What is the significance of folk dance to its participants

You also need at least one musician or a sound system with a large collection of music resources, and this applies to all traditional social dance forms. Folk dance means just that, you need to be part of a dance community and be with other folk. In the British Isles there are two historical strands that have given us the tradition as it is today. First there are the archive collections dating from the 's, begun by the publisher John Playford.

Secondly there is the wealth of form and rhythm that followed the blossoming of dance styles like the quadrille, waltz and polka from early in the 19th century.

By the beginning of the 20th century when Cecil Sharp and others were collecting dances the tradition was a rich patchwork that had been stirred by time and is still being added to with newly created dances by teachers from around the globe. Folk dance in its social form is a living tradition, continually evolving, whether there are exam boards and structured organisations trying to shape and channel its progress or not. Folk dancers are mostly friendly, tolerant, encouraging, enthusiastic and sweaty.

They help new comers to learn because the sooner they are proficient then the sooner we all get to have more fun. We practice special steps in privacy but we can't hone them without practicing with a partner or at a social function. We can be mildly competitive but only in a friendly way and we are generally happy to teach whatever we know to others, particularly the younger generation. We learn a specialist vocabulary that includes words and phrases like basket, swing, rant, hey, longways, give weight and strip the willow but a clever caller can teach all these things without ever using the words.

The specialist vocabulary is a shorthand way to communicate, and like any specialist vocabulary it can delineate a group or it can separate you from those who don't understand the terminology. In fact I think that the folk world and the wider world are a bit like the Wizards and the 'Muggles' in Harry Potter. A folk dancer a bit like a Wizard might live next door and be a great neighbour. They might play a musical instrument, sing and teach folk dance as well as be a dancer but the neighbour might not know.

The dancer will have a day job, and a life just like anyone else but they will also have an alternative reality and know where the next Saturday dance is to be held, they probably attend regular weekly classes, spend their holidays at a summer folk festival like Sidmouth or Broadstairs, or at a folk camp under canvas or in a caravan and their best friends will be folk dancers.

In my experience folk dancers in the British Isles and the USA create something akin to a village community, of a few hundred people, that might be scattered across the globe. We travel miles to dance, celebrate birthdays and Christmases together and we do brilliant funerals with all the music, singing and dancing. Even in great cities like London and New York there are dance communities that are held together by a love of folk music and dance that make us all feel more human and more of a special individual, valued for our inherent qualities rather than what we do or how much money we earn.

Status in the folk world ensues from our innate ability to enthuse others or for our dancing or singing skills - so someone in a low paid job who is a tradition bearer might not have much status in the wider world but be hugely respected in the folk world.

We are valued for our individuality within the community. At a Saturday social dance you might see expensive specialist dance shoes or flip flops; shorts, jeans or worsted breeches; hand knits, silk shirts or boob tubes. We don't give a damn about fashion. We wear comfortable clothes that are easy to dance in.

Many women still wear skirts because we like the swirl of soft fabric as we dance and swing, and the movement of colours. We are thought of as old-fashioned; if being courteous and polite, the old values of the ballroom of course, then we are old fashioned. It is very important to see musical artists performing on instruments they have hand crafted, or playing vibrant melodies from their grandfather's fiddle.

This group is all about preserving history and tradition. Folk dances are important because they preserve the Philippine culture and pass it on to the next generation. They are a uniting force to the Philippine people. Philippine Folk dance. Search this site. Results Farmers have been growing sorghum for at least years 20 generations. Sorghum is named as Mishinga in the region. Farmers used twenty five morphological, sixty biotic and abiotic and twelve use-related traits in folk taxonomy of sorghum.

Farmers classified their gene-pool by hierarchical classifications into parts that represented distinguishable groups of accessions. Folk taxonomy trees were generated in the highland, intermediate and lowland sorghum ecologies. Over 78 folk species have been identified.

The folk species were named after morphological, use-related and breeding methodology used. Relative distribution of folk species over the region, folk taxonomy consistency, and comparison of folk and formal taxonomy are described. Conclusion New folk taxonomy descriptors have been identified and suggested to be used as formal taxonomy descriptors.

