Stars inside have reached outside: The effects of electronic dance music DJs' social standing and musical identity on track success.

The social standing of an artist provides a reliable proxy for the value of the artist's product and reduces uncertainty about the quality of the product. While there are several different types of social standing, we focus on reputation among professional artists within the same genre, as they are best able to identify the artistic value of a product within that genre. To reveal the underlying means of attaining high social standing within the professional group, we examined two quantifiable properties that are closely associated with social standing, musical identity and the social position of the artist. We analyzed the playlist data of electronic dance music DJ/producers, DJs who also compose their own music. We crawled 98,332 tracks from 3,164 playlists by 815 DJs, who played at nine notable international music festivals. Information from the DJs' tracks, including genre, beats per minute, and musical keys, was used to quantify musical identity, and playlists were transformed into network data to measure social positions among the DJs. We found that DJs with a distinct genre identity as well as network positions combining brokerage and cohesion tend to place higher in success and social standing.

The Warburg Dance Movement Library-The WADAMO Library: A Validation Study.

The Warburg Dance Movement Library is a validated set of 234 video clips of dance movements for empirical research in the fields of cognitive science and neuroscience of action perception, affect perception and neuroaesthetics. The library contains two categories of video clips of dance movement sequences. Of each pair, one version of the movement sequence is emotionally expressive (Clip a), while the other version of the same sequence (Clip b) is not expressive but as technically correct as the expressive version (Clip a). We sought to complement previous dance video stimuli libraries. Facial information, colour and music have been removed, and each clip has been faded in and out. We equalised stimulus length (6 seconds, 8 counts in dance theory), the dancers' clothing and video background and included both male and female dancers, and we controlled for technical correctness of movement execution. The Warburg Dance Movement Library contains both contemporary and ballet movements. Two online surveys ( N = 160) confirmed the classification into the two categories of expressivity. Four additional online surveys ( N = 80) provided beauty and liking ratings for each clip. A correlation matrix illustrates all variables of this norming study (technical correctness, expressivity, beauty, liking, luminance, motion energy).

Optimal asymmetry and other motion parameters that characterise high-quality female dance.

Dance is a universal human behaviour that is observed particularly in courtship contexts, and that provides information that could be useful to potential partners. Here, we use a data-driven approach to pinpoint the movements that discriminate female dance quality. Using 3D motion-capture we recorded women whilst they danced to a basic rhythm. Video clips of 39 resultant avatars were rated for dance quality, and those ratings were compared to quantitative measurements of the movement patterns using multi-level models. Three types of movement contributed independently to high-quality female dance: greater hip swing, more asymmetric movements of the thighs, and intermediate levels of asymmetric movements of the arms. Hip swing is a trait that identifies female movement, and the ability to move limbs asymmetrically (i.e. independently of the other) may attest to well-developed motor control, so long as this limb independence does not verge into uncontrolled pathological movement. We also found that the same level of dance quality could be predicted by different combinations of dance features. Our work opens avenues to exploring the functional significance, informational content, and temporal sequencing of the different types of movement in dance.

O Instituto de Cultura Física de Porto Alegre/RS e suas práticas corporais (1928-1937) / Physical Culture Institute and its body practices

O estudo tem por objetivo analisar as práticas corporais oferecidas pelo Instituto de Cultura Física (ICF), a fim de compreender as representações culturais produzidas a partir dessas práticas. O ICF foi um espaço educacional fundado em 1928 na cidade de Porto Alegre, destinado ao ensino de práticas corporais femininas e perdurou até 1937, quando encerrou suas atividades. Foram privilegiados os dois primeiros anos de funcionamento do Instituto, pois nesse período consolidaram-se os princípios pedagógicos e artísticos do ICF, tributários tanto dos sistemas ginásticos quanto do método dalcrozeano. Nessa fase, o ICF produziu representações associadas aos campos dos sistemas ginásticos, da Educação Física e da Dança, tendo contribuído consideravelmente para a constituição do campo da Dança em Porto Alegre.

The study aims to examine body practices offered by the Physical Culture Institute (PCI), in order to understand cultural representations produced from these practices. PCI was an educational space founded in 1928 in Porto Alegre city, for the teaching of female bodily practices. The first two years of operation of the Institute were privileged, for the pedagogical and artistic principles of the PCI were consolidated in this period, both tributaries of gymnastic systems and dalcroziano method. In this phase, PCI produced representations associated to the gymnastic systems, Physical Education and dance fields, and has greatly contributed to the establishment of the dance field in Porto Alegre.

El estudio tiene por objeto analizar lãs prácticas corporales que fueron ofrecidas por el Instituto de Cultura Física (ICF), con el intuito de comprender las representaciones culturales producidas a partir de estas prácticas. El ICF fue um espacio educacional fundado en 1928 en la ciudad de Porto Alegre, destinado a la enseñanza de prácticas corporales femeninas. Los dos primeros años de funcionamiento de este Instituto fueron privilegiados, pues, en ese periodo, los principios pedagógicos y artísticos del ICF fueron consolidados, tributarios tanto de los sistemas gimnásticos como del método dalcroziano. En esta fase, ICF ha producido representaciones asociadas a los campos de lós sistemas gimnásticos, de la Educación Física y de La danza, contribuyendo en gran medida para La constitución del campo de la danza en Porto Alegre.

