Search Results (29)

This paper discusses the role of energy and movement in facilitating experiences of well-being from an anthropological perspective that considers energy as a situated form of knowledge. Drawing on fieldwork among Core Energetics (CE) and 5Rhythms (5R) groups, I examine how the circulation of energy is achieved through bodily movements and dances, attention to the senses, somatic self-cultivation, and deep experiences of consciousness. Focus is hold on the ritual elements, including a specific spacetime framework and intersubjective exercises that facilitate energetical experiences that renew the subjective and intersubjective relationship to the self in a restorative way. I argue that mind–body–energy groups conflate two Western sources: on the one hand, the legacy of early Western medical offshoots that have been marginalized by mainstream biomedicine, and on the other, discursive references to contemporary interpretations of quantum physics. Full article

The “hand-waving sacrifice” is a large-scale sacrificial ceremony with more than 2000 years of history. It was passed down from ancient times by the Tujia ethnic group living in the Wuling Corridor of China, and it integrates religion, sacrifice, dance, drama, and other cultural forms. It primarily consists of two parts: ritual content (inviting gods, offering sacrifices to gods, dancing a hand-waving dance, etc.) and the architectural space that hosts the ritual (hand-waving hall), which together constitute Tujia’s most sacred ritual space and the most representative art and culture symbol. Nonetheless, in existing studies, the hand-waving sacrifice ritual, hand-waving hall architectural space, and hand-waving dance art are often separated as independent research objects, and little attention is paid to the coupling mechanism of the mutual construction of space and ritual in the process of historical development. Moreover, with the acceleration of modernization, the current survival context of the hand-waving sacrifice has undergone drastic changes. On the one hand, the intangible cultural heritage protection policy and the wave of tourism development have pushed it into the public eye and the cultural consumption system. On the other hand, the changes in the social structure of traditional villages have led to the dissolution of the sacredness of ritual space. Therefore, using the interaction of “space-ritual” as a prompt, this research first uses GIS technology to visualize the spatial geographical distribution characteristics and diachronic evolution process of hand-waving halls in six historical periods and then specifically analyzes the sacred construction of hand-waving hall architecture for the hand-waving sacrifice ritual space throughout history, as well as the changing mechanism of the continuous secularization of the hand-waving sacrifice space in contemporary society. Overall, this study reveals a unique path for non-literate ethnic groups to achieve the intergenerational transmission of cultural memory through the collusion of material symbols and physical art practices, as well as the possibility of embedding the hand-waving sacrifice ritual into contemporary spatial practice through symbolic translation and functional extension in the context of social function inheritance and variation. Finally, this study has specific inspirational and reference value for exploring how the traditional culture and art of ethnic minorities can maintain resilience against the tide of modernization. Full article

Background/Objectives: Dancers require adequate nutrition support for growth and development during the pre-professional stage, as well as to fuel classes and rehearsals and to enhance performance for both pre-professional and professional dancers. The aim of this study is to understand the energy status and diet of pre-professional and professional dancers in the genres of ballet, contemporary, musical theatre, and opera. Methods: Electronic databases (n = 9) and grey literature were searched for primary studies with no time limit. Screening and data extraction were completed by two reviewers. Results: Twelve studies were included for pre-professional (n = 7) and professional (n = 5) dancers. The genres identified were ballet (n = 11) and contemporary (n = 1), with no studies on musical theatre or opera. Studies on pre-professional ballet and contemporary dancers indicated a negative energy balance and low energy availability. Pre-professional ballet dancers had lower energy intakes than professional dancers. Professional dancers had lower BMI and body fat percentages. Macronutrients were mostly reported using the acceptable macronutrient distribution range for carbohydrates (38–56%E), protein (12–17%E), and total fat (26–42%E). Iron and calcium were the main micronutrients of concern. Conclusions: Accredited sports dietitians are recommended to support pre-professional and professional dancers to optimize their diet for health and performance. Further investigation is needed to quantify and assess dancers’ dietary intake using sports nutrition guidelines for reference. Full article

