OTT Streaming Distribution Strategies for Dance Performances in the Post-COVID-19 Age: A Modified Importance-Performance Analysis

The purpose of this study was to explore strategies for distributing online content of dance post COVID-19 in Korea. And specially to discuss the distribution strategies of online performances through videoization of dance performances and OTT (over-the-top) streaming: (1) Methods: For this purpose, a survey was conducted on the distribution strategy of dance online contents for a total of 100 practitioners such as dance field, video contents, and art management. A total 91 sample were used except for defective questionnaires, and Vavra (1997)’s modified important performance analysis was conducted; (2) Results: The results of the matrix through the modified IPA analysis are as follows: first, the first quadrant included ‘quality of dance performance’, ‘platform for OTT streaming’, and ‘promotion for potential audience development’. This means that both explicit and intrinsic importance are high, and it is an important execution factor that has a positive effect on the satisfaction of the online contents of dance only if it is met. Second, the second quadrant included ‘brand awareness of choreographer or dance company’, ‘creative composition and choreography’, and ‘fee and price criteria’. This is a case of low explicit importance but high intrinsic importance, and these factors are attractive attributes that affect the satisfaction of dance online contents, although consumers do not expect it to be important. Third, the third quadrant included ‘new formats and curation’, ‘convergence technology (AR, VR, 3D, etc.) for the field sense’, and ‘online audience service (communication, membership, etc.)’. This means that both explicit and intrinsic importance are low, and if these factors are met, it can have a positive effect on the satisfaction of viewing of dance online contents. However, it does not have a negative effect even if it is not met. Fourth, in the fourth quadrant, ‘production and editing competency’, ‘quality of videos and sounds’, ‘copyright of performance creation’, and ‘fandom and audience management’ was included. This is an essential attribute in the distribution strategy of dance online contents because it has high explicit importance and low intrinsic importance, and it can have a negative impact on satisfaction when these factors are not met.

Spread of contemporary dance in Ukraine

The purpose of the article is to discover the peculiarities of the spread of contemporary dance in Ukraine. Methodology. The research was carried out using historical-chronological and biographical methods, as well as the method of stylistic analysis. Scientific novelty. For the first time, information about contemporary dance in Ukraine has been systematized and the features of its distribution have been identified. Conclusions. Contemporary dance is today recognized all over the world as a research tool for understanding a person and expanding his consciousness, which performs not only recreational, relaxation, communicative, and other functions, but is also used to solve human problems at the physical and mental levels, as well as to form cultural values. Having originated in Europe and America, the contemporary dance spread in Ukraine, gaining significant popularity in recent years. Among the specialist choreographers who contributed to its popularization in Ukraine from the end of the twentieth century. until now – M. Lymar, O. Budnytska, L. Venedyktova, L. Mova, R. Baranov, Kh. Shyshkarova, A. Ovchinnikov, A. Safonov, O. Ruban. In Ukraine, dance companies Buchok ART Family, Total Dance Group, N'Era Dance Company and others have been created, engaged in research contemporary dance, which demonstrate performances on small stages in different cities of Ukraine and at international contemporary dance festivals. Contemporary dance festivals "Zelyonka Fest", "Dance Space" and others, held in Ukraine, also contribute to the popularization of contemporary dance. The dissemination of information about contemporary dance occurs through platforms, laboratories, residences under the guidance of Western specialists, as well as thanks to domestic choreographers who attend master classes, seminars, lectures, intensives, etc. such specialists in Ukraine and abroad, and in turn pass on experience to students. Key words: contemporary dance, Ukrainian culture, modern culture, choreograph, modern dance.

