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Increasing promotional imperatives have altered the balance between art and commerce, affecting the degree of musicians' autonomy and control over their musical activities. To understand how promotional pressures affect independent grassroots musicians' practices, this paper draws from the selling out debate and analyzes the pros and cons of online self-promotion. It argues that grassroots musicians rely on online platforms for promotion, but must do so according to conventions and expectations for self-promotion specific to the music worlds they operate in. Musicians who fail to do so risk being labeled show-offs, a criticism that carries negative connotations similar to accusations of selling out. [ABSTRACT FROM AUTHOR]

During the height of the COVID-19 pandemic, while many professional production organizations were forced to temporarily, or in some cases permanently, close, most academic institutions in higher education remained open in varying modalities in order to continue providing educational opportunities for their students. The following article details the process by which theatre and dance faculty members at Central Michigan University experimented with layering video and choreographic technologies that not only provided meaningful learning experiences for their students during a global pandemic but also, in turn, altered their production practices and inspired creative projects to be continued after the removal of COVID-19-related restrictions. [ABSTRACT FROM AUTHOR]

Israeli masculinity has been researched by diverse disciplines such as sociology, army studies, gender studies, and more. The dominant theme of such research has been to identify Israeli masculinity as heteronormative and aggressive, and usually discusses it via a nationalistic or religious lens, basing its interpretation on macho, militaristic, and heterosexual values. The current study suggests another perspective for exploring Israeli masculinity by examining two dance productions created by male choreographers and performed by male dancers: Beasts by Ido Tadmor (2000) and But the Virgin Was More Available by Javier de Protos (2002). Both performances expose a homosexual dynamic, reclaims feminine symbols, and exposes silenced public issues such as rape perpetuated against men. These pioneer performances thereby challenge the heteronormative constructions of gender identities and sexualities and present a performance of masculinity which opposes hegemonic perceptions, which are based on heterosexual and machoistic values. I conclude that these modern choreographic productions can be considered political cultural acts in the Israeli public sphere that give a voice to gendered discourse otherwise silenced by Israeli society at large. [ABSTRACT FROM AUTHOR]

With the rapid development of social networks, short videos have become a popular form of content, especially dance videos. In this context, research on automatically generating music for dance videos shows significant practical value. However, existing studies face challenges such as limited richness in music timbre and lack of synchronization with dance movements. In this paper, we propose Dance2Music-Diffusion, a novel framework for music generation from dance videos using latent diffusion models. Our approach includes a motion encoder module for extracting motion features and a music diffusion generation module for generating latent music representations. By integrating dance type monitoring and latent diffusion techniques, our framework outperforms existing methods in generating complex and rich dance music. We conducted objective and subjective evaluations of the results produced by various existing models on the AIST++ dataset. Our framework shows outstanding performance in terms of beat recall rate, consistency with GT beats, and coordination with dance movements. This work represents the state of the art in automatic music generation from dance videos, is easy to train, and has implications for enhancing entertainment experiences and inspiring innovative dance productions. Sample videos of our generated music and dance can be viewed at https://youtu.be/eCvLdLdkX-Y. The code is available at https://github.com/hellto/dance2music-diffusion. [ABSTRACT FROM AUTHOR]

