scholarly journals Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example

2018 ◽  
Vol 2 (3) ◽  
pp. 84
Author(s):  
Ziqiao Wang
Keyword(s):  
Professional Training ◽  
Folk Dance ◽  
Classical Dance ◽  
Face Expression ◽  
Training Stage ◽  
Starting Point ◽  
Court Dance ◽  
Professional Dance ◽  
Professional Dancers ◽  
Rich Content

Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that the eyes are the windows of the soul, and the folk dance is more about expressing a feeling to the audience. If the dancer don’t have a good performance and face expression, he or she can’t express the dance work at all. Therefore, this article takes the training of national folk dance as the starting point, combining technical training, stage performance, professional dancers and amateur dancers, taking the Uygur as an example.

Chinese Classical Dancers Have Improved Spontaneous Activity in Visual Brain Areas

2021 ◽  
pp. 1-7
Author(s):  
Rou Wen ◽  
Lijuan Hou ◽  
Jilong Shi ◽  
Mi Zhang
Keyword(s):  
Resting State ◽  
Professional Training ◽  
Brain Activity ◽  
Brain Areas ◽  
Classical Dance ◽  
Functional Changes ◽  
Dance Training ◽  
Significant Difference ◽  
Professional Dancers

Abstract. Resting-state functional magnetic resonance imaging (fMRI) studies demonstrate that long-term exercise or dance training may cause changes in brain structure and function. However, the changes of neurofunction in the long-term practitioners of Chinese classical dance are still unclear. The purpose of the study is to explore the neurofunctional alterations associated with long-term Chinese classical dance training. Thirty female college students were selected, 15 students majoring in Chinese classical dance (average training years = 9.73 ± 1.75 years) and 15 education-matched non-dancer students with no previous experience of regular dance training. In this cross-sectional design, the resting-state fMRI data were acquired only once to observe the structural and functional changes of the brain. Compared with non-dancers, professional dancers had no significant difference in the total volume of whole brain, gray matter, white matter, and cerebrospinal fluid. While in professional dancers, we found increased amplitude of low-frequency fluctuation (ALFF) in the left superior occipital gyrus, right Cuneus, and left calcarine fissure and surrounding cortex (Calcarine); increased fractional ALFF and regional homogeneity in the right Calcarine, indicating the increase of spontaneous brain activity in these brain areas. Since these brain areas are related to visual cognitive function, the results suggest that long-term Chinese classical dance training is associated with increased spontaneous regional brain activity in the visual areas. This may be closely related to the specific characteristics of Chinese classical dance and long-term professional training.

scholarly journals Estudio de los procesos cognitivos en bailarines semi-profesionales (Study of the cognitive processes in semi-professional dancers)

Retos ◽  
2019 ◽  
pp. 493-497
Author(s):  
Macarena Nieto Romero ◽  
José Luis Chinchilla-Minguet ◽  
Alfonso Castillo-Rodríguez
Keyword(s):  
Data Collection ◽  
Coping Strategies ◽  
Cognitive Processes ◽  
Cognitive Strategies ◽  
Sixth Grade ◽  
Classical Dance ◽  
Before And After ◽  
Professional Dance ◽  
Professional Dancers ◽  
Stage Performance

