ABSTRACT
Recently, the craze of K-POP contents is promoting the development of Korea's cultural and artistic industries. In particular, with the development of various K-POP contents, including dance, as well as the popularity of K-POP online due to the non-face-to-face social phenomenon of the Coronavirus Disease 2019 (COVID-19) era, interest in Korean dance and song has increased. Research on dance Artificial Intelligent (AI), such as artificial intelligence in a virtual environment, deepfake AI that transforms dancers into other people, and creative choreography AI that creates new dances by combining dance and music, is being actively conducted. Recently, the dance creative craze that creates new choreography is in the spotlight. Creative choreography AI technology requires the motions of various dancers to prepare a dance cover. This process causes problems, such as expensive input source datasets and the cost of switching to the target source to be used in the model. There is a problem in that different motions between various dance genres must be considered when converting. To solve this problem, it is necessary to promote creative choreography systems in a new direction while saving costs by enabling creative choreography without the use of expensive motion capture devices and minimizing the manpower of dancers according to consideration of various genres. This paper proposes a system in a virtual environment for automatically generating continuous K-POP creative choreography by deriving postures and gestures based on bidirectional long-short term memory (Bi-LSTM). K-POP dance videos and dance videos are collected in advance as input. Considering a dance video for defining a posture, users who want a choreography, a 3D dance character in the source movie, a new choreography is performed with Bi-LSTM and applied. For learning, considering creativity and popularity at the same time, the next motion is evaluated and selected with probability. If the proposed method is used, the effort for dataset collection can be reduced, and it is possible to provide an intensive AI research environment that generates creative choreography from various existing online dance videos.
ABSTRACT
Based on the self-transcendence theory and immaturity-maturity theory, this study empirically tested the influence of female professional dancers' workplace spirituality on positive psychological capital, team trust, and self-esteem. The subjects of this study were female professional dancers. We conducted the surveys in two countries—the United States and the United Kingdom—and ultimately obtained 441 samples. To test the hypotheses, we performed a structural equation model analysis using three statistical programs: SmartPLS, GSCA Pro, and jamovi. (1) The workplace spirituality of female professional dancers showed a statistically significant positive influence on positive psychological capital, team trust, and self-esteem. (2) The positive psychological capital of female professional dancers showed a statistically significant positive influence on team trust and self-esteem. (3) The team trust of female professional dancers showed a statistically significant positive influence on self-esteem (except when using jamovi). This study found that fostering workplace spirituality was paramount for female professional dancers in an organization. Accordingly, we outlined four recommendations for the organizations: (1) convey the importance of the organization's mission and values to organizational members;(2) increase each organizational member's decision-making and autonomy;(3) encourage members to cooperate while working in the domains of their specific positions;and (4) discourage members from neglecting their organizational responsibilities and resorting to egoism.
ABSTRACT
Due to the sexual nature of their work, strip club dancers have long been subject to marginalization and occupational stigma. During the coronavirus disease (COVID-19) pandemic, dancers faced unique stressors due to their status as contract workers within the stigmatized commercial sex/adult entertainment industry, and these stressors have likely impacted their financial, occupational, and emotional well-being. We surveyed 102 strip club dancers across 35 U.S. states and Puerto Rico to examine how their well-being has been impacted by the COVID-19 pandemic and to guide recommendations for policy reform. Findings revealed that during the pandemic, dancers experienced occupational stigmatization, structural and systematic exclusion from financial support during the pandemic, and numerous obstacles in obtaining employment outside of their industry, all of which contributed to reported financial and occupational stress. Furthermore, results demonstrated that strip club dancers experienced significant financial loss, and associated financial concern was associated with poorer mental health outcomes. Structural changes to financial relief packages are necessary for inclusion of strip club dancers, and there is also a clear need for more efforts to decrease discrimination and violence toward strip club dancers generally, including legal recognition of sex workers as laborers. (PsycInfo Database Record (c) 2023 APA, all rights reserved)
