THE COMPOSITIONAL AND MUSICAL COMPONENTS OF SPECIAL ARTISTRY IN RHYTHMIC GYMNASTICS

Rhythmic gymnastics is an Olympic sport. Competitive composition in rhythmic gymnastics should not only meeting the requirements of the physical abilities, but being technically perfect and expressively performed by a gymnast as well. Describing the expressiveness of rhythmic gymnast’s performance, the term “special artistry” is used. Special artistry in rhythmic gymnastics means artistry of compositional content, artistry of rhythmic gymnast, shown by athlete during performance of competitional composition and gymnast’s artistic abilities, influencing aesthetical effect of composition performance. The evaluation of judges at competitions often has a subjective character that is why the actual task of research is to make the expert assessment more objective. Particular investigation in general focuses on possible solutions to make alternative judging. Thus special artistry generally is viewed in 4 components – technical, aesthetical, compositional and musical. This paper is focused only on compositional and musical components of special artistry, headlining creation, build and content of composition, its execution and compositional and musical skills of the gymnast. The aim of the research is to define and to classify competitional composition determining components criteria and exponents of special artistry in rhythmic gymnastics. To develop this research there was used the meta-analysis of scientific literature, using researches of the top rhythmic gymnastics, art and music specialists from one data base, with further creation of thematic typology of elements. In total there were screened 961 sources of which 107 qualified and 25 were chosen for further research. Investigating chosen data sources by the appropriated search terms, as a result 15 criteria and 104 exponents in compositional component, and 5 criteria and 4 exponents in musical component of special artistry in rhythmic gymnastics were determined and classified according to the selected structure of special artistry components in rhythmic gymnastics.

THE STYLES OF SPECIAL ARTISTRY IN RHYTHMIC GYMNASTICS

Rhythmic gymnastics is a high achievement sport that requires athletes to demonstrate maximal abilities of the human body control while performing imaginative and meaningful compositions. With increasing of the technical complexity of the competitive compositions and striving for high results, less attention is paid to performance aesthetics. But at the same technical level during the competition, a decisive role in the gymnasts' performance is given to aesthetics. Patterns in the choice of composition content and gymnasts’ appearance and emotional similarities during performance allow concluding that there is a certain style, which can be defined as a special artistry style in rhythmic gymnastics. The aim of the research is to develop theoretical model of special artistry in rhythmic gymnastics, setting the tasks to determine, classify, structure, describe with determined artistic criteria and visualize with artistical images the special artistry styles. To develop the model the method of scientific and special literature analysis, audiovisual source analysis and modeling method were used. The model is mainly relying on C.G. Jung's theory of human perception of the world through universal symbols and the primary archetypes of the collective unconscious. Since mainly women participate in rhythmic gymnastics, the determination of the special artistry styles was based on the women archetypes of Ancient Greece goddesses according to the psychoanalyst prof. J.S. Bolen. To illustrate the styles more than 400 audiovisual materials were researched. As a result, the theoretical special artistry 32–style model in rhythmic gymnastics with two matrices of opposite style expressions consisting of 16 images each was created.

Contrasting the Views and Actions of Data Collectors and Data Consumers in a Volunteer Water Quality Monitoring Project: Implications for Project Design and Management

Data collection or generation is the primary way that the majority of volunteers advance the scientific goals of citizen science projects, but other activities such as data consumption also may influence learning, civic, and conservation outcomes. Project designers and managers balance goals for multiple outcomes and thus need to consider the influence of all project-related activities on outcomes. In a study of the kayak-based Citizen’s Water Quality Testing (CWQT) Program in New York City, we compared the characteristics, perceptions, and behaviors of those collecting and using CWQT data (data collectors) and those solely using the data (data consumers). Data collectors (n = 40) and consumers (n = 24) were similar in gender and political orientation, but collectors were younger, devoted more time to the project, and experienced far more face-to-face interactions related to the project. Data collectors and consumers had similar motivations for participation, except that collectors were more likely motivated by recognition for their efforts. Lack of free time was the largest barrier to participation for both types of participants, and a significantly greater barrier for consumers. Data collectors and consumers trusted volunteer-collected data more than government-collected data. Collectors and consumers both recognized multiple scientific, environmental, and social benefits associated with the project, and both were equally likely to use volunteer-collected data for a variety of purposes, such as informing decisions about conservation and recreation. Importantly, both groups were equally likely to undertake a suite of conservation behaviors. We synthesize and expand current conceptual frameworks of citizen science participation and outcomes, highlighting the need for further study to understand mechanisms and linkages between the varied activities of citizen science projects and broader social and ecological impacts. To achieve conservation goals, project managers should broaden the definition of participant to include those carrying out activities other than data collection (such as data use) and explicitly manage for potential benefits derived by consumers of citizen science