Review: The Collection

Review of the dance performance, The Collectio

An advanced virtual dance performance evaluator

The ever increasing availability of high speed Internet access has led to a leap in technologies that support real-time realistic interaction between humans in online virtual environments. In the context of this work, we wish to realise the vision of an online dance studio where a dance class is to be provided by an expert dance teacher and to be delivered to online students via the web. In this paper we study some of the technical issues that need to be addressed in this challenging scenario. In particular, we describe an automatic dance analysis tool that would be used to evaluate a student's performance and provide him/her with meaningful feedback to aid improvement

Professorial Reflections: informal discussions and reflections

We open our issue with ‘Professorial Reflections’ – an informal, but nonetheless productive discussion about researching spirituality in dance and performance studies. We aim to offer this type of discussion, between different leading professors in dance and performance studies, in subsequent issues of DMAS. Our intention here is to open dialogue about spirituality in these fields, through informal discussion and academic chit-chat, with the aim of supporting new areas of research through conversation and reflecting

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences

BENTUK KETERTARIKAN SASTRA SUDAMALA DALAM DRAMA TARI KUNTISRAYA

Abstract In the reality, one of phenomena of performance art in Indonesia is the tendency to take a literary work as the source of idea. It proves that literary works are loaded with values and complete art has long lasted. Literary themes and stories, especially classical literature, have been adapted to meet the necessity for performance art, either dance drama or theater. Sudamala (Kuntisraya) literature, one of the classical literary work, has also become the story idea of dance drama for tourist’ attraction, i.e. the performance of Barong and Kris Dance. In working on the story of Kuntisraya in to dance drama for tourist, there is a room for flexibility and freedom of creativity, but characteristic of Balinese performance art

A Trilogy of Modern Solos; Reflecting on Traveling Through Europe and the U.S.

My Senior Project, A Trilogy of Modern Solos, was performed at Ohio State's Department of Dance Senior Concert and explored reflections from my travels and future aspirations in modern dance performance. The trilogy included one self-choreographed solo, one solo choreographed by London-based artist Beatrice Bernstein, and a repertory solo from a Chicago based company Deeply Rooted. This project led me to a greater knowledge of the responsibilities and skillsets needed to cultivate solo performances and this project demonstrated the type of work I intend to perform as a professional dancer.OSU Department of Dance Undergraduate Arts Research ScholarshipNo embargoAcademic Major: Danc

Dance and emotion in posterior parietal cortex: a low-frequency rTMS study

Background: The neural bases of emotion are most often studied using short non-natural stimuli and assessed using correlational methods. Here we use a brain perturbation approach to make causal inferences between brain activity and emotional reaction to a long segment of dance. <p>Objective/Hypothesis: We aimed to apply offline rTMS over the brain regions involved in subjective emotional ratings to explore whether this could change the appreciation of a dance performance.</p> <p>Methods: We first used functional magnetic resonance imaging (fMRI) to identify regions correlated with fluctuating emotional rating during a 4-minutes dance performance, looking at both positive and negative correlation. Identified regions were further characterized using meta-data interrogation. Low frequency repetitive TMS was applied over the most important node in a different group of participants prior to them rating the same dance performance as in the fMRI session.</p> <p>Results: FMRI revealed a negative correlation between subjective emotional judgment and activity in the right posterior parietal cortex. This region is commonly involved in cognitive tasks and not in emotional task. Parietal rTMS had no effect on the general affective response, but it significantly (p<0.05 using exact t-statistics) enhanced the rating of the moment eliciting the highest positive judgments.</p> <p>Conclusion: These results establish a direct link between posterior parietal cortex activity and emotional reaction to dance. They can be interpreted in the framework of competition between resources allocated to emotion and resources allocated to cognitive functions. They highlight potential use of brain stimulation in neuro-æsthetic investigations.</p&gt