This essay seeks to scrutinize Kierkegaard’s critical philosophical theology. The intent is to demonstrate how his religious thought, especially on God’s relation to the world and to the human being, can contribute to generating a cogent response to the challenges presented by our accelerating secular world. Apart from the narrative on the Dane’s passionate reflections, I employ two other narratives to facilitate this inquiry into Kierkegaard. The first of these facilitating narratives comes from highlighting the work on the concept of resonance by the social theorist Hartmut Rosa. Rosa’s rich analysis of our contemporary situation provides a persuasive case for the accelerating pace of our secular world, the complex dynamics of alienation that are at play within it, and the need for social transformation that creates space for increasing resonance within personal and social relationships and structures. The second facilitating narrative centers on the notion of dancing in God, which I believe holds promise for effectively communicating moving, bodily, rhythmic, passionate, and responsive thoughts and actions concerning God’s engagement in our contemporary world. I hope to show that these three complementary discourses together provide a provocative religious discourse and vision that can prove helpful in addressing many of the challenges of our time. Full article

The “Esquela Tusuy” dance is a cultural manifestation deeply rooted in the Uchumiri Peasant Community (Condesuyos, Peru), reflecting the intersection between traditional cultural practices and community identity. This ethnographic study reveals how the dance, beyond being a mere artistic expression, is a complex system of meanings that articulates social relations, economic practices of barter, and Andean spirituality, through the veneration of Pachamama and Apu Coropuna. The dance is organized around rituals that include the preparation, journey, and return of the llama herders, being a living expression of collective memory and a mechanism of social cohesion. The adopted methodology was based on participant observation and semi-structured interviews, allowing a detailed understanding of Uchumiri’s cultural dynamics. Despite contemporary challenges, “Esquela Tusuy” remains a central pillar for the affirmation of cultural identity and community resistance, underlining the importance of dance in the conservation of cultural heritage and in the articulation of local identities against national narratives. Full article

This article examines social choreography as a cultural commoning practice that is embedded within a relational structure between different institutions, the people involved, and specific socio-cultural contexts. The artistic research project Une danse ancienne by French choreographer Rémy Héritier and their team is presented as a case study of this practice. This collaborative choreography is based on a dance performance and social gathering that is reactivated every year by the same dancer in the same peri-urban site in a metropolitan area of Lausanne, Switzerland. Une danse ancienne holds strong relationships to temporalities, to the changing urban space, and to communal processes of documentation. Its relational choreographic structure and sharing practices are analyzed against the concepts of ‘expanded choreography’ and ‘cultural commoning’. This article, therefore, discusses social choreography as a cultural commoning practice that involves interactions with different social groups and institutions and practices of sharing and communal documentation. This article shows how, as social choreography, Une danse ancienne reflects upon urban transformation through cultural commoning practices. Full article

The social media app TikTok was launched in the US in 2017 with a very specific purpose: sharing 15-s clips of singing and dancing to popular songs. Seven years and several billion downloads later, it is now the go-to app for Gen Z Internet users and much better known for its ultra-personalized algorithm, AI-driven filters, and network of thriving subcultures. Among them, a growing community of magical and spiritual practitioners, frequently collectivized as Witchtok, who use the app not only share their craft and create community but consider the technology itself a powerful partner with which to conduct readings, channel deities, connect to a collective conscious, and transcend the communicative boundaries between the human and spirit realms—a practice that can be understood as algorithmic divination. In analyzing contemporary witchcraft on TikTok and contextualizing it within the larger history of technospirituality, this paper aims to explore algorithmic divination as an increasingly popular and powerful practice of technomancy open to practitioners of diverse creed and belief. Full article

Findings are inconsistent with regards to whether menstrual cycle phase-associated changes in physical functioning exist. It is possible that such discrepancies are due to varying rigour in experimental approaches. The current study aimed to systematically evaluate any effect of carefully tracked menstrual cycle phase on precisely measured muscle structure and function in a physically active group (contemporary dancers). Eleven women aged (M [SD]) 23.5 [2.94] years, undergoing 10.5 [1.73] hours of contemporary dance practice and 6.12 [2.36] hours of other physical activity per week, were recruited. Sex hormone level (enzyme-linked immunosorbent assays (ELISA), skin temperature and ovulation kits), physical pain assessments (Ice Water Test, Visual Analogue Scale, The Physical Activity Readiness Questionnaire, Self-Estimated Functional Inability Because of Pain Questionnaire, and Pain Anxiety Symptoms Scale), muscle architecture measurement (B-mode ultrasonography), and physical functioning (dynamometry, force-platform and electromyography) on both lower limbs were measured at three time points during one cycle, following three months of menstrual cycle monitoring. There was no difference in musculoskeletal flexibility variables between follicular, ovulatory, or luteal phases. Nonetheless, oestrogen change was associated with variability in 11 musculoskeletal variables, progesterone change was associated with variability in 7, and relaxin change was associated with variability in 15. Negative correlations existed between progesterone and flexibility and between oestrogen and jump variables. Moreover, oestrogen and relaxin were associated with increased musculoskeletal compliance, whilst progesterone was associated with increased muscle stiffness. In short, in absolute sex hormone levels, ‘inter-individual’ variances appear more impactful than ‘intra-individual’ variances. Not only are oestrogen and progesterone associated with differing musculoskeletal outcomes, but relaxin is also associated with musculoskeletal compliance changes. These effects are anticipated to impact jump height and flexibility, and hence, they could be expected to affect overall physical performance, including dance. Full article