The purpose of the article is to determine the significant contribution of Ukrainian ballet art to the development of world dance culture. To identify the problems faced by Ukrainian theatres in such a difficult time and the opportunities for creating new national contemporary performances. The research methodology is based on the application of general scientific methods, namely: system analysis, which made it possible to conduct an analytical consideration of the problems of Ukrainian ballet theatre, the formation of new ballet performances in a broad global sense. Study of the practical performance of ballet in Ukraine through observations and interviews with choreographers, artists, and other specialists in the field of culture and art. Analysing the current state and role of Ukrainian ballet, its interaction with the world dance scene, and the destruction of the outdated idea of Tchaikovsky's "irreplaceable classics" imposed by the aggressor country on the world. The scientific novelty is to outline and summarise the ballet premieres of the Kyiv Opera, the Solomiya Krushelnytska Lviv National Opera and Ballet Theatre and the Kyiv Modern Ballet, and their impact on the development of Ukrainian ballet theatre. It is proved that Ukrainian dance culture does not stand still, but develops in line with modern world trends, promotes national consciousness, reveals the uniqueness of its own culture that has been forgotten and reveals it from a completely new and modern perspective. Conclusions. In the world dance culture of the twenty-first century, a new idea and perception of Ukrainian ballet is emerging. With its national peculiarities, characteristic differences from the established Russianised repertoire and wonderful music by Ukrainian composers. In these difficult times for the country, theatres are trying to do their best to keep art and artists alive. Creating new works on the Ukrainian stage is a crucial mission. There are many difficulties faced by theatres: constant anxiety, shelling, stress, lack of artists, financial issues, but when there is a desire and energy in the entire creative team, success is assured. In this article, we have considered only three theatres: Kyiv Opera, Kyiv Modern Ballet and Lviv National Theatre of Opera and Ballet named after Solomiya Krushelnytska, and we have already seen how many new and interesting premieres have appeared on the Ukrainian theatre scene, but of course there are many more wonderful new dance works all over Ukraine that are worth watching and appreciating the importance of creating them right here and now. [ABSTRACT FROM AUTHOR]

The article explores the work of director Robert Lepage, specifically his unique approach to Shakespearean plays. Lepage praises the International Theatre Festival in Craiova, Romania, as a platform for discussing and exploring Shakespeare beyond the English-speaking world. The article focuses on Lepage's recent production of Hamlet, highlighting the challenges and opportunities of combining nonverbal and dance theatre to convey the depth of Shakespeare's language. Lepage discusses his views on contemporary theater, its relationship with cinema and television, and his willingness to incorporate filmic elements into his own work. He emphasizes the importance of transformation in theater and embraces technology as a new form of expression. Lepage recognizes the complexities of diversity and inclusion in theater, advocating for diverse writings and perspectives to enrich the repertoire. He sees theater as a magical and communal art form that can unite people and expresses his interest in education and teaching in the future. [Extracted from the article]

In the original performance of Sophocles' Trachiniae , song and dance were essential in communicating dramatic theme and character. Tragic choreia is structurally defined by paired stanzas: the antistrophe repeats the melody of the strophe but reverses its direction of dance. In Trachiniae , this antistrophic structure becomes thematic, representing the fateful bond between Deianeira and Heracles and the resulting narrative repetitions/reversals. Digital analysis of pitch accents reveals that this musical metaphor was reinforced melodically through the development of a "shimmering" circumflex motif, culminating in Heracles' melismatic monody. Through this musical framing, Sophocles situates his tragedy in relation to other genres (epic, paean) and to musical developments in the fifth century. [ABSTRACT FROM AUTHOR]

Practices of creativity and compliance intersect in interaction when directing local dances remotely for people living with dementia and their carers in institutional settings. This ethnomethodological study focused on how artistic mechanisms are understood and structured by participants in response to on-screen instruction. Video data were collected from two long-term care facilities in Canada and Finland in a pilot study of a dance program that extended internationally from Canada to Finland at the onset of COVID-19. Fourteen hours of video data were analyzed using multimodal conversation analysis of initiation–response sequences. In this paper, we identify how creative instructed actions are produced in compliance with multimodal directives in interaction when mediated by technology and facilitated by copresent facilitators. We provide examples of how participants' variably compliant responses in relation to dance instruction, from following a lead to coordinating with others, produce different creative actions from embellishing to improvising. Our findings suggest that cocreativity may be realized at intersections of compliance and creativity toward reciprocity. This research contributes to interdisciplinary discussions about the potential of arts-based practices in social inclusion, health, and well-being by studying how dance instruction is understood and realized remotely and in copresence in embodied instructed action and interaction. [ABSTRACT FROM AUTHOR]