It is concluded that integrated folk -formal taxonomy has to be used for enhanced collection, characterisation and utilization of on farm genetic resources.

Sorghum is one of the main staple food crops for the poorest and most food insecure people of the world. In order to assess folk taxonomy, various research methods were employed, including, focus group interviews with farmers, direct on-farm participatory monitoring with farmers, key informant interviews with 60 farmers and development agents and semi-structured interviews with farmers. Farmers have been growing sorghum for at least years 20 generations. New folk taxonomy descriptors have been identified and suggested to be used as formal taxonomy descriptors.

Dance Facilities. This booklet represents an effort to assist teachers and administrators in the professional planning of dance facilities and equipment. Three chapters present the history of dance facilities, provide recommended dance facilities and equipment, and offer some adaptations of dance facilities and equipment, for elementary, secondary and college level….

Dance Dynamics: Avoiding Dance Injuries. This series features nine articles and an introduction by the editor. Topics covered include biomechanics of foot, ankle, knee, hip, and back; corrective exercises; preventative approaches to dance instruction; and aerobic dance injuries.

Folklore and folk arts encompass the body of traditional knowledge learned and artifacts produced outside of formal institutions as a result of participation in folk groups. A great portion of daily life and culture is folk. Folklore and folk arts acquire distinctly local characteristics through the influences of geography, history, or talented…. Research on folk culture in twentieth-century Britain has focused on elite and transgressive political episodes, but these were not its mainstream manifestations.

This article re-evaluates the place of folk culture in twentieth-century Britain in the context of museums. It argues that in the modern heritage landscape folk culture was in an active dialogue with the modern democracy.

This story begins with the vexed, and ultimately failed, campaign for a national English folk museum and is traced through the concurrent successes of local, regional, and Celtic 'first wave' folk museums across Britain from the s to the s. The educational activities of these museums are explored as emblematic of a 'conservative modernity', which gave opportunities to women but also restricted their capacity to do intellectual work. By the s, a 'second wave' folk museology is identified, revealing how forms of folk culture successfully accommodated the rapid social change of the later twentieth century, particularly in deindustrializing regions.

From this new, museums' perspective, folk culture appears far less marginal to twentieth-century British society. In museums folk culture interacted with mainstream concerns about education, regionalism, and commercialization. Published by Oxford University Press. The goal of " Dance for Your Health" was to explore the relationship between social Latin dance and health as described by members of the Tucson social Latin dance community.

Social Latin dance was selected because of the variety of dances , cultural relevance and popularity in Tucson, and the low-key, relaxed atmosphere. Dance has been…. The Folk Music Revival on Record.

This description of the folk music "industry" as it exists in America and the British Isles focuses on the output of many small record labels which have evolved out of the folk revival.

Addresses and descriptions of 16 major producers of folk music are included. Eleven references are cited. Folk Media in Development. This issue is dedicated to folk media. Using Indonesia for his case study, Dr. Nat Colletta analyzes traditional culture as a medium for development.

Juan Diaz Bordenave expresses doubts about adapting folk media to development objectives; Susan Hostetler and Arthur Gillette report on uses of the theater to promote development objectives; and…. Hydrocarbons emitted by waggle- dancing honey bees are known to reactivate experienced foragers to visit known food sources. This study investigates whether these hydrocarbons also increase waggle- dance recruitment by observing recruitment and dancing behavior when the dance compounds are introduced into the hive.

If the hydrocarbons emitted by waggle- dancing bees affect the recruitment of foragers to a food source, then the number of recruits arriving at a food source should be greater after introduction of dance compounds versus a pure-solvent control. This prediction was supported by the results of experiments in which recruits were captured at a feeder following introduction of dance -compounds into a hive.

These hypotheses were tested by examining video records of the dancing and recruitment behavior of individually marked bees following dance -compound introduction. Comparisons of numbers of dance followers and numbers of recruits per dance and waggle run showed no significant differences between dance -compound and solvent-control introduction, thus providing no support for the first hypothesis. Comparison of the number of waggle- dance bouts and the number of waggle runs revealed significantly more dancing during morning dance -compound introduction than morning solvent-control introduction, supporting the second hypothesis.