El objetivo de este estudio es conocer cuáles son las estrategias cognitivas utilizadas por estudiantes bailarines pre-profesionales de Conservatorios Profesionales de Danza cuando tienen que solucionar problemas de índole psicológica antes, durante y al finalizar una actuación escénica o/y en una clase/ensayo. Se contó con una muestra de 125 bailarines/estudiantes pre-profesionales de los tres últimos cursos de enseñanzas profesionales de danza (cuarto, quinto y sexto), pertenecientes a las tres especialidades (danza clásica, danza española, baile flamenco) de los Conservatorios Profesionales de Danza de Córdoba, Sevilla y Málaga. El instrumento de recogida de información en esta primera fase ha sido el Cuestionario de Estrategias Cognitivas en Deportistas CEAD de Mora, García, Toro, & Zarco (2001), sobre el cual se sustituyeron términos propios del ámbito de la danza por los términos propios del campo del deporte. Los resultados del estudio nos permiten hallar conclusiones sobre los problemas cognitivos más destacados en bailarines de similares características a los estudiados y éstos poderse tener en cuenta en las etapas de formación y aprendizaje de los bailarines para poder presentar a bailarines/as en el ámbito laboral y profesional de la danza con estrategias de afrontamiento cognitivo óptimas para alcanzar el máximo rendimiento escénico.Abstract. The purpose of this research is to acknowledge the cognitive strategies used by dance students at pre-professional stages within professional Dance Conservatories when attempting to solve issues of psychological nature, during, before, and after the stage performance and/or rehearsal/classes. A sample of 125 pre-professional dance students currently enrolled in the last three academic years of professional dancing degrees (fourth, fifth, and sixth grade) belonging to the three disciplines (classical dance, Spanish dance, and flamenco dance) from the professional Dance Conservatories of Córdoba, Seville, and Malaga were recruited. The instrument employed for data collection in this first stage was the Cuestionario de Estrategias Cognitivas en Deportistas (CEAD; Mora, García, Toro, & Zarco, 2001), in which certain terms pertaining to the field of sports were substituted with specific dance terms. The outcomes of the research allow us to draw conclusions about the most remarkable cognitive issues in dancers with similar characteristics to those in our sample, and to take them into account in educational and learning stages so to provide such dancers, both in labor and professional environments, with optimal coping strategies for reaching the highest stage performances.

scholarly journals PhaLP: A Database for the Study of Phage Lytic Proteins and Their Evolution

Viruses ◽  
2021 ◽  
Vol 13 (7) ◽  
pp. 1240
Author(s):  
Bjorn Criel ◽  
Steff Taelman ◽  
Wim Van Criekinge ◽  
Michiel Stock ◽  
Yves Briers
Keyword(s):  
Protein Sequence ◽  
Early Research ◽  
Learning Approaches ◽  
Specific Design ◽  
Starting Point ◽  
Community Of Researchers ◽  
The Rich ◽  
Rich Content ◽  
Broad Community ◽  
High Diversity

Phage lytic proteins are a clinically advanced class of novel enzyme-based antibiotics, so-called enzybiotics. A growing community of researchers develops phage lytic proteins with the perspective of their use as enzybiotics. A successful translation of enzybiotics to the market requires well-considered selections of phage lytic proteins in early research stages. Here, we introduce PhaLP, a database of phage lytic proteins, which serves as an open portal to facilitate the development of phage lytic proteins. PhaLP is a comprehensive, easily accessible and automatically updated database (currently 16,095 entries). Capitalizing on the rich content of PhaLP, we have mapped the high diversity of natural phage lytic proteins and conducted analyses at three levels to gain insight in their host-specific evolution. First, we provide an overview of the modular diversity. Secondly, datamining and interpretable machine learning approaches were adopted to reveal host-specific design rules for domain architectures in endolysins. Lastly, the evolution of phage lytic proteins on the protein sequence level was explored, revealing host-specific clusters. In sum, PhaLP can act as a starting point for the broad community of enzybiotic researchers, while the steadily improving evolutionary insights will serve as a natural inspiration for protein engineers.

APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION

2021 ◽  
Vol 6 (12) ◽  
pp. 218-226
Author(s):  
Terane MURADOVA
Keyword(s):  
Modern Dance ◽  
Stage Structure ◽  
Musical Instrument ◽  
Folk Dance ◽  
Main Condition ◽  
Successful Work ◽  
Professional Dance ◽  
Classical Traditions ◽  
Dance Groups ◽  
Different Parts

Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.

scholarly journals Critiques on the Ideologies of Contemporary Bedhayan Dances

2017 ◽  
Vol 9 (1) ◽  
pp. 104-114
Author(s):  
Sawitri Sawitri ◽  
Bani Sudardi ◽  
Wakit Abdullah ◽  
Nyoman Chaya
Keyword(s):  
Descriptive Analysis ◽  
Iron Curtain ◽  
Global Culture ◽  
Cultural Products ◽  
Classical Dance ◽  
Life Orientation ◽  
Court Dance ◽  
Classical Culture ◽  
The Relationship

