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.

Representasi Femininitas Pada Tokoh Juno dalam Film “Kucumbu Tubuh Indahku” (Analisis Semiotika Roland Barthes)

Film is one of the most influential and massive mass communication media. The film "Kucumbu Tubuh Indahku" is one of the films that has this influence. This film tells the story of the life journey of a professional dancer and choreographer in Indonesia, Rianto. In this film, Rianto is told as Juno, an orphaned boy who has a sad and violent life journey, so as to melt the feminine and masculine characters that exist in his body. This research is a qualitative descriptive study with a semiotic approach, one of which is Roland Barthes' semiotics. The purpose of this research is to find out and show how and what are the signs, meanings of the results of the representation of femininity in the character Juno in the film "Kucumbu Tubuh Indahku". There are several theories that the author uses in this research, namely, the theory of film as mass communication, mass media, representation, Roland Barthes' semiotics, and Simone de Beauvoir's main theory of femininity. Based on the results of the analysis and findings made by the author about the representation of femininity in the character Juno in the film "Kucumbu Body Indahku". Juno's character can be said to be a man who tends to be feminine and less masculine, according to the description of Simone de Beauvoir's femininity characteristics, namely, cowardice, caring, emotional, multitasking, kind, patient, obedient, loves beauty and shy. But that doesn't matter, because these characters tend to be positive.Film merupakan salah satu media komunikasi massa yang paling berpengaruh dan masif. Film “Kucumbu Tubuh Indahku” salah satu film yang memiliki pengaruh tersebut.. Film ini menceritakan alur perjalanan hidup seorang penari dan koreografer profesional di Indonesia, Rianto. Dalam film ini, Rianto diceritakan sebagai Juno, seorang bocah yatim piatu, yang memiliki perjalanan hidup yang pilu dan penuh kekerasan, sehingga dapat meleburnya karakter feminim dan maskulin yang ada pada tubuhnya. Penelitian ini merupakan penelitian kualitatif deskriptif dengan pendekatan semiotika, salah satunya semiotika Roland Barthes. Tujuan penelitian ini untuk mengetahui dan memperlihatkan bagaimana dan apa saja tanda-tanda, makna-makna dari hasil representasi femininitas pada tokoh Juno dalam film “Kucumbu Tubuh Indahku”. Ada beberapa teori yang penulis gunakan dalam penelitian ini, yaitu, teori film sebagai komunikasi massa, media massa, representasi, semiotika Roland Barthes, dan teori utama femininitas Simone de Beauvoir. Berdasarkan hasil analisis dan temuan yang penulis lakukan tentang representasi femininitas pada tokoh Juno dalam film “Kucumbu Tubuh Indahku”. Tokoh Juno dapat dikatakan sebagai laki-laki yang cenderung feminim dan kurang maskulin, sesuai dengan penjabaran karakteristik femininitas Simone de Beauvoir, yaitu, penakut, peduli, lemah, emosional, multitasking, baik, sabar, taat, menyukai keindahan dan pemalu. Tetapi hal itu tidak menjadi masalah, karena karakter tersebut cenderung positif.

Clinical application of interactive monitoring of indicators of health in professional dancers

Objectives The purpose of this study was to assess the effectiveness of interactive monitoring of professional dancer health with a variety of subjective and objective monitoring methods and delivering swift personalised clinical advice. Methods Dancers from a ballet company completed a published, online dance-specific health questionnaire. Over the study period, dancers recorded wellbeing and training metrics, with menstrual cycle tracking and capillary blood testing for the recognised indicators of low energy availability. At regular, virtual clinical discussions with each dancer, findings were discussed and personalised advice given. Results Twenty dancers participated in the study (mean age 26.2 years, SD 3.7), comprising 14 females (mean age 25.5 years, SD 3.7) and 6 males (mean age 27.7 years, SD 2.4). Ten of the female and all the male dancers recorded positive scores on the dance health questionnaire, suggesting a low risk of relative energy deficiency in sport (RED-S). Two female dancers were taking hormonal contraception. Apart from one, all female dancers not on hormonal contraception reported current eumenorrhoeic status. Blood testing confirmed the low risk of insufficient energy availability across the group, apart from female dancers with negative questionnaire scores. The initiative of monitoring menstrual cycles and on demand virtual clinical support was well received by dancers, healthcare and artistic staff. Conclusions Multimodal monitoring facilitated delivery of prompt personalised clinical medical feedback specific for dance. This interactive strategy permitted the early identification and swift management of emergent clinical issues. Dancers highly rated the new monitoring modalities and opportunity to discuss health and well-being, in confidence, with a doctor conversant in dance.