These results suggest that the waggle- dance hydrocarbons play an important role in honey bee foraging recruitment by stimulating foragers to perform waggle dances following periods of inactivity. Hydrocarbons emitted by waggle- dancing honey bees increase forager recruitment by stimulating dancing. Folk healing: a description and synthesis.

All societies have developed ways of dealing with physical and mental illness, defined as folk healing systems. The authors review the systems of folk healing that have evolved in different cultural groups in the United States.

They describe the faith healing practices of fundamentalist Christian groups, the belief in rootwork among white and black people in the southeastern United States, curanderismo among Mexican-Americans, and espiritismo among Americans from Puerto Rico. Most believers in folk healing also go to physicians for medical care. The authors argue that physicians should familiarize themselves with patients' folk healing beliefs in order to serve them more effectively.

Too much noise on the dance floor: Intra- and inter- dance angular error in honey bee waggle dances. Successful honey bee foragers communicate where they have found a good resource with the waggle dance , a symbolic language that encodes a distance and direction.

Additionally, both these components vary within a dance. Here we discuss some causes and consequences of intra- dance and inter- dance angular variation and advocate revisiting von Frisch and Lindauer's earlier work to gain a better understanding of honey bee foraging ecology.

Dance classes in urban settings may have a role in health-promotion programmes seeking to increase physical activity amongst young people. However, little is so far known about the motivations, experiences or health outcomes of those participating in dance classes.

This qualitative study of young people attending recreational dance classes…. Folk knowledge of invertebrates in Central Europe - folk taxonomy, nomenclature, medicinal and other uses, folklore, and nature conservation. There is scarce information about European folk knowledge of wild invertebrate fauna. We have documented such folk knowledge in three regions, in Romania, Slovakia and Croatia.

We provide a list of folk taxa, and discuss folk biological classification and nomenclature, salient features, uses, related proverbs and sayings, and conservation. We collected data among Hungarian-speaking people practising small-scale, traditional agriculture. We studied "all" invertebrate species species groups potentially occurring in the vicinity of the settlements.

We used photos, held semi-structured interviews, and conducted picture sorting. We documented invertebrate folk taxa. Many species were known which have, to our knowledge, no economic significance.

Knowledge reliability was high, although informants were sometimes prone to exaggeration. Twenty four species were of direct use to humans 4 medicinal, 5 consumed, 11 as bait, 2 as playthings.

Completely new was the discovery that the honey stomachs of black-coloured carpenter bees Xylocopa violacea, X. Conscious ideas about conserving invertebrates only occurred with a few taxa, but informants would generally refrain from harming firebugs Pyrrhocoris apterus , field crickets Gryllus campestris and most butterflies. We did not find any mythical creatures among invertebrate folk taxa. Almost every invertebrate species was regarded as basically harmful.

Where possible, they were destroyed or at least regarded as worth eradicating. However, we could find no evidence to suggest any invertebrate species had suffered population loss as a result of conscious destruction. Sometimes knowledge pertaining to the taxa could have more. 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 action observation network 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.

Relicts of dancing mania: the dancing procession of Echternach. In the small town of Echternach in Luxembourg, remnants of chorea St. Vitii can be found every year when pilgrims gather at the grave of St. Willibrord to take part in the so-called Dancing Procession on Whit Tuesday. Miracles and healings are reported to have taken place in front of Willibrord's sarcophagus in the late eighth century. News of the miraculous healings inspired the celebratory folkdances in Echternach. Willibrord became the patron saint of patients with movement disorders.

Important annual pilgrimages to the grave of Saint Willibrord, with pilgrims from Gallic and Teutonic provinces, were reported around The Dancing Procession is first mentioned in the Echternach city archives in In , Henri Meige, a neurologist with a special interest in movement disorders, visited Echternach to observe the annual Dancing Procession.

Although Meige was disappointed with the lack of hysteria, he concluded that the Dancing Procession of Echternach was not without grandeur.

