Artificial intelligence (AI) has led to a shift in modern dance education. Immersive technologies have become increasingly common worldwide, helping educators to improve the quality of dance pedagogy ...and increase the effectiveness of dance training. The article investigates the ways of using immersive technologies powered by artificial intelligence in dance education. The research explores the theoretical literature on dance education and the use of artificial intelligence in dance education and dance choreography. The scholars examine the impact of innovative technology solutions used in dance pedagogical practice on the development of dance skills in students. The study also discusses the functionality of interactive and multimedia dance teaching systems, including AI-powered virtual mentoring and cognitive simulations of human mind operations. The research analysed the use of virtual reality (VR), augmented reality (AR), and mixed reality (MR) in dance education. This research also focuses on mobile applications used for teaching modern dance. The proposed framework for dance education is based on digital technologies, which help to develop dance skills and improve teaching practices. The scholars conclude that the development and improvement of dance skills are possible only if a teacher combines virtual and real environments in everyday practices. The findings can be used by dance teachers, professional dancers, software developers, and researchers who examine the innovative practices and the application of artificial intelligence in dance education. The ecosystem model reframes thinking about approaches to dance education and can serve as the basis for further development of dance courses and dance style teaching modes.
•The article investigates the ways of using immersive technologies in dance education.•The research explores the theoretical literature on dance education.•The research explores the use of artificial intelligence tools in dance choreography.
Dance - as a ritual, therapy, and leisure activity - has been known for thousands of years. Today, dance is increasingly used as therapy for cognitive and neurological disorders such as dementia and ...Parkinson's disease. Surprisingly, the effects of dance training on the healthy young brain are not well understood despite the necessity of such information for planning successful clinical interventions. Therefore, this study examined actively performing, expert-level trained college students as a model of long-term exposure to dance training. To study the long-term effects of dance training on the human brain, we compared 20 young expert female Dancers with normal body mass index with 20 age- and education-matched Non-Dancers with respect to brain structure and function. We used diffusion tensor, morphometric, resting state and task-related functional MRI, a broad cognitive assessment, and objective measures of selected dance skill (Dance Central video game and a balance task). Dancers showed superior performance in the Dance Central video game and balance task, but showed no differences in cognitive abilities. We found little evidence for training-related differences in brain volume in Dancers. Dancers had lower anisotropy in the corticospinal tract. They also activated the
(AON) to greater extent than Non-Dancers when viewing dance sequences. Dancers showed altered functional connectivity of the AON, and of the general motor learning network. These functional connectivity differences were related to dance skill and balance and training-induced structural characteristics. Our findings have the potential to inform future study designs aiming to monitor dance training-induced plasticity in clinical populations.
This qualitative embedded single-case study sought to describe a dance intervention designed for people in stroke rehabilitation. Recommendations from rehabilitation therapists, and the ...researcher-dance educator's observations of the therapists' work and of patient participation during the intervention were captured and analyzed, from design to implementation, through various techniques, including a validated descriptive checklist from the health field, namely the Template for Intervention Description and Replication (TIDieR). This methodology enabled us to describe what 'adapted' dance was in this context, in terms of content and pedagogy, and thus to better distinguish such an intervention from the psychotherapeutic models underlying dance therapy. Thirteen rehabilitation themes emerged from the data to inform the dance content (the 'what' of the intervention), while four pedagogical categories subdivided into modalities portrayed the 'how'. These findings suggest a 'more experientially based' intervention distinct from 'more functionally based' therapies. This paper presents the perceived effectiveness/ineffectiveness of the pedagogical modalities from the researcher-dance educator's perspective and highlights the contribution of somatic-sensitive pedagogy. It concludes with some limitations of the TIDieR, such as its weakness in providing detailed and nuanced movement descriptions, leading the authors to recommend the use of complementary audiovisual data that would likely facilitate knowledge transfer.
Across spatial, bodily, and ethical domains, music and dance both emerge from and give rise to intimate collaboration. This theoretically rich collection takes an ethnographic approach to ...understanding the collective dimension of sound and movement in everyday life, drawing on genres and practices in contexts as diverse as Japanese shakuhachi playing, Peruvian huayno, and the Greek goth scene. Highlighting the sheer physicality of the ethnographic encounter, as well as the forms of sociality that gradually emerge between self and other, each contribution demonstrates how dance and music open up pathways and give shape to life trajectories that are neither predetermined nor teleological, but generative.
