, we suggest a novel quantitative method based on daily observations that can estimate the level of damage within the rock material. Our work provides a foundation for distinguishing between reversible processes and damage for hazard studies in the frame of climate change. Such knowledge is crucial not only for the preservation of heritage sites but also for enhancing risk assessment protocols and informing conservation efforts worldwide. Plain Language Summary: Rock columns are prominent geological features detaching from rock cliffs. The Chauvet‐Pont d'Arc cave, a UNESCO World Heritage Site, is overhung by such a rock column called Abraham's pillar. By seismic sensors, we monitored vibrations of this pillar that continuously oscillates like a natural tuning fork. These vibrations are particularly amplified at two certain frequencies, called natural resonance frequencies, that are related to fixation conditions and health state of the pillar. Their values fluctuate along days and years, and this wandering is strongly linked with air temperature and solar heating over time. We modeled how temperature affects the mechanical properties of the rock material. Based on these results, we suggest a novel method that can estimate the daily level of damage within the rock material, paving the way to enhance rockfall hazard assessment and prevent catastrophic failures. Key Points: The Chauvet‐Pont d'Arc UNESCO site is overhung by a rocky pillar that has been monitored during more than 2 yearsResonance frequencies of pillar's bending modes evolve with thermal forcings at daily and seasonal time scalesThermo‐acoustoelasticity is used to model thermally‐induced stresses and acoustoelastic parameters are proposed as a proxy of rock damage [ABSTRACT FROM AUTHOR]

This study aims to explore the potential value of light imaging detection based on Internet of Things devices in the simulation application of dance sports data monitoring. In this context, the aim of this study is to use iot devices and optical imaging technology to monitor dance sport movement, and to provide a more comprehensive and accurate motion monitoring scheme through data processing and simulation analysis. We adopt the optical imaging detection technology based on Internet of Things devices to realize the real-time monitoring of dance sports. By installing optical sensors and camera devices, the technology is able to capture key movements and postures during movement and transmit the data to a monitoring system for analysis. We use deep learning algorithm to process and recognize the acquired image data, so as to realize motion detection and posture analysis. Through experiments and data analysis, we get satisfactory results. By monitoring and analyzing the optical image data during the dancesport movement, we are able to accurately capture and record the movement characteristics of athletes, providing real-time movement monitoring and feedback. We have also developed simulation applications that enable the simulation evaluation of an athlete's posture and technical level by converting optical image data into a motion model. [ABSTRACT FROM AUTHOR]

Purpose: This study aims to analyze the clinical characteristics of Chinese children with spinal cord injury (SCI) without radiographic abnormality (SCIWORA) and explore their contributing factors and mechanisms of occurrence. Methods: A retrospective analysis was conducted on the clinical data of pediatric patients diagnosed with SCIWORA from January 2005 to May 2020. Epidemiological, etiological, mechanistic, therapeutic, and outcome aspects were analyzed. Results: A total of 47 patients with SCIWORA were included in this study, comprising 16 males and 31 females. The age range was 4 to 12 years, with an average age of 7.49 ± 2.04 years, and 70% of the patients were below eight. Sports-related injuries constituted 66%, with 70% attributed to dance backbend practice. Thoracic segment injuries accounted for 77%. In the American Spinal Injury Association (ASIA) classification, the combined proportion of A and B grades accounted for 88%. Conservative treatment was chosen by 98% of the patients, with muscle atrophy, spinal scoliosis, hip joint abnormalities, and urinary system infections being the most common complications. Conclusion: SCIWORA in Chinese children is more prevalent in those under eight years old, with a higher incidence in females than males. Thoracic spinal cord injuries are predominant, dance backbend as a primary contributing factor, and the social environment of "neijuan" is a critical potential inducing factor. Furthermore, the initial severity of the injury plays a decisive role in determining the prognosis of SCIWORA. [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]

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