Outbreaks of mass hysteria with a background of religious fervor, pagan traditions, or superstition are the most likely explanation for the medieval dancing mania. This view is supported by the religious motivation behind the present-day Dancing Procession in Echternach, a ritual with mixed pagan-Christian origins related to Saint Vitus' dance. Let's dance --feel better! Mood changes following dancing in different situations. In the present study, we examined mood changes following dancing.

Previous works suggested that contextual factors may influence affective states; it has been shown that changes in mood following competition differ from those following recreational exercise. The study has been conducted in Warsaw, Poland. We observed a moderately positive change in recreational dancers doing ordinary training; they reported higher energetic arousal EA and hedonic tone HT and lower tense arousal TA after dance activity.

In comparison dancers taking part in a competition were higher on TA before dancing and felt less pleasure after dancing than recreational and competitive dancers doing ordinary training; HT, TA and EA moderately decreased during competition. In general, the current study suggests that dance can elicit changes in mood; however, situational context has to be taken into consideration when explaining the influence of dance on mood.

Dance — as a ritual, therapy, and leisure activity — has been known for thousands of years. In the s a visible shift in the ideology of contemporary dancers and choreographers took place. A desire for a dance language that rejected the need for the classical dancerly body paved the way for dance that was open to a more diverse population of participants.

Dance Ability emerged in that late s as a method of making dance accessible…. Dance Education Research and Supplementary Articles. This bibliography presents listings in the following areas: assessment in dance education; attitudinal studies in dance education; dance certification, standards, status; dance curricula; dance education history; dance education and technology; dance education theory; dance teacher behaviors; dance teacher preparation; descriptions of dance….

Concepts of Chinese Folk Happiness. Discourses on Chinese folk happiness are often based on anecdotal narratives or qualitative analysis. Two traditional concepts of happiness popular in Chinese culture are introduced. The paper constructs a concept of Chinese folk happiness on basis of the findings of a scientific survey on the Taiwanese people regarding their concepts of….

This document is a collection of essays by various authors on the subject of dance therapy. Dance therapy, in the introduction of this document, is defined as a form of psychotherapy in which the therapist utilizes movement interaction as the primary means of accomplishing therapeutic goals.

The document is divided into five parts: a …. The Michigan Dance Association's Dance Project for the Handicapped is the subject of the two pamphlets that make up this document.

The first pamphlet, "The Dance Within," describes the history, nature and goals of the Jackson Pilot Project, the first handicapped dance program in Michigan; it also offers suggestions on how to set up similar…. Folk Literature of South Asia. The collection of articles in this volume focuses on different kinds of folk literature from Bengal, Tamilnad, Bihar, Hindi-speaking North India, and Nepal.

An introductory article by S. Wadley discusses types of folk literature in Karimpur. The remaining articles are organized according to cultural themes: "The Lustful Stepmother in the…. With few exceptions, dance , and traditional dance in particular, has received little attention regarding the development of technological tools that can support teaching. The Web DANCE project was a pilot study with a European scope that aimed to experiment with the development of a web-based learning environment for traditional dances.

The final…. Dance and music often co-occur as evidenced when viewing choreographed dances or singers moving while performing. This study investigated how the viewing of dance motions shapes sound perception. Previous research has shown that dance reflects the temporal structure of its accompanying music, communicating musical meter i.

Experiments here investigated the effects of dance cues on meter perception, hypothesizing that dance could embody the musical meter, thereby shaping participant reaction times RTs to sound targets occurring at different metrical positions.

A sound track accompanied these videos and participants reacted to timbre targets at different metrical positions. Moreover, participants in this experiment were divided into a group with experience dancing this choreography and a group without experience.

Results again showed slower RTs to stronger metrical positions and the group with experience demonstrated a more refined perception of metrical hierarchy. Results likely stem from the temporally selective division of attention between auditory and visual domains. This study has implications for understanding: 1 the impact of splitting attention among different sensory modalities, and 2 the impact of embodiment, on perception of musical meter.

Viewing dance may interfere with sound processing, particularly at critical metrical positions, but embodied. A visual aid teaching tool, the Dance Chemistry video series, has been developed to teach fundamental chemistry concepts through dance.