In the case of a mixture of dance languages, especially in dance productions that are the result of a conscious creative process, the interpretation of the symbolic content and message of the dance language elements becomes important. It is in this context that the dance art endeavours of the 19th and 20th centuries in Hungary can be examined, which aimed at staging folk dance culture on the one hand, and at developing a modern language of dance art by using folk dance culture as a source of inspiration on the other. The underlying motivations behind these dance art endeavours could be different, as they could be born in the spirit of modernism or traditionalism, or they could be the manifestation of political-social artistic aspirations, or the two different motivations could overlap. Taking these aspects into account, my study seeks to answer the question of why and how the need for a stage work to function as a national representation of Hungarianness emerged in the history of Hungarian ballet. [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal the peculiarities of the interpretation of Spanish dance in the choreographic productions by A. Gades. The research methodology. A set of methods typical for art analysis is applied. To study the peculiarities of the interpretation of Spanish dance in the choreographic productions by A. Gades, the problem-logical and general scientific method of modeling is applied, as well as the iconological method, that enabled a formal analysis and determination of symbolic meanings by revealing the national and cultural roots of the dance. Scientific novelty. The production activity of the leading Spanish choreographer Antonio Gades is studied; the peculiarities of the interpretation of Spanish dance in the process of working on stage productions are considered. For the first time in domestic art history, the choreographic performances by A. Hades «Blood Wedding, or Bodas de Sangre» («Blood Wedding, or Bodas de Sangre», 1974), «Flamenco Suite» («Flamenco Suite», 1989), «Fuenteovejuna» («Fuenteovejuna», 1994) are analysed. Conclusions. The study of the productions by A. Hades revealed a peculiar choreographic handwriting, the originality of the choreographer's decision and the individuality of plastic interpretations of Spanish dances. In the process of creating choreographic productions full of conceptual unity and depth, the master positions Spanish dance as a universal style with huge expressive possibilities, which allows him to non-verbally represent classic works of European literature in different parts of the world, in particular «Bloody Wedding» by F. García Lorca, «Fuenteovejuna» by Lope de Vega, «Carmen» and others. According to A. Hades, any work of art can be understood only in the unity of its content, means of artistic expression and cultural reminiscences (memory, echo, echo, which lead to comparison with something), which provide a kind of "connection of times" in the mind the viewer. The choreographer demonstrates this approach in the process of translating famous Spanish literary and dramatic works into the language of dance, turning to national dances, in particular the Pasodoble ballroom dance, Spanish folk dances Bolero, Cachucha, Muneira, Segidilla, Sarabanda, Sardana, Fandango, as well as dances in the southern Spanish Flamenco style. [ABSTRACT FROM AUTHOR]

A narrative literature review was conducted from the scientific databases PubMed, SciELO, BVS MTCI, LILACS, and Web of Science, searching for production on the topic to analyze and discuss how the circle dance is being used in Health and, thus, understand its therapeutic potential in care. The articles found were evaluated by the thematic analysis and highlighted the following issues: the relationships established between the Integrative and Complementary Practices in Health (PICS) and care production; circle dance as a strategy to promote physical and emotional health; creativity and the senses of collectivity experienced by circle dance practitioners. We observed that the circle dance can stimulate more harmonious relationships with oneself and the community. It reduces stress and depressive symptoms, promotes expanded body awareness, self-confidence, and autonomy, improves cognitive and psychomotor skills, physical performance, and balance, and brings benefits such as a sensation of relaxation and pleasure. In this sense, the literature points to evidence of the positive effects of the circle dance practice on various health-related outcomes, which can be considered a powerful care strategy. [ABSTRACT FROM AUTHOR]

This article traces the developments of the project For There to be a Timeline — GENEALOGIES OF DANCE AS Art PRACTICE IN PORTUGAL from 2016 to 2021, wherein a state of the art regarding the production of dance performances throughout the twentieth century was generated. In particular, a chronological map with entries referring to protagonists, institutions, events and contexts was drawn heuristically, each iteration corresponding to the exhibition of a different timeline, taking place in theatrical venues as well as independent art spaces, and institutional museums. This procedure allowed for essaying temporary versions of the histories being told, resulting in a collection of perspectives which offer an overview of dance in Portugal throughout the twentieth century. The comparative historiography which guided the research from the beginning is expounded and analyzed, in particular with regards to the socio-political, but also of pedagogies and critical reception. The various ways in which the collected contents were shown in relation to one another and in relation to the chronological representations of the century are discussed, allowing to comment on the project character and results, in particular its open endedness and potential reformulation. [ABSTRACT FROM AUTHOR]