Halyna Aleksandrovych in the choreographic culture of Ternopil region

The purpose of the article is to identify the role of Н. Aleksandrovych 's work in the choreographic culture of Ternopil region. Methodology. A set of methods was applied, including the analysis of the literature and source base, systematization of information, consideration of events on a chronological basis. Scientific novelty. For the first time, the creative activity of Halyna Stepanivna Aleksandrovych, a teacher-methodologist at the Terebovlya College of Culture and Arts, an excellent student of education in Ukraine, was comprehensively analyzed and her role in the choreographic culture of Ternopil region was clarified. Conclusions. Н. Alexandrovich is one of the leading specialists in the regional choreographic culture of Ternopil region, which for fifty years has been teaching, folklore, choreography, education and promotion. The basis of the repertoire of the folk dance ensemble "Dzherelo" created by her consists of works recorded by Н. Alexandrovich in the process of field research and skillfully processed for performance in the stage. In "Dzherelo" the teacher combines educational, upbringing and artistic functions: in addition to purely professional tasks (formation of a highly professional dancer and leader of the choreographic team) is the formation of students' choreographic worldview, the formation of national-patriotic values through joining, distinguished by the author's style, which are a significant contribution to the development of choreographic culture of the region and Ukraine as a whole.

Attention and Focus in Dance

The Western approach to dance is largely focused on control and mastery of technique, both of which are certainly necessary skills for improving performance. But mindful attention, despite its critical role in high performance, has gotten short shrift—until now. Attention and Focus in Dance, a how-to book rooted in the 20 years of attentional focus findings of researcher Gabriele Wulf, will help dancers unlock their power and stamina reserves, enabling efficient movement, heightening their sensory perception and releasing their dance potential. Author Clare Guss-West—a professional dancer, choreographer, teacher and holistic practitioner—presents a systematic, science-based approach to the mental work of dance. Her approach helps dancers hone the skills of attention, focus and self-cueing to replenish energy and enhance their physical and artistic performance. A Unique, Research-Based Approach Here is what Attention and Focus in Dance offers readers: • A unique approach, connecting the foundations of Eastern movement with Western movement forms • Research-based teaching practices in diverse contexts, including professional dance companies, private studios, and programmes for dancers with special needs or movement challenges • Testimonies and tips from international professional dancers and dance educators who use the book's approach in their training and teaching • A dance-centric focus that can be easily integrated into existing training and teaching practice, in rehearsal, or in rehabilitation contexts to provide immediate and long-term benefits Guss-West explores attentional focus techniques for dancers, teachers and dance health care practitioners, making practical connections between research, movement theory and day-to-day dance practice. “Many dancers are using excessive energy deployment and significant counterproductive effort, and that can lead to a global movement dysfunction, lack of stamina and an increased risk of injury,” says Guss-West. “Attentional focus training is the most relevant study that sport science and Eastern-movement practice can bring to dance.” Book Organisation The text is organised into two parts. Part I guides dancers in looking at the attentional challenges and information overload that many professional dancers suffer from. It outlines the need for a systematic attention and focus strategy, and it explains how scientific research on attentional focus relates to dance practice. This part also examines the ways in which Eastern-movement principles intersect with and complement scientific findings, and it examines how the Eastern and scientific concepts can breathe new life into basic dance elements such as posture, turnout and port de bras. Attention and focus techniques are included for replenishing energy and protecting against energy depletion and exhaustion. Part II presents attention and focus strategies for teaching, self-coaching and cueing. It addresses attentional focus cues for beginners and for more advanced dancers and professionals, and it places attentional focus in the broader context of holistic teaching strategies. Maximising Dance Potential “Whether cueing others or yourself, cueing for high performance is an art,” Guss-West says. “Readers will discover how to format cues and feedback to facilitate effective neuromuscular response and enhance dancer recall of information and accessibility while dancing.” Attention and Focus in Dance offers an abundance of research-backed concepts and inspirational ideas that can help dancers in their learning and performance. This book aids readers in filtering information and directing their focus for optimal physical effect. Ultimately, it guides dancers and teachers in being the best version of themselves and maximising their potential in dance.

The Psychology of Creativity in Dance

Dance science researchers have developed a body of work and knowledge that focuses on understanding physical and psychological skills, leading to performance optimisation in dance. Research has predominantly focused on what constitutes a fit, healthy dancer, but the focus on dance's creative elements has been considerably less. This chapter provides an overview of the place of creativity in the skillset of a training or professional dancer. Several theories of motivation and personality that might be relevant for developing creativity in dance are discussed. Within this chapter, the authors aim to highlight the fundamental role of psychology in dancers' creativity.