Multiracialism, or the concept of “mixed-race”, remains a key racial discourse within twenty-first-century North American societies. Scholarly and mainstream studies of multiracial people often highlight the function of speech in theorizing mixed-race experiences, where interviews or other first-person narratives resist racialized stereotypes and express complex multiracial identities. Yet these studies often overlook the body as a comparable analytical site, ignoring how the body’s mobilization—in dance, choreography, and everyday actions—might further nuance mixed-race subjecthood. My article emphasizes experimental dance and choreography as alternative methods for imagining multiracial subjects, where these body-based approaches reject both stereotypical depictions of multiracial people in mainstream media and “transparent” representations in interviews. Drawing on the concept of “opacity,” which describes unknowable, illegible difference, I propose that experimental dance enables the expression of “opaque” multiracial subjectivities. This article then offers a choreographic analysis of Glenn Potter-Takata’s Yonsei f*ck f*ck, an experimental dance that produces opacities for its performers, who are of mixed Japanese heritage. Through movement scores, stand-up comedy, and a re-created “late-night” talk show, the dance invites audiences to move beyond the desire to recognize, categorize, and “know” the mixed-race Asian American performer. Full article

The aim of the Hungarian state socialist regime to renew the operetta art manifested in the transformation of operetta-playing via the setting of its main cultural objectives. Once private theatre organizations were disbanded in 1949, newly written and composed operetta pieces had to be adjusted to meet the expectations cultivated by those responsible for the drawing up of the contemporary cultural policies, not only in terms of theme, subject, and dramaturgy but also, as productions designed for stage performance. At that time, questions regarding the realm of operetta dance and choreography arose as significant professional issues. The remarkable case of operetta dance was brought to the notice of the larger professional community by an article written by choreographer Ágnes Roboz, which was published in 1952 in the Táncművészet magazine (1951). Due to its professional nature, this magazine served as a suitable platform for the discussion of the operetta dance genre. The present study reflects upon its publications from the period between 1952 and 1956. Throughout these years, 16 articles discussing the categorization of operettas were published. I aimed to analyze these primary sources according to their genre before presenting, juxtaposing, and contextualizing them. Thus, my objective is to gain a thorough understanding and comprehensive overview of professional discussions and arguments over 1950s operetta dances and choreographies. Full article

In this text, the author outlines her personal narrative as a dancer and choreographer over twenty years. She traces her path of migration between the USA, India and Europe in search of artistic context and belonging. Her account addresses larger issues such as Orientalism and Eurocentrism in the global, contemporary dance sphere. Full article

Actor training in Western culture evolved as an oral tradition. Formal education appeared in the late-nineteenth century with the work of Konstantin Stanislavski. Despite its relatively brief history, the family tree of theatre pedagogy now consists of many contrasting branches. Several branches contain the creative and educational DNA of an approach to Western music education known as Dalcroze Eurhythmics. Emile Jaques-Dalcroze was a Swiss pianist and composer whose work at the Hellerau Institute near Dresden in Germany had a significant impact on the Modernist movements in theatre and dance, 1911–1914. Historical records show that this embodied method of music learning was disseminated by Hellerau graduates in drama schools and theatre companies around the world. This essay traces four branches on the family tree of theatre pedagogy that are directly influenced by Dalcroze Eurhythmics. These branches include the legacies of Stanislavski in Russia; Jacques Copeau and Suzanne Bing in France; Rudolph Laban and Yat Malmgren in Germany and England; and Sanford Meisner and Anne Bogart in the United States of America. This essay is written from the author’s perspective as an actor trainer and music educator in a higher education conservatoire. It offers historical contexts for contemporary pedagogies in actor training. Full article