These educational videos portray chemical interactions at the molecular level using dancers to represent chemical species.

Students reported that the Dance Chemistry videos helped them visualize chemistry ideas in a…. Dancing to different tunes: heterospecific deciphering of the honeybee waggle dance. Although the structure of the dance language is very similar among species of honeybees, communication of the distance component of the message varies both intraspecifically and interspecifically.

However, it is not known whether different honeybee species would attend interspecific waggle dances and, if so, whether they can decipher such dances. These observations indicate that direction and distance communication pre-date speciation in honeybees. Shall We Dance? Of all art forms, dance is experienced least and considered low-priority.

Art educators and the NAEP's arts education framework view dance as essential for every child's complete development. The National Dance Association has set high standards. Baltimore and South Bronx programs are profiled. A recent study on Chinese folk happiness using qualitative method seems to provide some empirical findings beyond anecdotal evidence on Chinese folk happiness.

This paper critically examines the study's constructed image of Chinese folk happiness,…. How To Dance through Time. It continues the tradition of the romance of the midth century couple dances , focusing on Victorian era couple dances. The videotape offers 35 variations of the renowned 19th century couple dances , including the waltz, the polka, the galop,…. The intersections of dance and sexuality and sexual identity are part of the critical discourse important to teaching dance appreciation and dance history.

This essay presents aspects of my teaching practice, informed by current writings in queer studies, dance studies, education, and sociology. Awareness of potential classroom diversity helps…. Why do you dance? Dancing is a popular form of physical exercise and studies have show that dancing can decrease anxiety, increase self-esteem, and improve psychological wellbeing. The aim of the current study was to explore the motivational basis of recreational social dancing and develop a new psychometric instrument to assess dancing motivation.

Eight motivational factors were identified via exploratory factor analysis and comprise a new Dance Motivation Inventory: Fitness, Mood Enhancement, Intimacy, Socialising, Trance, Mastery, Self-confidence and Escapism. Mood Enhancement was the strongest motivational factor for both males and females, although motives differed according to gender. Dancing intensity was predicted by three motivational factors: Mood Enhancement, Socialising, and Escapism.

The eight dimensions identified cover possible motives for social recreational dancing , and the DMI proved to be a suitable measurement tool to assess these motives. The explored motives such as Mood Enhancement, Socialising and Escapism appear to be similar to those identified in other forms of behaviour such as drinking alcohol, exercise, gambling, and gaming. Why Do You Dance? Dance : Verities, Values, Visions.

The Binational Dance Conference was organized into three focal themes--verities, values, and visions in dance --to emphasize the known and accepted worth and value of dance , and to stimulate through knowledge and idea exchange, imaginative directions for dance in the future of both the United States and Canada.

This thematic structure is also the…. Dance and sexuality: many moves. This literature review of dance and sexual expression considers dance and religion, dance and sexuality as a source of power, manifestations of sexuality in Western theater art and social dance , plus ritual and non-Western social dance.

Expressions of gender, sexual orientation, asexuality, ambiguity, and adult entertainment exotic dance are presented. Prominent concerns in the literature are the awareness, closeting, and denial of sexuality in dance ; conflation of sexual expression and promiscuity of gender and sexuality, of nudity and sexuality, and of dancer intention and observer interpretation; and inspiration for infusing sexuality into dance.

Numerous disciplines American studies, anthropology, art history, comparative literature, criminology, cultural studies, communication, dance , drama, English, history, history of consciousness, journalism, law, performance studies, philosophy, planning, retail geography, psychology, social work, sociology, and theater arts have explored dance and sexual expression, drawing upon the following concepts, which are not mutually exclusive: critical cultural theory, feminism, colonialism, Orientalism, postmodernism, poststructuralism, queer theory, and semiotics.

Methods of inquiry include movement analysis, historical investigation, anthropological fieldwork, autoethnography, focus groups, surveys, and self-reflection or autobiographical narrative. Directions for future exploration are addressed. Dance and the brain: a review. Dance is a universal form of human expression that offers a rich source for scientific study. Dance provides a unique opportunity to investigate brain plasticity and its interaction with behavior.

