The role of folk dance in formation of the choreographer creative potential

The aim of the article is to substantiate the role of folk dance in the process of formation of the creative potential of a student-choreographer. Methods of generalization and comparative analysis were used in the research process. The article identifies three pedagogical conditions for formation the creative potential of students-choreographers by means of folk dance. It is pointed out that promising planning for professional growth plays an important role in formation the choreographers’ creative potential. The expediency of involving students in creative experiments, which include the creation of their own choreographic sketches in the middle of the hall, as well as training exercises near the machine, is substantiated. It is noted that students' sketch work in folk-dance classes is characterized by the study of choreographic sketches on the basis of dance vocabulary. The essence of separate types of students-choreographers’ independent work is revealed. The authors point out that the development of creative thinking, creative imagination and fantasy requires the application of a set of creative tasks based on improvisation. Attention is drawn to the need for the use of interactive and information technologies. Classes with the introduction of interactive and modern information technologies maximally stimulate student-choreographer’s cognitive independence and creative activity

ART – BASED TRAINING METHODS FOR EMPOWERING ADULTS IN THE DIGITAL ERA

Since the dawn of humanity, dancing has been central to life occasions, for celebration, mourning, entertaining or even communicating. Still, it remains a vital practice around the world. With the development of technology, many efforts have been made to adapt specific choreographies and dancing rituals to the modern era, via digital platforms. However, these sequences cannot be construed as realistic when they are viewed through computers, because the actual expressions are lost in the translation. A lot of attempts have been made to provide a solution to this issue, but the most successful are the motion capturing devices and equipment. In this research, we focus on the recording of choreographies, which represent important social concepts, using a Microsoft Kinect sensor as a motion capturing device. Microsoft Kinect is chosen because it is a low-cost device that can deliver adequate results. The outcome of the research is a “handbook” in virtual reality environment, which can be used as an educational tool by anyone. The project aims at being a response to the global need of today’s world for creation of inclusive environments, where socially aware people can peacefully co – exist. The digital handbook can enhance the skills and competences of adult trainers in arts and culture and every participant gets in touch with sensitive concepts and develops social awareness. Inspiration for the project is drawn via social and humanistic values stemming from philosophical, sociological and psychological texts and it is innovative not only for its content but also for the way this is developed

Barriers to sustainable development in digital communication of intangible cultural heritage: emotion drain under the technology dominance

With the surge of digital tide, the digital use of intangible cultural heritage is increasingly common. In recent years, scholars have focused on digital technology as an important force in enabling the development of intangible cultural heritage communication. However, in specific practical explorations, the media characteristics of digital technology and the remote participation of inherited community and other drawbacks are constantly exposed, resulting in the conflict between technology dominance and emotion loss in the digitalisation of intangible cultural heritage. Therefore, there is a need to reflect on the technology dominance of digitisation of intangible cultural heritage and to analyse the causes and effects of emotion drain. The paper also attempts to further propose measures that respect the cultural subjectivity of the inheriting community and focus on the emotional impact of digitisation, aiming to better realise the sustainable development of digitisation of intangible cultural heritage

ECLAP 2012 Conference on Information Technologies for Performing Arts, Media Access and Entertainment

It has been a long history of Information Technology innovations within the Cultural Heritage areas. The Performing arts has also been enforced with a number of new innovations which unveil a range of synergies and possibilities. Most of the technologies and innovations produced for digital libraries, media entertainment and education can be exploited in the field of performing arts, with adaptation and repurposing. Performing arts offer many interesting challenges and opportunities for research and innovations and exploitation of cutting edge research results from interdisciplinary areas. For these reasons, the ECLAP 2012 can be regarded as a continuation of past conferences such as AXMEDIS and WEDELMUSIC (both pressed by IEEE and FUP). ECLAP is an European Commission project to create a social network and media access service for performing arts institutions in Europe, to create the e-library of performing arts, exploiting innovative solutions coming from the ICT

Techno-choreography and the embodiment of Chineseness

This thesis was submitted for the award of Doctor of Philosophy and was awarded by Brunel University LondonThis thesis explores the embodiment of Chineseness in digital performance through the methodology of techno-choreography. In this practice-based research, I have created three full-length dance works: X-Body (2018), Mourning for a dead moon (2019) and Unexpected Bodies (2020). These three performances involve professionally trained dancing bodies in Chinese dance, cultural objects, scenography, software tools, real-time interactivity, virtual reality and immersion. The specific choreographing of cultural objects, including chopsticks, gaoqiao, handkerchiefs, fans and red silks, contributes to the research on dance and technology as well as current debates on cultural transexperience. The methodology of techno-choreography in this research draws on the theories of interactivity and immersion developed by Johannes Birringer, Steve Dixon, Scott deLahunta and David Rokeby. This methodology focuses on dancing bodies and objects as interfaces during the process of dance composition within computational system environments. The theories of Chineseness considered in this research are based on Xu Rui and Emily Wilcox’s studies of Chinese dance. This thesis investigates the research questions of how Chineseness contributes to the process of techno-choreography, how technology affects the embodiment of Chineseness, and what Chineseness might be in the context of techno-choreography. The methodology of technochoreography incorporates methods of improvisation, codified movements, motion tracking, programming, immersive design and scenography to explore and demonstrate Chineseness through interactions between dancing bodies and objects in the digital space. For instance, in X-Body, I create sonic chopsticks, a real-time interactive dance exploring chopsticks as interfaces performed by four dancers collaborating with live musician Dee Egan. In Mourning for a dead moon, I demonstrate body memories of Chinese classical dance working with CryptogamicLightCape designed by fashion designer Michèle Danjoux. In Unexpected Bodies, I experiment with red silks in virtual reality and develop writing Chinese characters through a dancing body, working with Oculus Quest 2. The outcome of the research is the generation of interactive performance frameworks which enable embodiments of Chineseness in digital performance. Dancing bodies trained in Chinese dance and cultural objects contribute to the methodology of techno-choreography, contesting to some extent an overly technological gadget driven discursive and performative practice encountered in the West. This thesis is the first to investigate the embodiment of Chineseness in digital performance through interfaces between dancing bodies and cultural objects in digital environments

Step Symphony

This report describes the design process of Step Symphony, a location-based hidden object game that uses directional sound and augmented reality. This project was developed over the course of three months at Ritsumeikan University in Japan. This game intends to encourage exploration of the many historical sites of Japan, and to experience joy while collecting different kyokubou with different instruments. This report covers all aspects of the team\u27s development process, including research and the creation of the various features the game possesses, as well as the possibility of future work on the project. We also developed a testing system that could be utilized to evaluate the usability of all key components of Step Symphony, and thereby refine each gameplay component