scholarly journals Aesthetic Concept - Choreography of Piso Surit Dance in Karo Community

2020 ◽  
Vol 3 (1) ◽  
pp. 172-182
Author(s):  
Dilinar Adlin
Keyword(s):  
Folk Song ◽  
Living Environment ◽  
Dress Code ◽  
Analysis Process ◽  
Dance Movements ◽  
Anthropological Approach ◽  
Ethical Norms ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

Piso Surit dance in Karo community has distinctive characteristics in its movement techniques, floor patterns, environmental ethical norms, and symbolic-philosophical images. All of these characteristics grow and develop in line with aspects of the living environment that have been integrated in each form of art. This study aims to explain: 1) the basis and rules of Piso Surit dance; and 2) the concept of  Piso Surit dance choreography. This study uses a choreographic-anthropological approach, which is to analyze the relationship of dance motion with the aesthetic choreographic concept of Piso Surit dance and Karo community's mindset. Observation, documentation, and interview techniques are used to collect data and then the triangulation data analysis process is carried out to obtain the credibility of the data. The results showed that the rules for the use and application of motive motives fall into two categories, namely for male dancers and female dancers. The application of the prevailing floor pattern is dealing with their partners, side by side, and encircling each other. The rules for the use and application of accompaniment patterns intend to create a unified nature that is subtle, gentle, and harmonious. In the concept of choreography, Piso Surit's dance movements are broken down into nine (9) sections. The movements use techniques such as: a) tiptoeing, b) rotating movements, c) stopping fingers, and d) up and down movements. The music used as accompaniment in the Piso Surit dance is a folk song in Karo area with the same title. This dance uses 'beautiful' make-up to emphasize the dancer's facial lines in a dance performance, while the fashion is a dress code as used by Karo community. As a pair dance, the floor pattern applied is to show or emphasize the story of how young Karo young people combine love.

scholarly journals Manduda Dance in Simalungun Community Dancing Style in a Contextual Perspective

2020 ◽  
Vol 3 (1) ◽  
pp. 164-171
Author(s):  
Ruth Hertami Dyah Nugrahaningsih
Keyword(s):  
Body Part ◽  
Daily Activities ◽  
Agricultural Activities ◽  
Community Activities ◽  
Body Attitude ◽  
Analysis Process ◽  
Dance Movements ◽  
Relationship Of ◽  
The Relationship ◽  
Type Of Transition

This study aims to explain: 1) the relationship of body attitude in Manduda Dance with the activities of the Simalungun community; 2) the relationship between the type of transition in Manduda dance and the activities of Simalungun community; 3) the relationship between the number of active body part in Manduda dance and the patterns of daily activities of Simalungun community; 4) the relationship between business forms and the patterns of study is the formulation of dance style in Manduda dance on Simalungun community in a contextual perspective. The research method used is a qualitative-anthropological approach, specifically called choreometrics, which is to analyze the relationship between dance movements including body attitude, type of transition, the number of active body part, and the forms of business with patterns of daily community activities. Observation, documentation, and interview techniques were used to collect data and then the triangulation data analysis process was carried out to obtain the credibility of the data. The results of this study found that both viewed from body attitude, type of transition, the number of active body part, as well as the forms of effort contained in Manduda dance, were very closely related to the patterns of daily activities of Simalungun community patterned with paddy harvesting agricultural activities.

scholarly journals [DESIGN INDEPENDENCE A COMPLEMENTARY PRINCIPLE IN THE DESIGN OF INTERIOR SPACES OF MALAYSIAN MOSQUE CASE STUDY] الاستقلالية التصميمية مبدأ تكميلي في تصاميم الفضاءات الداخلية للمساجد الماليزية دراسة حالة

2020 ◽  
Vol 4 (2) ◽  
pp. 94-125
Author(s):  
Mohammed Jarallah Tewfik ◽  
Ahmed Mohammed Yahya Al-Abbasi
Keyword(s):  
Interior Design ◽  
Research Study ◽  
Research Problem ◽  
Design System ◽  
Interior Spaces ◽  
Design Creativity ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