Copyright of Revista Didasc@lia: Didáctica y Educación is the property of Universitaria de Las Tunas, Centro de Estudios de Didactica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this text, I will explore the idea that dance practice can be a research method in philosophy. I propose that not only it is possible to do philosophy in movement, but also that this kinetic approach to thought has the potential to question and transform patriarchal and colonial biases and paradigms that have been predominant throughout the history of philosophy. Dance enables us to experience our bodies through, in, and by movement, instead of merely talking and referring to the body as an object (as any other object) and conceptualizing its general properties. My thesis is that a thinking body is a body in motion, so if we want to practice philosophy as a way to reject dualism and arbitrary privilege, if we want to philosophize from our own plural and situated lives, dance is a very interesting way to do this. I will analyze Gilbert Simondon's concept of the living, making a sort of diffraction from the experience of participating in a dance workshop directed by philosopher and choreographer Marie Bardet, to show that when the temporality and topology of the living are clarified in experience, it is possible to verify the powers of thought of multiple bodies, so that an abstract body is no longer in question, but a lived, feminized body, marked by singular histories. [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal the specificity of intertextuality in the choreographic text of Ukrainian folk stage dance productions. The research methodology is determined by the complexity and multifacetedness of the production of folk stage choreography as an artistic work and is represented by a combination of various research approaches, namely interdisciplinary, systemic, and cultural. The purpose of the study led to the use of comparative, structural-semiotic, hermeneutic, and intertextual analysis methods widely adapted in modern humanitarian science, the main principle of which is to consider the choreographic text as an open system that enters into various relationships with other systems. Intertextual analysis plays an important role in revealing the concept of a choreographic work, its relevance is based on the idea of dialogic essence and continuity of culture. Scientific novelty. The performance of folk stage choreography is studied through the prism of the concept of intertextuality of Yu. Kristeva and theoretical approaches to the study of the text of R. Barthes; the role of the choreographer-director and the audience in the context of the creation and interpretation of the choreographic text is considered; the concept of “intertextuality” in the context of the choreographic text of the production of folk stage choreography is clarified; it was found that the character of intertextuality directly depends on the specifics of communication, which is determined by the nature of the choreographic text of folk-stage forms. Conclusions. As a result of the extrapolation of Yu. Kristeva's concept of intertextuality and theoretical approaches to the study of R. Barth's text to folk-stage choreography, it was found that: the choreographic text of a folk-stage performance is created by means of synthesising various quotes that refer to a variety of cultural sources; in the multidimensional space of the folk stage production, the process of systematic birth of meaning and its release takes place; the concept of intertextuality in the context of the production of folk stage choreography blurs the contours of the choreographic text, turning it into an infinite artistic dimension of connections and associations. The conducted analysis allows us to define the phenomenon of intertextuality of folk-stage choreography performances as a special choreographic intertextual space, in the middle of which there is accumulation, coexistence and constant interaction of all the diversity of vocabulary of authentic and folk-stage dance. In its middle, any element of a folk dance is immersed in a general cultural context and correlates with an array of other choreographic texts, multiplying its own content, relevance and interpretive possibilities. Intertextual interactions in the choreographic text of a folk-stage dance provide an opportunity for the choreographer-director to enter the continuum of eternal themes of folk culture, enter into an artistic dialogue with the past achievements of dance culture and, thus, reflect their own vision of the scene-content part of the folk-stage dance, which, in turn, expands the figurative system of the new choreographic work, emphasises its multi-layeredness and serves as a basis for various interpretations. The choreographer-producer of the folk stage dance interacts not only with the reality surrounding them, but also with the entire corpus of their previous and contemporary choreographic works, and most importantly with folk dance primary sources, being in a state of permanent dialogue with them. The text of a folk stage choreographic production consists of various elements that come from different cultures, enter into a relationship of dialogue, parody, discussion with each other – all this multiplicity is focused in a certain point, which is the viewer. The viewer’s role in the interpretation of the choreographic text is crucial, as their previous experience, cultural and educational background will undoubtedly influence the amount of meaning they can obtain when viewing the choreographic work. Accordingly, the choreographic text acquires unity not in its origin, but in its purpose. The analysis of the manifestation of intertextuality as one of the fundamental techniques in the productions of folk stage choreography requires considering them as works that consist of texts that are actualised in a specific semiotic context and contribute to the preservation of Ukrainian folk dance culture in particular and the cultural memory of Ukrainians in general. [ABSTRACT FROM AUTHOR]