This present paper provides a descriptive analysis toward a traditional court dance called Bedhaya, one of the cultural products of the Javanese community in Surakarta which evolved into its modern version Bedhayan due to the flow of global culture. By applying the theories of hermeneutics, ideology, aesthetics and Semiotics, the data are inferred according to the purposed questions. The inquiry is directed to infer the factors encompassing Bedhaya dance such as its emergence and the development, relationship with the existence and its role in the society, the relationship with systems within the society or with various interests. The results as inferred from the data obtained views in looking at the development on the classical dance of Bedhaya into Bedhayan left worthy of critical assessments. The reality of Bedhayan dance in the view of art as an ideology, from the outside, appears that the choreograhers/artists can freely express their creative ideas in the context of the fight agains the classical culture which is strongly enacted by the myths and power of the rulling king. However, it should be noted that Bedhayan dance artists which have managed to bring the classical bedhaya dance out of the walls of the Kraton also in essence always work in the confines of the iron curtain of a creativity called ideology. Whether consciously or not, being forced or sincere in living it, these choreographers actually fall into the life orientation which solely concerns the fulfillment of material needs.

Occupational accidents in professional dancers with regard to different professional dance styles

Work ◽  
2014 ◽  
Vol 49 (4) ◽  
pp. 597-606 ◽  
Author(s):  
Eileen M. Wanke ◽  
Helmgard Mill ◽  
Michael Arendt ◽  
Alice Wanke ◽  
Franziska Koch ◽  
...  
Keyword(s):  
Occupational Accidents ◽  
Professional Dance ◽  
Professional Dancers

Dance Partner or Dance Floor?: Exogenous Factors Resulting in Accidents in Professional Dancers

2013 ◽  
Vol 28 (3) ◽  
pp. 131-136
Author(s):  
Eileen M Wanke ◽  
Helmgard Mill ◽  
Alice Wanke ◽  
Jacqueline Davenport ◽  
Fistd Checcetti ◽  
...  
Keyword(s):  
Preventive Measures ◽  
Endogenous Factors ◽  
Dance Floor ◽  
Acute Injuries ◽  
Causative Factors ◽  
Exogenous Factors ◽  
Work Accident ◽  
Professional Dance ◽  
Work Accidents ◽  
Professional Dancers

OBJECTIVE: Injury prevention in professional dancers is very important due to the high risk for acute injuries posing a threat to dancers’ careers. Causative factors of acute injuries in professional dance can be divided into exogenous and endogenous factors. Although both are known in professional dance, there is still a lack of data to have a differentiated view. The aim of this study is to analyze exogenous factors resulting in work accidents of professional dancers. METHODS: The data for the evaluation were obtained from work accident reports (n = 1,438, female 722, male 716) from six Berlin Theatres. Evaluation and descriptive statistics were conducted by SPSS 18 and Excel 2007. RESULTS: About half (48.5%, n = 698) of all work accidents are caused by exogenous factors. The “dance partner” is the most common exogenous factor (39.9%), followed by the dance floor (28.24%) and props (13.6%). The lower extremity is the most frequent structure injured in either sex (male 47.3%, female 61.3%), followed by the upper extremity in females (14.6%) and spine in male dancers (19.8%). The stage is the most common injury location in both genders (males 63.9%, females 56.8%). Acute injuries caused by exogenous factors were particularly sustained during performances (males 58.8%, females 50.5%) and during rehearsals (males 33%, females 39.9%). CONCLUSION: This study shows the key significance of exogenous factors in acute injuries in professional dance. Preserving the dancers’ health and preventing injuries takes top priority, and therefore, interventions in the artistic work cannot be ruled out when preventive measures are implemented.

scholarly journals Analysis of RGB-D camera technologies for supporting different facial usage scenarios

2020 ◽  
Vol 79 (39-40) ◽  
pp. 29375-29398
Author(s):  
Luca Ulrich ◽  
Enrico Vezzetti ◽  
Sandro Moos ◽  
Federica Marcolin
Keyword(s):  
Correct Choice ◽  
Depth Information ◽  
Expression Recognition ◽  
Face Expression ◽  
Starting Point ◽  
3D Camera ◽  
Face Expression Recognition ◽  
3D Information ◽  
Face Morphology ◽  
New Algorithms