I have known Frenák’s choreographies for almost twenty years, and since 2017, I have been regularly presenting discussions at domestic and international conferences regarding studies of the aesthetic and philosophical aspects of Frenák’s work. We started to work together some years ago. I assisted in the creation of the productions Cage (2019), Spid_er (2020), Fig_Ht (2021) and Secret Off_Man (2022) as a philosophical consultant. When researching and collecting the inspirational material, I experienced impressions that affected my other works as well. My work as a philosopher with dance and the conversations with Frenák opened new pathways to self-knowledge. When it seems that everything points in the same direction and everything is about the same topic, it is time to create a trace. This was my feeling when I wrote and published my book on Frenák in 2022, entitled L’abécédaire of Pál Frenák—Transverses Between Philosophy and the Organic Movement Language of FrenÁk (Published in Hungarian and in English in one book: Frenák Pál Abécédaire-je—Átjárások a filozófia és FrenÁk organikus mozgásnyelve között, Kortárs Táncért és Jelelő Színházért Alapítvány, Budapest, 2022). In this paper, I am going to display some essential inspirations of the fantastically creative art world of Frenák. Full article

Maintaining the health of the musculoskeletal system in movement-associated professions, such as dance teachers, is of great importance for a long-lasting professional practice. The aim of this study was to record work-related musculoskeletal disorders and the causes of these disorders for dance teachers in Germany. Using a retrospective cross-sectional survey, data on the occurrence of work-related musculoskeletal disorders were collected from n = 229 dance teachers (n = 181 women) aged 22 to 77 years using an online questionnaire. In addition, differences between sexes and among dance styles were also analysed. The 12-month prevalence was 60.7% (95% CI: 54.0–67.1%), and on average, there were 2.58 disorders per dance teacher per year (95% CI: 2.17–2.99). Work-related musculoskeletal disorders affected male and female dance teachers equally (φ = 0.11, p = 0.088 resp. r = 0.080, p = 0.228). Disorders were mainly registered in the lumbar spine (14.9%) and ankle (12.5%). The joint structures (29.9%) and the musculature (20.9%) were most frequently affected. Specific movements (18.7%) as well as fatigue and overload (15.2%) were mentioned as the most frequent causes irrespective of dance style. Dance teachers were not significantly differently affected for musculoskeletal disorders than the general working German population. Future studies should consider a prospective evaluation of such disorders and develop prevention strategies with consideration of sex- and dance style-specific circumstances. Full article

Background and objectives: The risk of low energy availability is related to various health problems in sports. This cross-sectional study aimed to identify a possible association between various dance factors, anthropometrics/body build, and energy availability with injury occurrence in contemporary dancers. Materials and Methods: The participants were 50 female competitive dancers (19.8 ± 4.1 years of age). The independent variables included age, dance factors (amount of training and competitions per week–exposure time, experience in dance), anthropometrics/body composition (body height, mass, BMI, body fat percentage (BF%), and fat-free mass (FFM)), and energy availability score (EAS; evaluated by accelerometer-based measurement of energy expenditure and Dance Energy Availability Questionnaires). The dependent variables were the occurrence of (i) soft-tissue injuries and (ii) bone injuries. The measurements were obtained by experienced technicians during the pre-competition period for each specific dance discipline. Univariate and multivariate logistic regressions were calculated to identify the associations between independent variables and injury prevalence. Results: The results showed that EAS (OR = 0.81, 95% CI:0.65–0.91), age (OR = 1.65, 95% CI: 1.1–2.46), higher BF% (OR = 1.23, 95% CI: 1.04–1.46) and BMI (OR = 1.61, 95% CI: 1.05–2.47) were correlated with soft-tissue injuries. Dancers who suffered from bone injuries reported higher exposure time (OR = 1.21, 95% CI: 1.05–1.37) and had lower values of FFM (OR = 0.73, 95% CI: 0.56–0.98). Multivariate regression analyses evidenced a higher likelihood of soft-tissue injuries in older dancers (OR = 1.75, 95% CI: 1.21–2.95) and the ones who had lower EAS (OR = 0.84, 95% CI: 0.71–0.95) while the exposure time was associated with a higher likelihood of bone injuries (OR = 1.21, 95% CI: 1.05–1.39). Conclusions: In order to decrease the injury prevalence among dancers, special attention should be paid to maintaining adequate nutrition that will provide optimal available energy for the demands of training and performing. Additionally, the control of training volume should be considered in order to reduce traumatic bone injuries. Full article