Perceptions of Strength Training in Dance

The aim of this study was to ascertain current perceptions of strength training (ST) in dance from the viewpoint of the professional dancer, dance teacher, and student dancers across dance genres. A total of 168 responses (149 females, 19 males) to the modified Training Information Survey (TIS) were analyzed for differences in perceptions of ST between dance students, professional dancers, and dance teachers. Some significant differences were found between professionals and teachers (p > 0.05) and between students and teachers (p > 0.001). In all instances, dance teachers were less likely to agree with the following: ST is essential to my overall development as a dancer, women should participate in ST, men should participate in ST, ST should be part of every training program regardless of dance style, ST is beneficial to women, and ST increases bodyweight. It is evident that perceptions of ST still vary across the dance sector, and it is postulated that further education for dancers on the role ST has to play on the development of a dancer would help to break down barriers to participation. From this investigation, it can also be concluded that the perception that dancers have a fear of muscle hypertrophy and a negative impact on aesthetics is no longer widely prevalent, although it still permeates throughout the dance sector.

Daring in dance–Bachelor Students in Dance Developing Life Skills for the 21st Century

This article investigates how to find connections between dance education and the development of life skills for the 21st century by interpreting students’ experiences of daring in dance. The article draws on a section of my PhD thesis that focuses on BA students’ lived experiences in modern and contemporary dance. The project is informed by hermeneutic phenomenology, and the material consists of eleven students log books and interviews. One of the main themes in the material is daring in dance, which is connected to a transformative learning process. In this article I dig more deeply into the embodied dimension of such learning process and discuss how the result of this process can be interpreted as developing life skills for the 21st century. The analysis shows that becoming a professional dancer is a vulnerable process, encompassing both fear of failure and learning to trust one’s own competencies. Several of these competencies point toward skills recognised as important to learning in the 21st century, such as flexibility, problem solving, self-direction and social skills. By focusing on everyday embodied experiences of daring in dance, this research provides one example of the development of life skills in higher education based in empirical research.

Flexible Bodies

Flexible Bodies charts the emergence of British South Asian dance as a distinctive dance genre. Analyzing dance works, dance films, rehearsals, workshops, and touring alongside immigration policy, arts funding initiatives, citizenship discourse, and global economic conditions, author Anusha Kedhar traces shifts in British South Asian dance from 1990s Cool Britannia multiculturalism to fractious race relations in the wake of the July 7, 2005, terrorist attacks to economic fallout from the 2008 global financial crisis, and, finally, to anti-immigrant rhetoric leading up to the Brexit referendum in 2016. Drawing on more than a decade of ethnographic fieldwork and interviews with dancers, in-depth choreographic analysis of major dance works, and the author’s own lived experiences as a professional dancer in London, Flexible Bodies tells the story of British South Asian dancers and the creative ways in which they negotiate the demands of neoliberal, multicultural dance markets through an array of flexible bodily practices, including agility, versatility, mobility, speed, and risk-taking. Attending to pain, injury, and other restrictions on movement, it also reveals the bodily limits of flexibility. Theorizing flexibility as material and metaphor, the book argues that flexibility is both a tool of labor exploitation and a bodily tactic that British South Asian dancers exploit to navigate volatile economic and political conditions. With its unique focus on the everyday aspects of dancing and dance-making Flexible Bodies honors the lives and labor of dancers and their contributions to a distinct and dynamic sector of British dance.

JAVANESE TRADITIONAL ART-DANCE AS THE IMPLEMENTATION OF CHARACTER EDUCATION OF CHILDREN TO SUPPORT CHILD FRIENDLY SCHOOL

The purpose of the research is to: ( I) identify character education of children in various Javanese traditional dances, (2) to analyze the needs, output, problems. and learning objectives of child-friendly schools (CFS) in applying character education based on regional dance by interviewing a dancer trainer and a professional dancer who have experiences in creating and practicing the dances, and (3) to identify types of Javanese traditional dance values inside the dances. the types of research is through literary studies, interviews, surveys, observations, and documentation. To analyze the data, the researchers useResearch & Development. The findings show that (1) identification of charactereducation in various Javanese traditional dance, (2) there are the needs, output, problems, and learning objectives of child-friendly schools (CFS) in implementing character education based on regional dance, and (3) types of Javanese traditional dance values from. Keywords: Javanese Traditional Dance, Character Education, Child-Friendly School