DEVELOPMENT OF FOLK DANCE INTERPRETATION TO STUDENTS Marioara SALUP; Elena RAŢĂ
Annals of the "Ștefan cel Mare" University. Physical Education and Sport Section. The Science and Art of Movement (Online),
01/2019, Volume:
5, Issue:
2
Journal Article
Peer reviewed
Open access
Romanian folk dances and games dance in unity, however they vary in execution and in relation with inspiration and emotions of those dancers. In the development of the folk dances it is observed a ...large amount of rhythms, an extended range of tempos, as many forms of presentation, appearance and expression. Taken together, dances blend elegance with vivacity of the movements, with tenderness of the female dancing, a special note with shouts and shout that accompanies almost continuously beyond the game. The cultural and artistic manifestations of students is an opportunity to achieve preserving and transmission of traditions, habits, songs and dances from one generation to the next and strengthen cultural and spiritual identity of the Romanian people. Variety of the folk material, of the music and folk dance, creates situations that allow complex knowledge of life and soul of a nation. It is therefore our duty of those, who work with students, to familiarize them from very early times of childhood and to develop the passion and love toward music and folk dance.
With the arrival of the informationization era, the inheritance and development of ethnic folk dance in dance teaching faces new challenges and opportunities. This paper discusses effectively ...inheriting and developing ethnic folk dance under informationization. The research methodology includes the Analysis of folk dance movement characteristics, movement capture and feature extraction based on Kinect acquisition technology. The results show that the dancer’s movement data can be accurately recorded by Kinect capture technology, and the error of capture coordinates can be minimized up to 1.115. The study also finds that the dance movement features can be effectively extracted using Gaussian Mixture Model Background Subtraction and Median Filtering preprocessing techniques. In addition, the “Trinity Teaching Assistive Technology” proposed in this study can improve teaching quality. The application of information technology not only promotes the scientific and standardized teaching of folk dance, but also helps improve students’ skills and creativity.
How can Hungarian folk dance education be implemented in the Hungarian diaspora communities in South America, particularly in Uruguay, with goal-oriented and development-focused results? Following ...linguistic assimilation, Hungarian folk dance is one of the most important pillars keeping the Hungarian community in Uruguay alive. In order for Hungarian identity to continue to remain thrive in Uruguay, conscious development in the field of dance education is essential. The work plan presented in this study aims to help dance teachers efficiently and accurately organize, plan, and deliver dance classes, thus achieving improved results in regard to dance technique and general knowledge of Hungarian folklore.
The focus of this article is on traditional folk dance in Soviet and post-Soviet Estonia. Dance variation is analyzed through the prism of postcolonial theories to reveal the sequential effects of ...the colonial situation developed during the Soviet period. Specific causes and characteristic traits of the Soviet influence are explored. Colonialist echoes of the Soviet regime within contemporary Estonian culture are reflected in two trends in the variation of traditional folk dance: first, "contamination" of traditional folk dance with stage dance elements promoted during the Soviet era and, second, a regular search for "genuine" folk dance as a reaction to Soviet colonial heritage.
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In our study, we present a plan for folk dance training and its methodological background within the framework of a larger interdisciplinary research program. Our aim is to provide a brief overview ...of the táncház-method (also known as the dance house method), discuss its practical pedagogical antecedents and describe the teaching process used in the approach, which consists of 32 sessions. In doing so, we provide guidance for implementing the táncház-method in the folk dance classroom.
This study examined the implementation of a cooperative learning model for upper grade elementary students. The participants were 30 fifth-grade students and an elementary school teacher with 20 ...years of teaching experience. The target class was "Jump Bands," a simplified version of the "Bamboo Dance" from the folk-dance unit of expressive activity. The unit was 10 periods in total. Questionnaires, interviews, and field notes were collected as data. During the implementation process, the teacher was aware of the advantages of the cooperative learning model from the first to the fifth period, although there was some anxiety at the time of introduction. Subsequently, from the sixth to the seventh period, the teacher was aware of difficulties such as a sense of stagnation and lack of perspective. However, from the eighth to the tenth period, the children’s learning situation was found to improve dramatically after adjustment of the plan. The implementation of the cooperative learning model was found to be smooth in some cases, depending on the compatibility of the students' actual conditions with the conditions of the task, while in other cases, stagnation tended to occur due to incompatibility between the difficulty level of the task or insufficient structuring of the task. Conversely, any stagnation that occurred in the implementation process was resolved by restructuring the task and re-explaining it to the students during the course of the unit, leading to a leap forward in the students' grasp of the task. It is suggested that coping with a sense of stagnation or difficulty is an important part of the implementation process of an effective cooperative learning model.
The national rhythms are formed by urbanized versions of each nation, which create a set of musical genres that serve as the basis for the practice of specialized physical activity, while enriching ...the cultural heritage. The rescue of cultural traditions goes through specific actions that include Physical Education teachers. Therefore, the purpose of the research is to theoretically validate, through consultation with specialists, a methodological proposal for teaching folk dance with the Pasacalle rhythm. The research is of a descriptive-explanatory type with a prospective orientation. A methodological proposal was designed and validated through a survey by 15 national specialists. The proposal of a methodology for the teaching of the folkloric dance of the Pasacalle rhythm is acceptable according to the specialists consulted (w=0.513), presenting an average score in the indicators "relevance" (4.20: very adequate), "originality" (3 : adequate), “affordable” (4.27: very adequate) and “objective” (3.93: between adequate and very adequate). The proposal includes characteristics of a methodological strategy that contains a theoretical and methodological foundation, with a diagnostic phase and a planning phase, plus three stages that include the determination of the methodological steps, the design of an optional subject and the evaluation. methodology, as well as a group of contents and objectives to be implemented in the physical education class, plus teaching resources and skills with performance criteria.
The study aimed to identify the effects of ground reaction forces (GRF) recorded during landing in typical elements of three dance styles, including classical, modern, and folk dance, on injuries` ...topography.
The research involved a survey and measurements of GRF generated during landing after the jump. The survey involved a group of 90 professional dancers. In the questionnaire, the dancers marked areas of the human body that were affected at least once by injuries. Biomechanical tests of the GRF recording were conducted on a group of 15 professional dancers. The analysis focused on the following parameters: a maximum value of the vertical variable of the GRF relative to body weight (maxGRF
), the time between the moment from first foot contact with the ground to the moment of reaching the maxGRF
(
), and the loading rate of the GRF relative to body weight (LR
).
Regardless of dance style and sex, the lower spine, knee joints, ankle joints and feet were the areas most affected by injuries among professional dancers. The level of maxGRF
, t
and LR
during typical jumps in classical, modern, and folk dance was statistically significantly different (P<0.01*). The highest mean maxGRFz values were recorded for jumps performed by classical dancers. Furthermore, the sum of injury-affected areas differed significantly across various dance styles and was connected with the impact forces transferred by the dancer's musculoskeletal system.
The level of GRF is one of the decisive factors affecting the topography of professional dance injuries.
The given paper elucidates one of the main professional skills of a dancer / performer - artistic expressiveness. Following the analysis of several studies in the field of choreographic art dedicated ...to expressiveness and methods of its development in choreographic creation, the concept of expressiveness is revealed by defining it in different types of art, cultural studies, philosophy, etc. The most complex description of the component of artistic expressiveness is present in classical, folk and modern dance, where the conditions of its formation and development are exposed in the practical classes of classical, folk and modern dance. The stated issue was researched in a study was conducted over three years of university studies at cycle I (Bachelor).