This study illustrates the value of embodied subtleties in the process of collaborative creativity. Drawing on a sensory ethnography of two dance productions, we illustrate the fine-grained ways in which professional dancers negotiate creative processes behind the scenes. We identify three aspects through which collaborative creativity emerges from bodily subtleties: (1) moving beyond individual bodies towards collective ambitions, (2) relating to colleagues' micro-gestures and bodily nuances, and (3) the role of 'serious play' between bodies in setting the scene for the first two aspects to occur. The findings will contribute to our understanding of the practice of collaborative creativity, which we treat as not only a mental but also a highly intimate bodily practice. We conclude that appreciating sensory micro-dynamics between oneself and one's colleagues is crucial for creative collaboration, which is increasingly necessary for management learning in contemporary organisations. [ABSTRACT FROM AUTHOR]

Ananya Dance Theatre directs our present‐day concern for racial and gender diversity toward a radical practice. Choreographer Ananya Chatterjea includes white and mixedrace women as well as black male‐presenting artists in her dances that place the global, social justice stories of black and brown women and femmes at their center. [ABSTRACT FROM AUTHOR]

An interview with Belgian filmmaker and photographer Sam Asaert is presented. Among the issues he discussed include what led him to make his short films "Of Silence," and "Of Ecstacy," how he would describe his concepts for these films as well as how he sees the films connecting, and some of the challenges of filming ballet.

Honey bees famously use waggle dances to communicate foraging locations to nestmates in the hive, thereby recruiting them to those sites. The decision to dance is governed by rules that, when operating collectively, are assumed to direct foragers to the most profitable locations with little input from potential recruits, who are presumed to respond similarly to any dance regardless of its information content. Yet, variation in receiver responses can qualitatively alter collective outcomes. Here, we use network-based diffusion analysis to compare the collective influence of dance information during recruitment to feeders at different distances. We further assess how any such effects might be achieved at the individual level by dance followers either persisting with known sites when novel targets are distant and/or seeking more accurate spatial information to guide long-distance searches. Contrary to predictions, we found little evidence that dance followers' responses depended on target distance over the foraging distances considered here (100–500 m). While dance information was always key to feeder discovery, its importance did not vary with feeder distance, and bees were in fact quicker to abandon previously rewarding sites for distant alternatives. These findings provide empirical support for the long-standing assumption that self-organized foraging by honey bee colonies relies heavily on signal performance rules with limited input from recipients. • Honey bee waggle dances indicate the direction of and distance to food sources. • Whether dance follower responses account for the indicated distance is unclear. • We compared responses to waggle dances indicating different foraging distances. • Dance-following behaviour did not differ according to the dance-indicated distance. • Results are consistent with honey bee foraging being driven by signalling rules. [ABSTRACT FROM AUTHOR]

I feel very fortunate to have been able to make music for so many years and in so many different ways: as a composer, conductor, percussionist and teacher. He learned this treasure trove of music directly from musical greats including Doc Watson, Roy Acuff, Tommy Jarrell, Etta Baker and Grandpa Jones. "When a person learns music, he need not necessarily learn to be a musician or to become a source of pleasure and joy to his fellow man; no, but by playing, loving and hearing music, he must develop music in his personality. [Extracted from the article]

