opera om ca 30.000 kvm

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This diploma thesis deals with the Prague ballet scene and its important representatives during the second half of the 20th century. The study aims to provide a concise summary of a topic that has not been covered so far and holds great potential for further research. The effort is to capture life stories of several eminent personalities of the ballet scene in the area of dance, choreography and teaching. In addition, the author maps events which had a significant impact on the ballet scene both in terms of theatrical and historical milestones. The chosen problems are approached by using theme-oriented literature reviews and processing of archival documents. The method of oral history is used as part of the research. The contribution of this thesis lies in its concise mapping of the Prague ballet scene and the profession of a ballet artist with all its possible pros and cons. Most importantly, it also serves as commemoration of personalities who had an unforgettable influence on the history of this art form.

Gestures and Fields is a twenty minute work for chamber orchestra and dancers. It is scored for flute (doubling piccolo), oboe (doubling English horn), Bb clarinet (doubling Eb clarinet), bassoon Bb trumpet, French horn, trombone, tuba, percussion, piano, and strings. The percussion consists of a suspended cymbal, large tam-tam, 5 temple blocks, xylophone, marimba, tumba, snare, tenor drum, 4 tom-toms, bass drum and timpani. The work is in 5 movements, each inspired by an abstract expressionist painting: Autumn Rhythm by Jackson Pollock, Light, Earth and Blue by Mark Rothko, Mahoning by Franz Kline, Vir Heroicus Sublimus by Barnett Newman, and Excavation by Willem de Kooning.

Indiana University-Purdue University Indianapolis (IUPUI) / Since its codified genesis in the 18th century, ballet training has largely been unchanged: it relies on tools that lack adequate support for both dancers and teachers. In particular, providing effective augmented feedback remains challenging as it can be limited, not always provided at the proper time, and highly subjective as it depends on the visual experience of an instructor. Designing a ballet assessment and learning tool with the aim of achieving a meaningful educational experience is an interdisciplinary challenge due to the fine motor movements and patterns of the art form. My work examines how we can effectively augment ballet learning in three phases using mixedmethod approaches. First, through my past professional experience as a ballet dancer, I explore how the design and in-lab evaluation of augmented visual and verbal feedback can improve the technical performance for novices and experts via remote learning. Second, I investigate the learning and teaching challenges that currently exist in traditional in-person training environments for dancers and teachers. Furthermore, I study the current technology use, reasons for non-use, and derive design requirements for future use. Lastly, I focus on how we can design aiDance, an AI-based feedback tool that attempts to represent an affordable and non-invasive approach that augments teachers’ abilities to facilitate assessment in the 21st century and pirouette towards the enhancement of learning. With this empirical work, I present insights that inform the HCI community at the intersection of dance and design in addressing the first steps towards the standardization of motor learning feedback. / 2023-12-28

This dissertation explores the hybrid training and performance of Chinese classical dance (gudianwu) and ballet in China’s elite dance conservatory, Beijing Dance Academy (BDA), in post-socialist China (1980 - the present). Since the establishment of BDA in 1954, the hybridity of ballet and Chinese dance has been first institutionalized in training professional Chinese dancers and has had a profound influence on the development of dance in the People’s Republic of China (PRC). After the Cultural Revolution (1966-1976) in the 1980s, many gudianwu practitioners and dance critics in PRC criticized the failure of the hybrid training and performance in promoting a unique Chinese national character. In contrast, hybrid performance practices as a means to Sinicize the Western dance form of ballet have been celebrated. To create a unique Chinese national body aesthetic, gudianwu practitioners have attempted to revive Chinese traditional culture in dance through minimizing the influence of ballet, while Chinese ballet practitioners have created ballet works incorporating Chinese stories and Chinese arts, such as gudianwu, Chinese opera, local music, and traditional costumes. Instead of considering the promotion of unique Chinese characteristics in dance as a fixed and essentialized cultural practice, this dissertation argues that the hybrid dancing bodies of gudianwu and ballet have become important sites for negotiating Chinese nationalism, modernism, and individualism within the context of globalization. In keeping hybridity and Chineseness as the two central concepts in this study, I examine three research issues: first, how ballet has shaped gudianwu classes and gudianwu dancing bodies; second, how Chinese forms, such as martial arts, Chinese opera, and Chinese folk dance, have influenced ballet training and performance; and third, how the tension and interrelationship between these two hybrid dance practices complicates the concept of Chineseness. My methodology is informed by an interdisciplinary lens that includes postcolonial cultural studies (Bhabha 1994), Chinese cultural studies (Chow 1998), and anthropological Chinese dance studies (Wilcox 2011). I apply ethnography as my primary mode of collecting data while taking the meanings, functions, and historical and cultural contexts of dance into account. As the first dissertation that foregrounds the operation of hybridity in Chinese dance and ballet, this dissertation aims to enrich the theoretical framework of postcolonial and Chinese cultural studies and contribute to a mutual understanding between Chinese and Western cultures. / Dance