Several studies have investigated the behavioral correlates of dance , but less is known about the brain basis of dance. Studies on dance observation suggest that long- and short-term dance training affect brain activity in the action observation and simulation networks. Despite methodological challenges, the feasibility of conducting neuroimaging while dancing has been demonstrated, and several brain regions have been implicated in dance execution.

Preliminary work from our laboratory suggests that long-term dance training changes both gray and white matter structure. This article provides a critical summary of work investigating the neural correlates of dance.

It covers functional neuroimaging studies of dance observation and performance as well as structural neuroimaging studies of expert dancers. To stimulate ongoing dialogue between dance and science, future directions in dance and brain research as well as implications are discussed. Research on the neuroscience of dance will lead to a better understanding of brain-behavior relationships and brain plasticity in experts and nonexperts and can be applied to the development of dance -based therapy programs.

This paper considers the processes of using folk stories for the teaching of community languages in a UK complementary school. We look at the appropriation of folk stories by teachers to teach young people Mandarin while also considering their possibilities as heritage texts. We consider how the teacher and students use the folk story as….

Dances from African communities are gradually getting incorporated into formal education at pre-tertiary and tertiary levels in the United States. Whereas strides have been made to embrace this artistic and cultural diversity, the instructional methodologies that are applied in teaching these dances are commonly founded on Western pedagogic canons….

Dance for the Handicapped. Focus on Dance IX. This volume presents a collection of 14 articles, written by professionals active in teaching dance to the handicapped. Different approaches, techniques, and philosophies are presented in the following papers: " Dance for the Handicapped: A Mainstreaming Approach" C.

Preventing dance injuries: current perspectives. Dancers are clearly athletes in the degree to which sophisticated physical capacities are required to perform at a high level. The standard complement of athletic attributes — muscular strength and endurance, anaerobic and aerobic energy utilization, speed, agility, coordination, motor control, and psychological readiness — all are essential to dance performance. In dance , as in any athletic activity, injuries are prevalent. This paper presents the research background of dance injuries, characteristics that distinguish dance and dancers from traditional sports and athletes, and research-based perspectives into how dance injuries can be reduced or prevented, including the factors of physical training, nutrition and rest, flooring, dancing en pointe, and specialized health care access for dancers.

The review concludes by offering five essential components for those involved with caring for dancers that, when properly applied, will assist them in decreasing the likelihood of dance -related injury and ensuring that dancers receive optimum attention from the health care profession: 1 screening; 2 physical training; 3 nutrition and rest; 4 specialized dance health care; and 5 becoming acquainted with the nature of dance and dancers. Psychophysiological Responses to Salsa Dance.

Speculation exists whether dance provides physiological stimuli adequate to promote health and fitness benefits. Unfortunately, research to date has not addressed the affective and exertional responses to dance. These responses are of interest as positive affective and exertional responses experienced during physical activity may play an important role in predicting adherence.

The present study aims to examine the psychophysiological responses of different Salsa dance styles. Ten pairs of dancers performed two different structured lessons of Salsa dance , including Typical Salsa and Rueda de Casino lessons, and a non-structured Salsa dance at a night club.

Physiological responses i. These data support that different Salsa dance styles provide physiological stimuli adequate to promote health and fitness benefits, and perhaps more importantly, produce pleasurable experiences, which in turn might lead to an increase in adherence to Salsa dancing which likely provides exercise-like health benefits. Waggle dance effect: dancing in autumn reduces the mass loss of a honeybee colony. A honeybee informs her nestmates about the location of a profitable food source that she has visited by means of a waggle dance : a round dance and a figure-of-eight dance for a short- and long-distance food source, respectively.

Consequently, the colony achieves an effective collection of food. However, it is still not fully understood how much effect the dance behavior has on the food collection, because most of the relevant experiments have been performed only in limited locations under limited experimental conditions. Here, we examined the efficacy of the waggle dances by physically preventing bees from dancing and then analyzing the changes in daily mass of the hive as an index of daily food collection.

