Comparative Study of the Effects of Tai Chi and Square Dance on Immune Function, Physical Health, and Life Satisfaction in Urban Empty-Nest Older Adults

Objective: To compare the effects of Tai Chi and Square dance on immune function, physical health, and life satisfaction in urban, empty-nest older adults.Methods: This cross-sectional study included 249 older adults (60–69 years) who were categorized into Tai Chi (n = 81), Square dance (n = 90), and control groups (n = 78). We evaluated immunoglobulin G (IgG) and interleukin-2 (IL-2) levels by enzyme-linked immunosorbent assay (ELISA), natural killer (NK) cell cytotoxicity by MTT assay, physical health indices by physical fitness levels, and life satisfaction by Life Satisfaction Index A (LSIA) scores.Results: Immune function, physical health, and life satisfaction in older adults in the Tai Chi and Square dance groups were significantly better than those in the control group (P < 0.05). Regarding immune function and physical health, the Tai Chi group exhibited significantly higher levels of IgG (15.41 ± 0.26 g/L vs. 11.99 ± 0.35 g/L, P < 0.05), IL-2 (4.60 ± 0.20 ng/mL vs. 4.45 ± 0.21 ng/mL, P < 0.05), and NK cell cytotoxicity (0.28 ± 0.02 vs. 0.22 ± 0.02, P < 0.05) than the square dance group, significantly lower waist-to-hip ratio (0.87 ± 0.02 vs. 0.89 ± 0.02, P < 0.05), resting pulse (78.4 ± 4.6 beats/min vs. 81.0 ± 3.1 beats/min, P < 0.05), systolic blood pressure (132.0 ± 5.2 mmHg vs. 136.2 ± 3.2 mmHg, P < 0.05), diastolic blood pressure (80.0 ± 2.6 mmHg vs. 83.0 ± 2.7 mmHg, P < 0.05), and significantly higher vital capacity (2978.0 ± 263.0 mL vs. 2628.3 ± 262.8 mL, P < 0.05) and duration of one-leg standing with eyes closed (16.2 ± 1.9 s vs. 12.0 ± 1.7 s). However, there was no significant difference in LSIA scores between the Tai Chi and Square dance groups (12.05 ± 1.96 vs. 13.07 ± 1.51, P > 0.05). Further, there was a significant correlation between LSIA scores and immune function (r = 0.50, P = 0.00) and physical health (r = 0.64, P = 0.00).Conclusion: (1) Both Tai Chi and square dance practitioners had better health outcomes, compared with sedentary individuals; (2) Tai Chi practitioners had better physical health and immune function than Square dance practitioners. (3) Tai Chi and Square dance exercises had similar effects on life satisfaction among urban empty-nest older adults.Suggestions: For urban empty-nest older adults who want to have better physical health and immune function, long-term Tai Chi exercise may be a better choice; however, those who are concerned about life satisfaction can choose either Tai Chi or Square dance exercise.

STRENGTHENING THE TRADITIONAL DANCE GROUP & PLACE (SANGGAR TARI) TO STRENGTHEN THE LOCAL CULTURE OF MEDAN IN MEDAN AMPLAS SUBDISTRICT

The majority of the younger generation ignore national culture, such as traditional dances, and prefer modern dances. This makes the importance of strengthening traditional dance groups & place (sanggar tari) as a forum for developing creativity in traditional culture in Medan. Therefore, in this community service, efforts to strengthen the sanggar tari to strengthen Medan's local culture were carried out. This activity consisted of a Focus Group Discussion (FGD) and dance training for 30 young men and women members of the Medan Amplas sub-district sanggar tari held for two months. Besides providing training, the community service team facilitates supporting equipment in traditional dance performance activities for members, such as clothing, accessories, and other training media. The lecture, Q&A, demonstration, and drill methods are used in its implementation. This community service has resulted in the form of services to raise public awareness of the local dance culture of North Sumatera, especially in Medan, with training assistance to increase creativity, innovation, and the ability of the sanggar members in the field of traditional dance and culture.

APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION

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.