In the 1940s, Alicia Alonso became the first Latin American dancer to achieve prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba, particularly after the Cuban Revolution (1959). This dissertation integrates historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined the identity of the Cuban ballet. The study examines the historical context of the development of ballet in Cuba, Alonso's rationale for the practice of this dance form on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso insisted that the cultivation of ballet in her country was not an act of cultural colonialism. For her, the development of the Cuban ballet amounted to an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective. Her rationale for the practice of ballet in Cuba captured the tension between cosmopolitan and nationalist forces that defined the country's artistic production throughout the twentieth century. Alonso defended the legitimacy of the Cuban dancers' performances of European classics such as Giselle and Swan Lake. She cast Cuban dancers as both heirs of the European nineteenth-century classics, but also proponents of a distinctive national aesthetics defined by the accents that they brought to the performance of this repertory and that, in her opinion, were expressive of the Cuban culture. Alonso proposed that, among other elements, a special sense of musicality distinguished Cuban dancers: she recycled the image of Cubans as a musical people, a trope that commonly informs representations of Cubans and their culture. The phenomenon of Alonso and the Cuban ballet helped to redraw the international boundaries of this dance form, disassociating the notion of ownership of ballet's legacy from its geographic and cultural origins in Europe. In today's dance world, increasingly marked by the international flow of dance genres, the study of Alonso's promotion of ballet in Cuba sheds light on the practices and discourses through which dancers assimilate and take ownership of foreign traditions. / Dance

クラシックバレエの動作は，広い股関節外旋可動域を要するターンアウト(TO)から成り立ち，可動域不足でのTOは障害につながる可能性がある．本研究はダンサーのTO能力が障害発生に及ぼす影響の検討を目的とし，TO能力測定機器の開発，腰部下肢への負荷の評価，障害調査を実施した．その結果、TO能力の低いダンサーでは障害発生率が高いことが示され，TO能力を把握することが障害発生の予防に繋がる可能性を示唆できた． / Ballet movements always begin with turnout which requires large hip external range of motion. Performing turnout without acquiring sufficient hip external range of motion is believed to stress dancer’s body. The aim of this study was to evaluate the relationship between turnout and injuries among ballet dancers. We conducted following experiments, a novel device development for turnout assessment, kinetic and kinematic analysis of lower body contribution during turnout, injury diagnosis and survey. medical screening. Results proved dancers with smaller hip external rotation suffer more injuries and indicated knowing own TO range would take a part in injury prevention. / 博士(スポーツ健康科学) / Doctor of Philosophy in Health and Sports Science / 同志社大学 / Doshisha University

INTRODUCTION: An increase in participation in females sports has created an increase of female athletes at risk for injuring their Anterior Cruciate Ligament(ACL)[12,21,29,44]. Traditional jumping sports have the highest rate of non contact ACL injuries, due to the use of movements of cutting, pivoting and landing on one foot[5,8,32,33,38]. ACL injuries can also be attributed to neuromuscular deficits such as the ‘Ligament Dominance Theory’, ‘Quadricep Dominance Theory’, ‘Trunk Dominance Theory’ and the ‘Leg Dominance Theory’[24,33]. The neuromuscular deficits are muscle strength, power or activation patterns that can cause an individual to have an increased risk of ACL injury[33]. Female traditional jumping sport athletes have been associated with being at a higher risk of ACL injury than their male counterparts due to anatomical, hormonal and neuromuscular differences[2,8,24,28,32,37,38,44,47]. However, female dancers trained with ballet have a lower risk of ACL injury than their female athlete counterparts, but also have a similar ACL injury to their male dancing counterparts [28,37,45,47]. METHODS: This study analyzed six papers that compared the lower body biomechanics of female traditional jumping sport athletes to female dancers trained in ballet. The results of the measurement of this study will be placed into a chart to compare the results of each study to each other, to confirm the results of the comparison between the two populations. The next part of this study will examine unused turnout angle data collected from a previous thesis performed by Ashley Tornio. The data was taken from 20 participants, 15 female traditional jumping sport athletes and 5 female dancers trained in ballet. The averages of these two groups will be compared using an f test to determine differences in the turnout capabilities of each group. RESULTS: The results of the data comparison found only six comparable measurements between the 6 papers. The papers were in agreement that female traditional jumping sport athlete had greater hip adduction moments and trunk forward flexion than female dancers trained in ballet. The papers were also in agreement that there was no statistically significant difference in the knee stiffness between the two populations. There was no consensus for the results of knee valgus angle, knee rotation, muscle activation or leg stiffness between the six papers. For the turnout angle f test, female traditional jumping sport athletes had an average turnout angle of 120.5 degrees and the female dancers trained in ballet had an average turnout angle of 141.2 degrees. It was found that the there was no statistically significant difference between the two populations at the 95% confidence level. However, there was a statistically significant difference between the two populations average turnout at a reduced confidence level of 80%. The DISCUSSION: The limiting number of studies which compare female traditional jumping sport athletes and female dancers trained in ballet, were unable to form consensus on the difference between the biomechanics of each group during a landing task. The turnout angle data was also limited in the number of participants and a valid conclusion was unable to be made determining the ability to use the turnout angle as an indicator for risk of ACL injury. There needs to be continued research on the comparison of the female traditional jumping sport athletes and female dancers trained in ballet to determine the biomechanical advantages female dancers have for protection of the ACL.

Easy Prey is a three-dimensional (3D) animated action comedy short film about stereotypes, expectations, and portrayals of strength that follows a ballerina as she is cornered in an alley. The fight that ensues expresses women's empowerment, physically and emotionally, by challenging preconceptions of ballerinas and the performance of femininity. This expression is founded on the intentional inclusion and exclusion of common cinematic tropes to efficiently convey key information while undermining common stereotypes. The action and atmosphere utilize classic film techniques to heighten and release tension. Easy Prey is inspired by my personal journey in healing my relationship with femininity and its societal performance, finding value and strength where I once felt shame and inferiority. In confronting preconceptions in this film, the viewer is encouraged to reflect upon their own biases and views on strength while being entertained.