Dança: sentido estético em discussão / Danza: significado estético en discusión / Dance: aesthetic meaning in discussion

Ao analisar os projetos dos cursos de dança e educação física (UFBA, UNICAMP), identificamos a dimensão estética presente. Especialmente nos cursos de dança aparece a ideia que pretende cumprir novas metas estéticas, e isso chama a atenção, já que é comum vermos anunciadas metas sociais, culturais, educacionais, políticas etc., mas não as metas estéticas. Com a intenção de compreender diferentes sentidos e significados da dessa dimensão destacamos fragmentos dos projetos para análise do sentido estético na dança.

In reviewing the designs of dance classes and physical education (UFBA, UNICAMP), we identify the dimension of aesthetic. Especially in dance courses appears the idea of a new course that aims to meet aesthetic goals, and it draws attention, since it is common to see announced targets society, culture, education, politic, but not the aesthetic goals. With the intention to understand the different meanings of the aesthetic dimension, highlight pieces of projects to analyze the aesthetic in dance.

Al revisar los proyectos de formación en danza y en educación física (UFBA, UNICAMP), se identifica la dimensión de la estética. Especialmente en los cursos de danza aparece la idea que tiene la intención de alcanzar los objetivos estéticos, y llama la atención, ya que suelen estar presentes objetivos sociales, culturales, educativos, políticos, pero no con respecto a la estética. Con la intención de comprender los diferentes significados de esa dimensión destacamos partes de los proyectos para analizar la estética en la danza.

Assessing and Reporting Dancer Capacities, Risk Factors, and Injuries: Recommendations from the IADMS Standard Measures Consensus Initiative.

This technical report of the Standard Measures Consensus Initiative of the International Association for Dance Medicine and Science (IADMS) describes the results of the committee's multi-year effort to synthesize information regarding the tests and measures used in dance-related research, protocols for reporting injuries, and appropriate use of available technologies to aid in standardizing such matters. Specific recommendations are presented, with accompanying rationales, to facilitate consensus among members of the dance medicine and science community. An Executive Summary of this Technical Report, which contains implementation strategies and appendices, should soon be available on the IADMS website.

Educação Física escolar e dança: percepções de professores no ensino fundamental / Educación Física Escolar y Danza: percepciones de profesores en la enseñanza primaria / Physical Education and Dance: perception of teachers in elementary school

Este artigo apresenta dados e discussões de uma pesquisa que objetivou compreender a percepção de professores de educação física no ensino fundamental, em relação ao conteúdo dança nas suas aulas. Os dados coletados apontam, especialmente, para questões relacionadas à formação inicial e suas implicações no trato com esse conteúdo na escola. Destacou-se a negligência com o ensino da dança entre os conteúdos da educação física, o que reforça a necessidade de se ampliar e aprofundar as discussões que indiquem um caminho para que a dança realmente se efetive no âmbito escolar.

This article presents data and discussions of a research that aimed to understand the perception of physical education teachers in relation to the subject dance in physical education classes. The data collected points, especially, to issues related to the initial education and its implication in the way of dealing with this subject in school. It was stood out the neglect with the teaching of dance among the subjects in physical education. It reinforces the necessity of extend and deepen the discussions so that dance becomes really effectual in school.

Este artículo presenta datos y discusiones de una investigación cuyo objetivo fue comprender la percepción de profesores de educación física en la enseñanza primaria, en relación al contenido danza en las clases de educación física. Los datos recabados apuntan, especialmente, para cuestiones relacionadas a la formación inicial y sus implicaciones en el trato con ese contenido en la escuela. Se destacó la negligencia con la enseñanza de la danza entre los contenidos de la educación física, lo que refuerza la necesidad de ampliar y profundizar las discusiones a fin de visualizar un camino para que la enseñanza de la danza realmente sea efectiva en el ámbito escolar.

A dança <>o outro: prerrogativas para uma educação estética através do processo criativo / La danza <> el otro: prerrogativas para una educación estética con el proceso creativo / The dance (on) stage(s) the other: prerogatives for an aesthetic education through the creative process

A dança instala no corpo uma outra cena de sentidos que potencializa a ação criativa, assim, quando o corpo dança, sua percepção é aguçada em direção a estados alterados da consciência. Neste nível perceptível, instalado em meio ao processo criativo, técnica (a competência) e liberdade (a performance) se relacionam, e criam, como efeito, a dança. A partir desta evidência, que aqui será sustentada segundo um cruzamento de leituras entre a psicanálise e a filosofia, lanço-me a uma reflexão sobre a percepção corporal na dança, na tentativa de situar a atuação criativa. Assim, abro um caminho para entender o processo criativo como campo de sensibilização corporal, a partir do qual a intervenção educativa é efetivada no corpo.

The dance installs in the body another scene of senses that raises the creative performance and not that can be speculated about it. There, “who dance” is the other one, making the body acting of another manner, beyond the systemic contour of Ego. Without the presence of this forged performance, the body would not pass of one ruled machine in function of something and not in favor of himself, as original movement of himself. This article intends to make a reflection about the corporal perception in the dance, trying to point out the creative performance. So, we opened a way to understand the process creative as field of corporal sensitization where the educative intervention is accomplished in the body.

La danza instala en el cuerpo otra escena de sentidos que levanta el funcionamiento creativo y no que se puede especular sobre él. Allí, “quién dança” es el otro, haciendo el cuerpo actuar de otra manera, más allá del contorno sistémico del Ego. Sin la presencia de este funcionamiento forjado, el cuerpo no paso de una máquina gobernada en función de algo y no a favor de él, como movimiento original de él mismo. Este artículo se prepone hacer una reflexión sobre la percepcion corporal en la danza, intentando precisar el funcionamiento creativo. Así pues, abrimos una manera de entender el proceso creativo como campo de la sensibilización corporal donde la intervención educativa se logra en el cuerpo.