The interior design of Malaysian Islamic mosques is a vivid example of further innovation and innovation based on design creativity in design relationships.As a result of the interaction of this level, the design process shows a clear independence as a result of the interaction of the subjective capabilities factor of the interior designer based on the study of the specificity of the objective capabilities that govern the processes of drafting innovative decorative arts.Therefore, it was necessary to study this issue by identifying the research problem, which is summarized by: showing the features of design independence as a complementary principle in the designs of the interior spaces of Malaysian mosques,While the aim of the research focuses on identifying the features of design independence that are adopted as a complementary principle in the designs of the interior spaces of Malaysian mosques,While the importance of research is evident in presenting a clear picture of the concept of design independence, as it represents the theoretical base that can be used in practical application in designs of interior spaces for the chapel of the Malaysian Islamic mosques,The research study also includes both (research limits, theoretical framework, as well as research procedures based on the descriptive analytical approach (content analysis - case study)) leading to the results of the research study, which was among the most important: 1- Design configurations of all kinds and design configurations emerged within the designs of the internal determinants, based on the study of the interior designer, to the aesthetic independence of the division of space and size as a complementary principle within the internal determinants of the mosque of the two mosques. 2- The relationship of the principle of the independence of convergence as a complementary principle contributed to determining the distances between shapes, which can be perceived as a unified whole, through the distribution of units and shapes within a consecutive visual design system. While the most important recommendations emerged through the necessity of studying the choice of levels of internal determinants of the chapel of the Malaysian Islamic mosques.With the demonstration of the expressive characteristic of civilization development through design recruitment of appropriate vocabulary and design units with a careful selection of modern materials and materials in line with the innovative design path to achieve the requirements of design independence within the chapel of the Malaysian Islamic mosques.

Mendelssohn and the Idea of the North

2020 ◽  
pp. 115-139
Author(s):  
Sarah Clemmens Waltz
Keyword(s):  
Nineteenth Century ◽  
Johann Wolfgang Von Goethe ◽  
Folk Song ◽  
German Culture ◽  
Early Nineteenth Century ◽  
The North ◽  
Relationship Of ◽  
The Relationship

This chapter re-evaluates Felix Mendelssohn’s ‘Scottish’ works by placing them in the context of the early-nineteenth-century North German view of Scotland, especially as channelled through Mendelssohn’s mentors Johann Wolfgang von Goethe and Carl Friedrich Zelter. Such interest in Scotland was undergirded by a belief in a shared German-Celtic past and a sense that Scottish culture was not exotic but rather essentially German. Figures in Mendelssohn’s circle participated in deliberate attempts to claim a general northern antiquity for German culture, using arguments concerning the relationship of climate, race, and character. A recontextualization of Scotland as representing a lost German past may signal additional reinterpretations of Mendelssohn’s anticipations of travel, his travel experiences, and his statements concerning folk song, as well as his Fantasy, Op. 28, originally titled Sonate écossaise.

Endoscopic Brow Lift Without Muscle Resection: Objective and Subjective Changes in Intereyebrow Width

2019 ◽  
Vol 37 (2) ◽  
pp. 97-103
Author(s):  
Brian A. Hollabaugh ◽  
Jon Perenack ◽  
Brian J. Christensen
Keyword(s):  
Secondary Outcome ◽  
Outcome Variable ◽  
P Value ◽  
Brow Lift ◽  
Aesthetic Appearance ◽  
The Aesthetic ◽  
Endoscopic Brow Lift ◽  
Relationship Of ◽  
The Relationship ◽  
Pearson Correlations