"Un país a la gallega. Galiza no NO-DO franquista" is a book by Beatriz Busto Miramontes that explores the role of folklore in the state-controlled NO-DO newsreels during the Francoist dictatorship in Galicia. The author argues that folklore was used to legitimize Franco's regime, promote Spanish centralism, and commodify Galician culture for tourism. The book examines the historical background of the Francoist dictatorship, analyzes primary sources such as NO-DO footage and official documents, and discusses the implications of stereotypical Galician representation in the films. It also explores the concept of "galaiquismo" as a discourse that reduces Galicia to its folkloric image. The book offers a critical analysis of the relationship between folklore, politics, and identity formation in Galicia under Francoism. [Extracted from the article]

In the era of Industry 4.0 and 5G, various dance music websites provide thousands of dances and songs, which meet people's needs for dance music and bring great convenience to people. However, the rapid development of dance music has caused the overload of dance music information. Faced with a large number of dances and songs, it is difficult for people to quickly find dance music that conforms to their own interests. The emergence of dance music recommendation system can recommend dance music that users may like and help users quickly discover or find their favorite dances and songs. This kind of recommendation service can provide users with a good experience and bring commercial benefits, so the field of dance music recommendation has become the research direction of industry and scholars. According to different groups of individual aesthetic standards of dance music, this paper introduces the idea of relation learning into dance music recommendation system and applies the relation model to dance music recommendation. In the experiment, the accuracy and recall rate are used to verify the effectiveness of the model in the direction of dance music recommendation. [ABSTRACT FROM AUTHOR]

The purpose of the article is to analyze and systematize approaches to the definition of the concept of "contemporary dance". Methodology. The research methodology is based on the analysis of scientific sources related to the topic, approaches to the interpretation of the concept of "Contemporary Dance", using terminological and historical methods. Scientific novelty. For the first time, the main approaches to the definition of contemporary dance are revealed and its characteristic features are revealed. Conclusions. Contemporary dance has taken a prominent place among the directions of choreographic art, has a wide circle of admirers, is recognized as a stage phenomenon and cultural and artistic practice. Currently, there is a wide range of approaches to understanding contemporary dance, which leads to terminological differences in scientific works. Among the main positions in contemporary dance, one can single out its consideration as an avant-garde form of choreographic art that evolved from modern dance; as a dramatic virtuoso dance originating from ballet and jazz; as an intellectual dance that originated in Europe and America, based on various techniques and techniques, it is perceived as a tool for the development of the dancer's body. We adhere to the position that contemporary dance is a direction of choreographic art that arose in the late XX - early XXI centuries in Europe and America, based on techniques and techniques that act as tools for the development of the body, the formation of awareness and the individual choreographic language of the dancer. [ABSTRACT FROM AUTHOR]

"The Red Shoes" by Pamela Hutchinson is a detailed analysis of the 1948 film by Emeric Pressburger and Michael Powell, exploring the themes of art, ballet, and the creative process. The book provides authoritative insights into the film's production and its significance in cinematic history, with visually arresting color stills from the movie. Hutchinson also delves into the interpretations of the film's meaning, from feminist perspectives to reflections on the sacrifices demanded by art. This study is a valuable resource for those interested in the cultural impact of "The Red Shoes." [Extracted from the article]

Religious communities such as the Shakers, the Mormons, and Africana religious practitioners practice spectacular religion. Ritual spectacle is particularly visible and thus invites observation from outsiders. My argument follows recent work by David Walker and Paul C. Johnson that illustrates religious traditions in which religion was practiced in collaboration with an anticipated audience. Religious spectacle is not unusual: there are religions who put on shows for one another and who have a place for theater within their religious community. On the other hand, there are religions that make a spectacle of themselves for others, a category that overlaps substantially with groups categorized through the disciplinary frame of New Religious Movements. Scholarship on non‐normative religion has, however, underestimated the way in which religions that invite negative attention incorporate the hostile gaze of audiences into their rituals. By thinking about particular religious practices as performances for an audience, I argue that Shakers, Mormons, and Africana traditions used the power of observation for spiritual purposes. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article researches the efforts and the strategies to keep Makyung, a traditional dance theater form of Malaysia (practiced in the region of Southeast Asia) alive and relevant in society today. Makyung was proclaimed as an Oral and Intangible Heritage of the World by UNESCO in 2005. However, the art form struggles to find a foothold in contemporary Malaysia against the backdrop of growing Islamic fundamentalism, modernity and urbanization. This article documents the efforts and explorations from the educational institutions, nonprofit organizations and grass-roots participation that are essential in bringing this to new audiences with stories that speak to contemporary society. The article posits that collective efforts from all concerned would yield the best results. [ABSTRACT FROM AUTHOR]