The study explores the pedagogical practices employed by ballet instructors for engaging boys in ballet. Inclusive practices for gender non-conforming children in ballet are also considered. Four ...ballet instructors shared their experiences in semi-structured interviews. Findings indicate that male-focused strategies in both recruitment and pedagogy are prevalent in the field. Participants noted the need for parents to be open to ballet for all genders of children, to value their child's gender expression, and to support the implementation of inclusive studio practices. Recommendations are made for teachers and studios regarding the implementation of gender-inclusive practices and the establishment of welcoming environments for all students.
This paper explains the design, development and delivery of a curriculum-integrated dance programme across four primary schools in Auckland, New Zealand. Four teachers and their respective classes ...(101 children in total) were part of the programme. Each class participated in 18 dance sessions at their schools during school hours. The dance educator delivered the dance programme and collaborated with each class teacher for planning and implementation. Various topics related to science, mathematics, English and Māori culture were covered in accordance with the term focus of each class teacher. The core values from the New Zealand primary school curriculum and New Zealand arts curriculum were embedded in the dance programme. The applicability, transferability (to other participant groups), challenges (such as time and venue) and evaluation design associated with the dance programme are discussed. Teachers’ reflections are embedded with researcher observations as they describe the significance of the dance programme.
In diesem Artikel befasse ich mich kritisch mit der Frage, ob Tanz und Choreografie generative Forschungsmethoden sein können. Hierzu greife ich auf meine Erfahrungen mit der Analyse und Übersetzung ...von Feldnotizen zurück, die aus einer Studie stammen, bei der Rollenübergangserfahrungen mit tanzbasierten Methoden untersucht wurden. In meiner Forschung nutzte ich die Graham-Technik, um die Faktoren zu identifizieren und zu untersuchen, die für das Erleben des Übergangs von einer registrierten Pflegekraft (mit nur befristeter Berufslizenz) hin zur akademisch weiterqualifizierten Advanced Practice Nurse relevant sind.Im Beitrag ringe ich immer wieder damit, Worte für einen kunstbasierten Forschungsprozess zu finden, der körperlich und intuitiv ist. Indem ich meine eigene Praxis reflektiere zeige ich, wie die Graham-Technik als Linse genutzt werden kann, um sowohl kognitive als auch körperliche Aspekte kritisch zu hinterfragen. Der Prozess des "Datentanzens", um Daten zu analysieren und Ergebnisse zu verbreiten, eröffnete neue Einsichten in die Erfahrung von Rollenübergängen und erwies sich zugleich als Methode, das Lebendige an Erfahrung zu bewahren.
Mientras recorría las páginas del libro me iba reconociendo en distintos roles: como mujer, como bailarina, como aprendiz, como docente, como artista independiente en una sociedad capitalista, como ...investigadora, como hija, amiga, mujer, hermana, pareja, colega y recientemente, como madre. También me hizo encontrarme afectivamente con espacios y personas, con algunos temores y violencias estructurales/estructuradas que continúan vigentes. Escribo también como intérprete de Augustine, una de las obras analizadas en este libro y por lo tanto, en este texto se me cuela lo anecdótico y lo afectivo…
The concept of coaching is an important object of study in the development of sports coaches, and the relationship between athletes and coaches may define the professional life of the former. In the ...area of dance, the figure of the coach is represented by teachers, choreographers and directors; however, there are few studies that analyse the different forms of coaching and receptiveness in the training of dance professionals. Therefore, the aim of this study was to ascertain the receptiveness of professional Spanish dance and flamenco dancers to the coaching abilities of their respective teachers, directors or choreographers. The sample consisted of 143 dancers, 96 women (67.1%) and 47 men (32.9%) aged between 18 and 51 (30.52±7.86), who were students in their last year of a Higher Degree, or professionals from different companies specialising in Spanish dance and flamenco. The most relevant results show that there were significant statistical differences in receptiveness to coaching according to age, with the older dancers showing less receptiveness. Similarly, there were significant statistical differences according to the company in which the dancers carried out their professional work.
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