Gender and Sexuality in the Migrant Community

The chapter examines the characteristics of the Indonesian migrant community in Hong Kong apart from serving as an outlet for socializing and relaxing. It documents the visibility of same-sex relationships among the pop dance groups in the migrant community. The author then discusses the sexual ideologies that circulate in these dance groups, including the fashion shows for tomboys (tomboi) and girls (cewek) respectively, the kin world established by the dance groups, and the satisfaction and meanings obtained from their same-sex relationships. The discussion includes how the women evaluate men, particularly Indonesian men, South Asian men, and Hong Kong men. It is noteworthy that their new experiences of same-sex intimacy in Hong Kong reshape their past experiences and relationship with their husband or boyfriend in Indonesia.

PENDIDIKAN KEARIFAN LOKAL UNTUK ANAK USIA DINI MELALUI TARI RANUP LAMPUAN PADA ANAK DI TKIT ATHFAL AL QUR’ANIYYAH KOTA BANDA ACEH

Ranub Lampuan dance is danced in groups by 7 female dancers consisting of 1 queen and 6 maids (regular dancers). Ranub Lampu dance is danced to honor and officially welcome guests. The work of the Ranub Lampu dance art created by Yuslizar by observing social phenomena and the behavior of the Acehnese people is the basis for his work. The choreography of the Ranub Lampuan dance tells about Acehnese girls serving betel to the guests who come and the movement tells of the process of picking, wrapping, putting betel leaves into Puan, to serving betel to guests who come. This research uses qualitative research by using field research method (field research). The results of the research show that Local Wisdom Education for Early Childhoods through Ranup Lampuan Dance in Children at Tkit Athfal Al Qur'aniyyah Banda Aceh City is quite good with the number of children in dance training process for 14 children in 2 dance groups tested at 1 school in July 2020. an overview of the results of education. Local wisdom can be carried out well through the Ranup Lampuan dance. It can be seen from the way children move in layers according to the next one movement stage by following the rhythm of the Ranup Lampuan music, by being able to remember the arrangement of floor patterns in the Ranup Lampuan dance. Abstrak Tari Ranub Lampuan ditarikan secara berkelompok oleh 7 orang penari wanita yang terdiri dari 1 orang Ratu dan 6 dayang (penari biasa). Tari Ranub Lampuan ditarikan untuk penghormatan dan penyambutan tamu secara resmi. Hasil karya seni tari Ranub Lampuan yang diciptakan oleh Yuslizar dengan mengamati fenomena sosial dan tingkah laku masyarakat Aceh menjadi dasar pijakan dalam karyanya. Secara koreografi tari Ranub Lampuan menceritakan tentang gadis-gadis Aceh menghidangkan sirih kepada tamu yang datang dan geraknya menceritakan proses memetik, membungkus, meletakkan daun sirih ke dalam Puan, sampai menyuguhkan sirih kepada tamu yang datang. Penelitian menggunakan jenis penelitian kualitatif dengan mumasatkan pada metode fieldreseacrh (riset lapangan),Hasil peneliti menunjukan bahwa Pendidikan Kearifan Lokal Untuk Anak Usia Dini Melalui Tari Ranup Lampuan Pada Anak Di Di Tkit Athfal Al Qur’aniyyah Kota Banda Aceh sudah sangat baik dengan melihat anak mampu bergerak dengan melihat dari daya ingat anak ketika menghafal bentuk gerakan tari yang mengikutin proses dalam latihannya dengan jumlah anak dalam proses latihan tari 14 anak dalam 2 kelompok tari yang di uji pada 1 sekolah pada bulan juli 2020. gambaran hasilnya pendididkan. Kearifan lokalnya dapat dilaksanakan dengan baik melalui tari ranup lampuan ini terlihat dari cara anak bergerak bersusun sesuai tahap gerak satu gerak selanjutnya dengan mengikuti irama musik ranup lampuan, dengan mampu mengingat susunan pola lantai dalam tarian ranup lampuan. Kata Kunci: Pendidikan Kearifan Lokal, Ranup Lampuan