The purpose of this study is to evaluate the objective and subjective changes in medial intereyebrow distance following endoscopic brow lift without corrugator resection. The authors designed a retrospective cohort study. The eligible patients included those receiving endoscopic brow lifts at Williamson Cosmetic Center in Baton Rouge, LA between June 1, 2014 and March 31, 2018. The primary outcome variable was the distance between the left and right medial brow. The secondary outcome variables were nonsurgeon evaluator’s perception of the change in intereyebrow distance and the aesthetics of the intereyebrow region. The relationship of the outcome variables to the primary predictor (time point—preoperative and postoperative) was analyzed using paired sample t-tests. The relationship of the outcome variables to the other predictors was analyzed using Pearson correlations. A P-value of less than .05 was considered significant. A total of 41 patients were included in the study. The average age was 55.3 ± 8.5 years and all patients were women. The average time from surgery to postoperative photos was 6.2 ± 3.2 (range: 3-15) months. The average preoperative intereyebrow width was 31.5 mm, and the average postoperative width was 33.1 mm ( P < .0001). Correct perception of the intereyebrow change was found to be positively correlated with increasing patient age ( P = .047) and increasing change in intereyebrow width ( P = .008). The intereyebrow distance was perceived as aesthetic for 73.4% ± 31.0% of preoperative patients and 76.1% ± 27.6% of postoperative patients ( P = .346). Patients with a preoperative intereyebrow distance perceived as aesthetic are very likely to be perceived as aesthetic postoperatively (correlation coefficient 0.817, P-value < .0001). Following endoscopic brow lift without corrugator muscle resection, there is a small, but statistically significant increase in the intereyebrow distance. However, this change was not associated with negative perception of the aesthetic appearance of the intereyebrow region.

scholarly journals Automated Kinematic Analysis of Closed-Loop Planar Link Mechanisms

Machines ◽  
2020 ◽  
Vol 8 (3) ◽  
pp. 41
Author(s):  
Tatsuya Yamamoto ◽  
Nobuyuki Iwatsuki ◽  
Ikuma Ikeda
Keyword(s):  
Kinematic Analysis ◽  
Closed Loop ◽  
Analysis Procedure ◽  
Linkage Mechanism ◽  
A Algorithm ◽  
Analysis Process ◽  
Type Transformation ◽  
Extraction Algorithm ◽  
Relationship Of ◽  
The Relationship

The systematic kinematic analysis method for planar link mechanisms based on their unique procedures can clearly show the analysis process. The analysis procedure is expressed by a combination of many kinds of conversion functions proposed as the minimum calculation units for analyzing a part of the mechanism. When it is desired to perform this systematic kinematics analysis for a specific linkage mechanism, expert researchers can accomplish the analysis by searching for the procedure by themselves, however, it is difficult for non-expert users to find the procedure. This paper proposes the automatic procedure extraction algorithm for the systematic kinematic analysis of closed-loop planar link mechanisms. By limiting the types of conversion functions to only geometric calculations that are related to the two-link chain, the analysis procedure can be represented by only one type transformation function, and the procedure extraction algorithm can be described as a algorithm searching computable 2-link chain. The configuration of mechanism is described as the “LJ-matrix”, which shows the relationship of connections between links with pairs. The algorithm consists of four sub-processes, namely, “LJ-matrix generator”, “Solver process”, “Add-link process”, and “Over-constraint resolver”. Inputting the sketch of the mechanism into the proposed algorithm, it automatically extracts unique analysis procedure and generate a kinematic analysis program as a MATLAB code based on it. Several mechanisms are analyzed as examples to show the usefulness of the proposed method.

Dance, Politics & Co-Immunity

2015 ◽  
Vol 47 (3) ◽  
pp. 106-109 ◽  
Author(s):  
Jens Richard Giersdorf
Keyword(s):  
Cultural Studies ◽  
Judith Butler ◽  
The Political ◽  
Dance Studies ◽  
Community Dance ◽  
Theatre Studies ◽  
And Performance ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

Dance, Politics & Co-Immunity developed out of a symposium organized by the Master in Choreography and Performance at the Justus-Liebig-University Giessen, Germany, which was held with a joint symposium Thinking—Resisting—Reading the Political organized by the Graduate Center for the Study of Culture at the same university in 2010. Whereas the cultural studies symposium asked, “What specific perspectives and methodological consequences arise for the study of culture that are informed by recent deliberations on the relationship of the political and the aesthetic?” (2010), the dance symposium invited participants and contributors to the anthology “to think about the multiple connections between politics, community, dance, and globalization from the perspective of Dance and Theatre Studies, History, Philosophy, and Sociology” (13). As indicated by the title of the cultural studies symposium and some of the key speakers, including Jacques Rancière, Chantal Mouffe, and Judith Butler, the term political is not used as broadly as it might be used in U.S.-based dance studies discourse. Rather, the political is predominantly investigated by both symposia for its resistive potential and from a liberal or post-Marxist stance.

