scholarly journals Contact improvisation in the context of social dance of the XX century: features of the open dance form "jam"

Author(s):  
Anastasia Zhuravleva

Contact improvisation in the context of social dance of the XX century: features of the open dance form "jam" The purpose of the article is to reveal the features of contact improvisation as a practice of social dance of the XXI century and to determine the specifics of its implementation in the unique dance form "jam". Research methodology. A comprehensive method of studying the features of contact improvisation in the context of a social dance of the XXI century, a historical method, thanks to which the details of the development of contact improvisation have been clarified; the method of functional and systems analysis, which contributed to the study of contact improvisation as a unique hybrid practice; a phenomenological method that helped to highlight the essential features and identify the key elements of contact improvisation in the dance form "jam", etc. The scientific novelty consists in expanding the theoretical basis for analyzing the phenomenon of contact improvisation; clarifying the concept of "contact improvisation"; the features of the practice of contact improvisation in the context of the specificity of social dance are investigated on the basis of the analysis of its physical and mental components; analyzed the main elements of contact improvisation (inaction, weighing/carrying, falling, playing, discussing, observing, touching) through the prism of the unique open dance form "jam". Conclusions. Contact improvisation is based on communication between two moving bodies that are in physical contact, and the cumulative relationship of physical laws governing their motion - the laws of gravity, momentum, and inertia. In accordance with the specifics of social dance, contact improvisation is a tool for studying one's own capabilities, a model of human relations and meditative practice, which creates the preconditions for further development, providing a huge space of freedom and ease of performance of one or another dance element, removes the restrictions imposed by choreography, allows you to move like this, as the dancer wants, without tension, provides new material for self-knowledge and exploration of relationships, is a source of inspiration and a way of expressing the creative energy that is in the body. Contact improvisation, as a hybrid practice, works at the crossroads between body meditation, psycho-kinesthetic therapy, sports training, and dance improvisation and, in the context of the specifics of social dance, is implemented at improvisational meetings of contactees, the so-called jams, at the local and national level. Keywords: contact improvisation, social dance, jams, dance practice, dance form.

Author(s):  
Sona N. Golder ◽  
Ignacio Lago ◽  
André Blais ◽  
Elisabeth Gidengil ◽  
Thomas Gschwend

Voters face different incentives to turn out to vote in one electoral arena versus another. Although turnout is lowest in European elections, it is found that the turnout is only slightly lower in regional than in national elections. Standard accounts suggest that the importance of an election, in terms of the policy-making power of the body to be elected, drives variation in turnout across elections at different levels. This chapter argues that this is only part of the story, and that voter attachment to a particular level also matters. Not all voters feel connected to each electoral arena in the same way. Although for some, their identity and the issues they most care about are linked to politics at the national level, for others, the regional or European level may offer the political community and political issues that most resonate with them.


2014 ◽  
Author(s):  
Eric Franklin

Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: • Two chapters include background, history, theory, and uses of imagery. • 294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. • 133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer’s steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin’s Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin’s method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin’s method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.


Zootaxa ◽  
2021 ◽  
Vol 4949 (3) ◽  
pp. 499-520
Author(s):  
LUIS ESTEBAN KRAUSE LANÉS ◽  
MATHEUS VIEIRA VOLCAN ◽  
LEONARDO MALTCHIK

Two new species of Austrolebias are described based on specimens collected from temporary pools located in natural grassland landscape within the Araucaria Forest domain at exceptionally high altitudes (~1000 meters a.s.l.). Austrolebias botocudo sp. n. and Austrolebias nubium sp. n. occur, respectively, in drainages of upper rio Apuaê-Inhandava (upper rio Uruguay basin) and upper rio Taquari-Antas (upper rio Jacuí, Laguna dos Patos basin), in the Meridional Plateau of southern Brazil. Despite an intensive survey conducted in the area, only two populations of each species were recorded. Both new species occurs at altitudes that are among the higher recorded for species of the genus, and both are assigned to the subgenus Acrolebias. The new species described herein are easily distinguished for its congeners by the colour pattern of males, by presence of melanophores irregularly distributed in different parts of the body, contact organs cover the body and anal fins, position of fins related with vertebrae, by preopercular and mandibular series of neuromasts united, by a series of morphometric features and by larger maximum standard length. Austrolebias botocudo and A. nubium are distinguished from each other by colour pattern of males, length of contact organs in the flank and number of contact organs in scales of lateral line, dorsal profile of head, number of neuromasts in the preopercular + mandibular series, body depth in females, and by basihyal cartilage length. Additionally, we discuss the conservation status of the new species, and provided an identification key for the species of the subgenus Acrolebias. 


1960 ◽  
Vol 15 (5) ◽  
pp. 759-763 ◽  
Author(s):  
J. W. Snellen

When studying a walking subject's thermal exchange with the environment, it is essential to know whether in level walking any part of the total energy expenditure is converted into external mechanical work and whether in grade walking the amount of the external work is predictable from physical laws. For this purpose an experiment was set up in which a subject walked on a motor-driven treadmill in a climatic room. In each series of measurements a subject walked uphill for 3 hours and on the level for another hour. Metabolism was kept equal in both situations. Air and wall temperatures were adjusted to the observed weighted skin temperature in order to avoid any heat exchange by radiation and convection. Heat loss by evaporation was derived from the weight loss of the subject. All measurements were carried out in a state of thermal equilibrium. In grade walking there was a difference between heat production and heat loss by evaporation. This difference equaled the caloric equivalent of the product of body weight and gained height. In level walking the heat production equaled heat loss. Hence it was concluded that in level walking all the energy is converted into heat inside the body. Submitted on April 26, 1960


2009 ◽  
Vol 46 (1) ◽  
pp. 27-44 ◽  
Author(s):  
Peter Kelly ◽  
Christopher Hickey

In this article we discuss the ways in which the professional identity of Australian Football League (AFL) footballers — in a physical, high body contact sport — is shaped by concerns to develop different aspects of the body, mind and soul of the young men who want to become AFL footballers. Drawing on Michel Foucault’s later work on the care of the self we argue that narratives of identity necessarily involve a struggle for the body, mind and soul of these young men. Foucault’s work enables us to identify and analyse how relations of power, forms of regulation and arts of governing interact in ongoing attempts to develop the professional footballer. The article explores these issues via an analysis of the rationalities and techniques that inform talent identification and player management practices; and risk management in relation to these practices and processes in the AFL.