НАВЧАЛЬНО-ВИХОВНА ДІЯЛЬНІСТЬ ЯК ПРОВІДНИЙ НАПРЯМ ЗМІСТУ ТВОРЧОГО ПЕДАГОГІЧНОГО ПРОЦЕСУ В САМОДІЯЛЬНИХ ХОРЕОГРАФІЧНИХ КОЛЕКТИВАХ: ТВОРЧЕ ОСМИСЛЕННЯ ДОСВІДУ К. ВАСИЛЕНКА

The article analyzes the main activities of the postwar period choreographic groups in the dance theorists and practicing dance experts’ theoretical achievements. It is noted that on the basis of years of practice and experience of K. Vasylenko’s predecessors, his own didactic bases of work with amateur dance groups were developed and practically tested, which later became the basis of his author’s methodology. They included implementation of the following activities: 1) political and mass work; 2) educational activities; 3) staging work; 4) concert activity; 5) organizational and cultural work; 6) creative group and public leaderschoreographer’s seminars. Based on the analysis of artistic and pedagogical literature and periodicals of the second half of the twentieth century, the main components of educational activity in amateur choreographic groups according to K. Vasylenko are generalized and thoroughly revealed: 1) planning work; 2) training sessions; 3) learning and practicing of separate dance choreography and routines on the basis of which staging work will be carried out; 4) acting skills development; 5) ballroom dancing learning. It is established that each of the named components had an educational direction. The content of all components is considered. It was found out that in planning activities an important role was given to creating various work plans, keeping records of the team activities and self-government body functioning, the bureau. The organization of the initial training process peculiarities in dance groups led by K. Vasylenko are revealed: regularity of training sessions, the practical importance of training, application of mixed training, the subordination of educational work to the production plan of the team, use of various forms of the training organization. The role of acting skills and ballroom dancing leaning for the formation of participants’ creative individuality is determined. The practical significance of K. Vasylenko’s experience in modern conditions is proved, which is due to the requirements of the present and the needs of amateur activities in the qualitative organization of the pedagogical process in choreographic groups.

CHOREOGRAPHIC AMATEURS IN THE STRUCTURE OF NON-FORMAL ART EDUCATION: HISTORICAL AND PEDAGOGICAL DISCOURSE

Development dynamics of choreographic amateur as a phenomenon of creative activity in the structure of non-formal art education is investigated in the article. The main stages of becoming a choreographic amateur in Ukraine in the context of socio-political and cultural-artistic determinants are characterized. It has been found that during the XX century choreographic activity as a component of non-formal art education had passed a difficult and contradictory path from the experiments of dance studios and the search for “Soviet dance” to the creation of groups, ensembles, creative associations, and later the appearance of amateur dancers of various genres of choreographic performances. Choreographic performance was actively implemented in the permanent and temporary forms of organization that brought together different social groups. The study analyzes the content of choreographic training in the activities of dance groups in different cultural and educational locations at different stages of historical development. The actual perspective of the development of theoretical studies in the field of choreographic education is the understanding of pedagogical resources of amateur choreography, the analysis of its strategies, meaningful content in various forms of organization.

FEATURES OF THE INDIVIDUAL STYLE OF COACH AND TEACHER WORK OF THE CHOREOGRAPHIC TEAM

The paper presents the results of studying the peculiarities of work styles (authoritarian, democratic, liberal) and the behavior of coaches in technical and aesthetic sports and choreographers. The purpose of the work was to analyze and compare the individual styles of coaches’ work in technical and aesthetic sports and teachers of dance groups and choreographic schools. A group of theoretical and empirical methods were used in the study. The survey involved: 14 choreographers from eight dance groups, 9 teachers from public and three private choreographic schools and 18 coaches working with representatives of artistic, sports and aesthetic gymnastics, sports acrobatics and aerobics as well as 118 students engaged in choreography and sports. The results of the survey were supported by pedagogical observation data. The study made it possible to identify priority work styles of coaches in technical and aesthetic sports and teachers-choreographers which depend on many factors, including the type of activity, age characteristics of students, training and training stage, etc. It was found that the authority of the coach and teacher is a determining condition for his/her success, the effectiveness of the impact on students as well as associated with the individual style of his/her work. The obtained results can be used in the practice of coaches in technical and aesthetic sports as well as teachers of dance groups and choreographic schools for effective interaction in the system «teacher, coach – student».