T orres is an award-winning director and choreographer who was most recently credited for her work as the associate choreographer on the musical On Your Feet as well as for her creative consultation for disco/hustle in the Donna Summer musical Summer, both of which were choreographed by T rujillo. Consequently, no Broadway production of this Golden Age musical has been permitted to veer from the Robbins original, not until the 2019 Broadway revival by Belgian contemporary dance choreographer Anne T eresa De Keersmaeker. The Robbins Foundation continues to manage all rights to productions of West Side Story and has been heavy-handed in sanctioning very few choreographers as "reproduction choreographers" or "associate choreographers" for this musical. T wo such choreographers include Julie Arenal's contemporary improvisational dance direction in the 1968 hit musical Hair and Kenny Ortega's short-lived Broadway venture Marilyn (1983). [Extracted from the article]

Copyright of Methis is the property of University of Tartu Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bob Fosse's instantly recognisable iconographic style and visual aesthetic has often been quoted in music videos, TV shows, and films featuring dance, such as videos by Paula Abdul, Michael Jackson, and Beyoncé. Using Fosse's screendance as a focal point for analysis, this essay seeks to illustrate the dynamics with which subsequent cultural capital of examples of screendance creates a multivocal archive that blends choreographic and screen histories. The idea that popular dance on screen creates an alternative form of archival records challenges the traditional notion of archive as a collection of artefacts by concentrating on works by various artists that quote, borrow and recycle previously available works of popular dance on screen. Quoting and referencing previous dance works, although problematic in terms of copyright and authorship, creates an active process for historical archiving that brings choreographic style and aesthetic to contemporary audiences adjusted to the current socio-political needs of the audience and technological possibilities. Artists reclaim and reformulate the existing repertory to their own political and economic needs therefore creating a regenerative ideology of the way popular dance re-interprets the dances for the given time, space, and context. The examples of dance videos discussed in this essay act as an interpretation of numerous references found in popular culture and therefore challenge the rigid tropes of dance creators as sole producers of dance material and the meanings communicated. Directing attention on to the dance and the corporealities of dancers further questions ideas of authorship as it recognises the bodily history as a fundamental part of web of meanings presented in dance. [ABSTRACT FROM AUTHOR]

The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way. [ABSTRACT FROM AUTHOR]

Collective decision making is essential for multicellular and self-organized society coordination, but how this occurs when most of the individuals have limited knowledge of the external environment remains elusive. Using empirical data to inform a neuroscience-based firing-rate model, we found that integration of negative feedback and network dynamics in a honeybee, Apis mellifera , hive demonstrates strong similarities to the neuronal interactions of the human brain, where very brief perturbations of feedback in the system result in more rapid and accurate decisions. We show that honey bees used an inhibitory 'stop' signal towards dancing honey bees that reduced both waggle dancing and waggle dance pheromone production. Stop signals were probably elicited by individuals with no individual knowledge of food quality change in the external environment. Therefore, we demonstrate that collective behaviour across different biological levels of organization exhibits a dynamic complex system that is self-organized, but is governed by simple feedback mechanisms, facilitating efficient group decision making by optimally aggregating individuals that have relatively limited cognitive capabilities within a society or cell in a multicellular organism. We discuss how despite being on two different levels of biological organization, both neurons in the brain and honeybee individuals, within the hive, can operate collectively, which is probably a result of convergent evolution. • Honey bees use a stop signal to reduce waggle dancing for a poor-quality food site. • They come from foragers with no knowledge of the food site, reducing cognitive load. • The negative feedback stop signal also reduces waggle dance pheromone production. • The feedback dynamics are the same for human brain neurons during decision making. • Owing to convergent evolution the brain and a beehive collectively operate similarly. [ABSTRACT FROM AUTHOR]