2017 ◽  
Vol 1 (1) ◽  
pp. 52
Author(s):  
Alfi Hafidh Ishaqro ◽  
Alamsyah Alamsyah ◽  
Dewi Yuliati

Through historical method, this article studies the Shifts in Political Ideological Orientation of Masyumi Party during the Liberal Democracy Era 1950–1959. The shifted orientations of Masyumi Party included a shif of orientation in its principle, form of government and the government executive system.The establishment of Masyumi Party was the apex of the Japanese concern in trying to map the axis of the powers of various groups in Indonesia. The formations of PUTERA, which bore the nationalist inclination and MIAI, which tended to accommodate urban Muslims were not attractive enough to win the hearts and empathy from the Indonesian native communities for its occupation in Indonesia. Masyumi Party made Islam as a its struggling principle, not only as a symbol  but also tha ideology and spirits in conducting the various siyasah preaches within the scope of political struggles. Numerous internal dynamics were then occuring in the body Masymi Party. The Party’s change in its orientation began to be visible, indicated by the idea suggested by M. Natsir to formulate the Constitution or Law of General Election.The formation of the General Election Law made M. Natsir and Masyumi the symbol of the establishment and growth of democracy in the Republic of Indonesia, which became more evident when M. Natsir was ousted and the subsequent working cabinet heads failed to hold a General Election. And finally, at the end of 1955 under the leadership of Burhanuddin Harahap, who was himself a Masyumi figure, a general election was held for the first time. The political attitude shown by Masyumi indicated that Masumi Party had shifted its political orientation. Masyumi Party, which originally struggled to implement Islam by employing the Syura in forming a government was helplessly compromising its principle by following and combining itself into a democracy model the initiator of which was the leader of Masyumi Party itself. Such political behavioral changes were associated with the reasoning of the then leaders of Masyumi Party, who tended to accommodative and excessively compromising. 


2021 ◽  
pp. e20210020
Author(s):  
Angela Underhill

Historically (and presently), ‘Western’ academic spaces have prioritized certain traits and bodies based on problematic, hierarchical dichotomies. These dichotomies influence ideas around normativity and superiority; for example, truth and reason were historically conceptualized as mutually exclusive from, and of more value than, emotional, subjective experiences, and the body. Such dichotomies perpetuate systems of power and oppression, and they overlook real people who could be in the room who have experienced the ‘abstract’ topic being discussed. In this paper, I extend a call for a shift to embodied pedagogical approaches to the field of human sexuality—a field that comes with heightened risks and opportunities given the nature of topics covered. Through exploring my own experiences within sexuality classrooms at various stages of my academic career, I interrogate the ‘safety’ of distancing academic identities from embodied knowledge; who is actually protected by these practices; who is more at risk? A shift in pedagogical approaches may allow students (and educators) to better engage with, and appreciate, the importance of confronting knowledge that may be emotionally challenging.


2020 ◽  
pp. 274-304
Author(s):  
Susan Jones

This chapter examines the ways in which Lawrence contributed extensive and innovative literary engagements with dance in the modernist period. Lawrence’s citations of dance are most widely associated with the liberation of the body and identity through early twentieth-century dance practices such as social dance, Greek dance, and the work of Isadora Duncan. Yet, as this chapter explores, Lawrence’s narratives also reflect the aesthetics initiated by the innovations of the Ballets Russes, European Expressionism, and, latterly, the ritual dance of the American South - of Native and Pueblo Indian forms. In his late work Lawrence especially invokes dance experimentally to formulate a new literary critique of a failing European culture.


2017 ◽  
Vol 372 (1721) ◽  
pp. 20160300 ◽  
Author(s):  
Mikiko Senga ◽  
Alpha Koi ◽  
Lina Moses ◽  
Nadia Wauquier ◽  
Philippe Barboza ◽  
...  

Contact tracing in an Ebola virus disease (EVD) outbreak is the process of identifying individuals who may have been exposed to infected persons with the virus, followed by monitoring for 21 days (the maximum incubation period) from the date of the most recent exposure. The goal is to achieve early detection and isolation of any new cases in order to prevent further transmission. We performed a retrospective data analysis of 261 probable and confirmed EVD cases in the national EVD database and 2525 contacts in the Contact Line Lists in Kenema district, Sierra Leone between 27 April and 4 September 2014 to assess the performance of contact tracing during the initial stage of the outbreak. The completion rate of the 21-day monitoring period was 89% among the 2525 contacts. However, only 44% of the EVD cases had contacts registered in the Contact Line List and 6% of probable or confirmed cases had previously been identified as contacts. Touching the body fluids of the case and having direct physical contact with the body of the case conferred a 9- and 20-fold increased risk of EVD status, respectively. Our findings indicate that incompleteness of contact tracing led to considerable unmonitored transmission in the early months of the epidemic. To improve the performance of early outbreak contact tracing in resource poor settings, our results suggest the need for prioritized contact tracing after careful risk assessment and better alignment of Contact Line Listing with case ascertainment and investigation. This article is part of the themed issue ‘The 2013–2016 West African Ebola epidemic: data, decision-making and disease control’.


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