Abstract Recently a wide variety of applications has been developed integrating 3D functionalities. Advantages given by the possibility of relying on depth information allows the developers to design new algorithms and to improve the existing ones. In particular, for what concerns face morphology, 3D has led to the possibility to obtain face depth maps highly close to reality and consequently an improvement of the starting point for further analysis such as Face Detection, Face Authentication, Face Identification and Face Expression Recognition. The development of the aforementioned applications would have been impossible without the progress of sensor technologies for obtaining 3D information. Several solutions have been adopted over time. In this paper, emphasis is put on passive stereoscopy, structured light, time-of-flight (ToF) and active stereoscopy, namely the most used technologies for the cameras design and fulfilment according to the literature. The aim of this article is to investigate facial applications and to examine 3D camera technologies to suggest some guidelines for addressing the correct choice of a 3D sensor according to the application that has to be developed.

scholarly journals THEORETICAL AND METHODOLOGICAL FUNDAMENTALS OF TRAINING OF FUTURE SPECIALISTS OF MODERN BALLOT DANCES

2021 ◽  
Vol 1 (195) ◽  
pp. 128-133
Author(s):  
Igor Spinul ◽  
◽  
Elena Spinul ◽  
Keyword(s):  
Higher Education ◽  
Spiritual Development ◽  
Professional Training ◽  
Learning Technologies ◽  
Educational Process ◽  
Interactive Methods ◽  
Practical Training ◽  
Folk Dance ◽  
Ballroom Dancing ◽  
Depth Analysis

In recent decades, modern ballroom dancing as an artistic phenomenon is spreading around the world. During the twentieth century, the society formed a clear idea of ​​ballroom dancing as a folk dance (waltz, tango, etc.) and sports competitions of ten standardized ballroom dances. However, in recent times, modern ballroom dancing is increasingly fighting for the right to recognize it as an independent phenomenon of choreographic culture, given the original system of means of expression, which distinguishes it from other types of ballroom choreography (sports and household) and stage forms of folk dance. Modern society places high demands on the professional training of future teachers in the field of culture and art. Fundamental knowledge of philosophy, pedagogy and psychology, ethics and aesthetics, other sciences help to organize the educational process with its main purpose, didactic, educational, developmental tasks, traditional and interactive methods, learning technologies and organizational forms determined by the teacher in accordance with modern requirements. put forward by the «Law of Ukraine on Higher Education» and state educational standards. The process of training a specialist in the field of ballroom dancing is based on the presence of practical training, adjustment, consolidation of movements and skills of the teacher, because without in-depth analysis of body movements in various dance performances, the idea of ​​ballroom dancing Constant quality control and the creation of individual tasks will promote self-analysis of the student, his understanding and understanding of the importance of the balance between mental activity, physical and spiritual development. In the article the author explores the specifics of teaching modern ballroom dancing in higher education; defines the essence, criteria, requirements of choreographic and performing skills as a competence. The characteristics and features of the teacher-choreographer, his personal qualities are presented.

scholarly journals WORKING WITH LEXICAL MATERIAL WHEN TRAINING FOREIGN MEDICINE STUDENTS IN THE SYSTEM OF TEACHING RUSSIAN AS A FOREIGN LANGUAGE

2021 ◽  
Vol 10 (34) ◽  
Author(s):  
N.E PETROVA ◽  
Keyword(s):  
Medical Students ◽  
Foreign Language ◽  
Professional Training ◽  
Word Formation ◽  
Point Of View ◽  
Effective Work ◽  
Control Stage ◽  
Training Stage ◽  
Text Reading ◽  
Meaning Analysis

The article provides a methodological description of the system of working with lexical material intended for the professional training of medical students on the topic "Liver and biliary tract". Lexical tasks are presented in the form of a step-by-step structure, which includes exercises of varying complexity, aimed at the formation of knowledge, abilities and skills. The stages of mastering the lexical material include the following: introductory, training, applied, control. At the familiarization stage, students perform exercises that involve reading, practicing pronunciation and stress, memorizing, identification during listening. At the training stage, exercises are given to determine the meaning, analysis of word formation. At the training stage, students comprehend lexemes from the point of view of functional and semantic meaning in phrases and sentences, their communicative significance. At the control stage, students are offered tasks that summarize the knowledge acquired in the course of lexical work. In general, all tasks are based on the vocabulary of the lesson topic and are associated with various competencies: phonetic (pronunciation and stress), word formation, grammatical (grammatical forms, phrases and sentences), communicative. All assignments provide preparation for effective work with the text: reading and understanding it. In addition, when studying any professional topic, medical students not only study, but also make up “doctor-patient” dialogues, which requires a good knowledge of vocabulary.

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