To eliminate place- and year-specific effects, the experiments were performed under fully natural conditions in three different cities in Japan from mid September to early October in three different years. Because the experiments were performed in autumn, all six of the tested colonies lost mass on most of the experimental days. When the dance was prevented, the daily reduction in mass change was greater than when the dance was allowed, i. This indicates that dance is effective for food collection.

Furthermore, clear inhibition was observed on the first two days of the experiments; after that, inhibition was no longer evident. This result suggests that the bee colony adapted to the new environment. Dance Critique as Signature Pedagogy. The curriculum of preprofessional university degree programs in dance typically comprise four components: theory and history, dance technique, creative process, and performance.

This article focuses on critique in the modern dance technique and choreography components of the dance curriculum.

Bachelor of Fine Arts programs utilize critique as a…. Folk beliefs of cultural changes in China. For the last several decades, Chinese society has experienced transformative changes. How are these changes understood among Chinese people?

To examine this question, Part 1 in this research solicited folk beliefs of cultural change from a group of Chinese participants in an open-ended format, and the generated folk beliefs were rated by another group of participants in Part 2 to gage each belief's level of agreement. Part 3 plotted the folk beliefs retained in Part 2 using the Google Ngram Viewer in order to infer the amount of intellectual interests that each belief has received cross-temporarily.

These analyses suggested a few themes in Chinese folk beliefs of cultural change 1 rising perceived importance of materialism and individualism in understanding contemporary Chinese culture and Chinese psychology relative to those of the past 2 rising perceived importance of freedom, democracy and human rights and 3 enduring perceived importance of family relations and friendship as well as patriotism. Interestingly, findings from Parts 2 and 3 diverged somewhat, illuminating possible divergence between folk beliefs and intellectual interests especially for issues related to heritage of Confucianism.

Energy cost of square dancing. This experiment was concerned with determining the energy cost of two popular Western square dancing routines: the "Mish-Mash," which is a relatively fast-moving dance with quick movements, and the "Singing" dance , which is a slower and more deliberate type of dance.

The subjects were four middle-aged couples, veteran members of a local square dancing club. Sitting and standing pulmonary ventilations were determined through the use of the Tissot gasometer.

These apparatus were fitted with a Monoghan neoprene cushion plastic mask. Gas samples were collected in polyethylene metallized bags and analyzed for O2 and CO2 content. The net energy cost for the two dances was appropriately summarized. The results indicated that for the males the net average energy cost of the "Mish-Mash" dance was 0. For the females, the cost was 0. A net average cost of these two dances yielded a caloric expenditure of 5.

It was indicated that during the course of a typical square dance evening, a kg man would expend some kcal. The energy cost of the dances studied were determined to be within the permissible work load of a functional class 1 patient with diseases of the heart as determined by the American Heart Association. It shows how to dance the most influential social dances of the French Baroque Court.

The ceremonious Minuet is the most famous of the 18th century dance invention. The Allemande is the pivotal bridge linking to the 19th century. The Contredance…. Enhancement of Pleasure during Spontaneous Dance. Dancing emphasizes the motor expression of emotional experiences. The bodily expression of emotions can modulate the subjective experience of emotions, as when adopting emotion-specific postures and faces.

Thus, dancing potentially offers a ground for emotional coping through emotional enhancement and regulation. Here we investigated the emotional responses to music in individuals without any prior dance training while they either freely danced or refrained from movement.

Participants were also tested while imitating their own dance movements but in the absence of music as a control condition. Emotional ratings and cardio-respiratory measures were collected following each condition. Dance movements were recorded using motion capture.

We found that emotional valence was increased specifically during spontaneous dance of groovy excerpts, compared to both still listening and motor imitation. Furthermore, parasympathetic-related heart rate variability HRV increased during dance compared to motor imitation.

Nevertheless, subjective and physiological arousal increased during movement production, regardless of whether participants were dancing or imitating. Significant correlations were found between inter-individual differences in the emotions experienced during dance and whole-body acceleration profiles.

The combination of movement and music during dance results in a distinct state characterized by acutely heightened pleasure, which is of potential interest for the use of dance in therapeutic settings.

Cameron, Ian G.