Dance and Science: an analysis of the creative process behind "Transitions", a show by Contemporary Dance Company of UFRJ

This study proposes an esthetic reflection on the influence of the biological sciences on dance as a variety of contemporary art. The relationship between science and art in this study is grounded on François Dagognet’s hyperphenomenology, particularly his representation of the major role played by the image-symbol as essential base of present-day scientific activity [1]. Contemporary dance creators and companies such as Wayne Mac Gregor, Phylobolus Dance Company and Liz Lerman Dance Exchange are analyzed, in order to highlight how some biosciences themes are explored as creative potentials in their dance performances [2,3,4]. We aim at relating biological shapes and patterns existing in the cellular and molecular universe with the fundamentals of dance described by Helenita Sá Earp. Earp’s conception posits dance as wide-scoped knowledge, including a “science of dance” where intuition works as basic foundation and its epistemology is made of an open type of knowledge named “dance parameters”, namely motion, space, shape, dynamics and time. These parameters allow establishing access points for multiple connections within the realm of dance. This approach tends to generate a kind of access to body actions stimulating interdisciplinarity between several areas of knowledge [4]. As study-case, we focus methodologically on the processes of esthetic creation involved in the production of a multimedia show entitled “Transitions” by appealing to biochemical notions, especially some features of cytology and cellular morphology, cell proliferation and processes of cellular transportation [5].

Moving Museums: Incorporating Contemporary Dance in New Zealand Museums

<p>Dance has been used historically in museums in both exhibitions and public programmes. These events provide opportunities for museums to collaborate with performing arts institutions. Incorporating contemporary dance in New Zealand museums poses a number of challenges for both the dance company and for the museum; however it can provide a unique and rewarding visitor experience. There has been little research into the use of contemporary dance in the museum environment, or the practicalities of holding such events. The impact of dance performances on the museum visitor has also been neglected. This case study of a contemporary dance company performing in a New Zealand museum investigates the relationship between the two organisations and the impact the performance had on the visitor. Ten interviews were conducted with museum staff, dance company staff and one audience member. This case study provides insight into the relationship between the two institutions as well as the visitor experience. It was found that significant practical and financial barriers could potentially prevent both the dance company and the museum from holding dance events. Key areas of concern in organising this event were safety, communication and measuring the success of the event. A strong relationship between the institutions and open channels of communication between the staff involved allowed for practical solutions to these issues. The connection between the dance work and the museum exhibition space was questioned by visitors, who did not overtly see a link between the two despite the artistic intentions of the dance company. Nonetheless meaning was taken from the piece in less direct ways. Firstly, visitors generated meaning from the social aspects of their visit. Secondly, they found meaning in the physical environment of the museum.</p>

Moving Museums: Incorporating Contemporary Dance in New Zealand Museums

<p>Dance has been used historically in museums in both exhibitions and public programmes. These events provide opportunities for museums to collaborate with performing arts institutions. Incorporating contemporary dance in New Zealand museums poses a number of challenges for both the dance company and for the museum; however it can provide a unique and rewarding visitor experience. There has been little research into the use of contemporary dance in the museum environment, or the practicalities of holding such events. The impact of dance performances on the museum visitor has also been neglected. This case study of a contemporary dance company performing in a New Zealand museum investigates the relationship between the two organisations and the impact the performance had on the visitor. Ten interviews were conducted with museum staff, dance company staff and one audience member. This case study provides insight into the relationship between the two institutions as well as the visitor experience. It was found that significant practical and financial barriers could potentially prevent both the dance company and the museum from holding dance events. Key areas of concern in organising this event were safety, communication and measuring the success of the event. A strong relationship between the institutions and open channels of communication between the staff involved allowed for practical solutions to these issues. The connection between the dance work and the museum exhibition space was questioned by visitors, who did not overtly see a link between the two despite the artistic intentions of the dance company. Nonetheless meaning was taken from the piece in less direct ways. Firstly, visitors generated meaning from the social aspects of their visit. Secondly, they found meaning in the physical environment of the museum.</p>

Leach Glover, ‘Dancing Master to the Royal Family’ Part One: The Professional Dancer in Context

Leach Glover (1697–1763) danced in London's theatres from 1717 until 1741 and was a leading dancer for nearly twenty years. In 1738, he was appointed as a dancing master to Britain's royal family, a post he retained following his retirement from the stage. This article looks at Glover's family and professional background and places his theatrical career within the wider context of dancing on the London stage. It looks in detail at his first and last seasons working for John Rich, manager of the Lincoln's Inn Fields and then Covent Garden theatres. It examines not only Glover's repertoire but also his changing status in the dance company that existed within the theatrical company. As part of this investigation, it discusses some of Glover's contemporaries alongside its appraisal of his own work and looks at the challenges as well as the opportunities he experienced within the commercial environment of the London stage.