Introduction

2017 ◽  
Author(s):  
Margaret A. Simons
Keyword(s):  
Simone De Beauvoir ◽  
Second Sex ◽  
Dramatic Form ◽  
The Aesthetic ◽  
The Individual ◽  
Relationship Of ◽  
The Relationship ◽  
Philosophical Questions ◽  
Insight Into

This introductory chapter presents the literary writings of Simone de Beauvoir (1908–86), the renowned French existentialist author of The Second Sex. Such insight into her own thought is often provided by Beauvoir's prefaces to works by other authors. For instance, Beauvoir's 1964 “Preface” to La Bâtarde has been described as more reflective of her philosophy than of author Violet Leduc's life. Beauvoir's confrontation with her critics is another source of drama in this study. A criticism that spans the decades of these texts is the charge that an existential novel, with its focus on action and philosophical questions, forsakes the aesthetic function of literature. Yet, for Beauvoir, the true mission of the writer is to describe in dramatic form the relationship of the individual to the world in which he stakes his freedom.

scholarly journals SOCIAL STATUS AS A SOCIOLINGUISTIC CATEGORY (BASED ON CH. DICKENS`S NOVEL "GREAT EXPECTATIONS")

2018 ◽  
pp. 27-29
Author(s):  
A. G. Burdina ◽  
I. V. Gerasimenko
Keyword(s):  
Comparative Analysis ◽  
Social Status ◽  
Social Groups ◽  
Great Expectations ◽  
Personal Qualities ◽  
Ethical Norms ◽  
Relationship Of ◽  
The Relationship

The article explores the linguistic characteristics of various social groups in the work of the English novelist Ch. Dickens “Great Expectations”. The authors analyzed and systematized the data obtained in the course of comparing the speech of people with different social status. Defining the relationship of language and social status, the authors found that the concept of social status can be viewed in several ways: as a mutual expectation realized at the speech level; as an awareness of the personality of their position in society, as well as the manifestation of personal qualities in the implementation of social status. In the course of comparative analysis, the authors highlight the following relationships of speech with the speaker’s status, such indicators of the speaker’s social status appear to be character`s rich vocabulary, use of reduced vocabulary, ability to make up grammatically correct a sentence, ability to maintain the conversation and follow ethical norms in speech.

Clubbing Audiences: Relational Theatre Practice at ‘Death Disco’

2012 ◽  
Vol 28 (1) ◽  
pp. 67-79 ◽  
Author(s):  
David Overend
Keyword(s):  
Cultural Practices ◽  
Relational Aesthetics ◽  
Complex Process ◽  
Studio Theatre ◽  
Day To Day Operations ◽  
The Aesthetic ◽  
Relationship Of ◽  
Modes Of Engagement ◽  
The Relationship ◽  
A Performance

In this article David Overend proposes a concept of ‘audience’ that accounts for a complex process of fluctuation between observing or spectating performance as part of a wider group, and becoming part of the aesthetic – forming individual relationships with the artwork and its environment. It is proposed that developing Nicolas Bourriaud's concept of ‘relational aesthetics’ as a model for ‘relational theatre practice’ responds to the continually shifting modes of engagement of those encountering and becoming part of a performance event. Focusing on the Arches arts centre in Glasgow, and drawing on the theory of clubbing, Overend develops a performance for a club night, comparing the experience of the clubbing crowd to that of a theatre audience in order to interrogate the relationship of two cultural practices that remain largely autonomous within the day-to-day operations of the site. Midland Street (September 2009) was a one-off performance for ‘Death Disco’, the monthly electro club night at the Arches. Using cars parked outside the venue, a chaotic poker game, and an array of overtly theatrical characters, including a clown and a pack of urban animals, the performance attempted to move outside the boundaries of the theatre programme as well as the studio theatre space, entering another dynamic relational realm, which is central to the Arches' cultural identity and funding structures. Combining a practical and theoretical approach, this research interrogates Bourriaud's relational aesthetic model through its application to the development of theatre practice within the specific context of an arts venue.

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