ABSTRACT
La reivindicado dels cossos femenins a l'espai public és una constant en els moviments socials feministes. Ja sigui ocupant els carrers en protesta pels drets i la igualtat de les dones, contra l'assetjament sexual i la violació o involucrat en altres manifestacions socials, el paper del cos femení a l'espai públic vehiculant un missatge social és reivindicat per artistes de totes les disciplines. En el camp de la dansa, algunes companyies actuen expressament en espais públics amb l'objectiu precís de conquerir-lo com a escenari per visibilitzar els cossos femenins, destacant-ne la diversitat i reclamant més igualtat i llibertat. A través d'entrevistes collectives, analitzem el discurs coreografic dels col·lectius Bellywarda (FatChanceBellyDance©) i L'Armée des Roses (cancan), dues companyies franceses compromeses amb la difusió del feminisme al carrer. Amb l'objectiu d'estudiar ľapropiació de l'espai urba, la interacció i recepció amb el públic, els vincles socials entre ballarines i la transmissio dels valors feministes, hem abordat l'observació de la dansa i les entrevistes des de la sociologia de les emocions, la fenomenologia dels espais urbans i els estudis de dones. El context de pandemia no ens ha permès fer una observació de la recepció del públic al carrer, però hem pogut abordar amb elles la situació a França de la dansa, considerada com a «bé cultural no essencial», amb la prohibició de la realització d'activitats culturals durant el segon confinament, moment en quě es realitza aquest estudi.Alternate :The reaffirmation of female bodies in public spaces is a constant in feminist social movements. Indeed, the role of the female body in public spaces and conveying a social message is vindicated by artists from all disciplines, whether by occupying the streets in protest of unequal women's rights and equality or sexual harassment and rape, or in other social demonstrations. In the field of dance, some companies perform expressly in public spaces with the precise aim of conquering these arenas as a stage to visibilise female bodies, highlighting their diversity and demanding more equality and freedom. In this article, we use collective interviews with two French companies committed to promoting feminism in the streets Bellywarda (FatChanceBellyDance©) and L'Armée des Roses (performing the cancan), to analyse the choreographic discourse related to this concept. We aimed to study the appropriation of public spaces, interactions with the public at large and their reception of these performances, social links between dancers, and the transmission of feminist values. Observation of these dances and the interview outcomes was addressed from the perspectives of the sociology of emotions, phenomenology of urban spaces, and women's studies. The context of the COVID-19 pandemic prevented us from examining the public reception of these street actions, but we were able to discuss the current situation in France in which dance is considered a 'non-essential cultural asset' during the second lockdown, when this research takes place.
ABSTRACT
The exhibition also includes colour photographs of dancers taken at their homes by visual artist Sara Hibbert, and a film documentary about the project directed by Teale and Skapin. Hibbert says that, by cropping her colour photographs of dancers' hands and limbs, her final exhibited images “explore the notion of shared space, of presence becoming visible within the gaps, of collective timing and exchange”. The exhibition provides illuminating glimpses into the creative processes of dance and visual art.
ABSTRACT
Due to the sexual nature of their work, strip club dancers have long been subject to marginalization and occupational stigma. During the coronavirus disease (COVID-19) pandemic, dancers faced unique stressors due to their status as contract workers within the stigmatized commercial sex/adult entertainment industry, and these stressors have likely impacted their financial, occupational, and emotional well-being. We surveyed 102 strip club dancers across 35 U.S. states and Puerto Rico to examine how their well-being has been impacted by the COVID-19 pandemic and to guide recommendations for policy reform. Findings revealed that during the pandemic, dancers experienced occupational stigmatization, structural and systematic exclusion from financial support during the pandemic, and numerous obstacles in obtaining employment outside of their industry, all of which contributed to reported financial and occupational stress. Furthermore, results demonstrated that strip club dancers experienced significant financial loss, and associated financial concern was associated with poorer mental health outcomes. Structural changes to financial relief packages are necessary for inclusion of strip club dancers, and there is also a clear need for more efforts to decrease discrimination and violence toward strip club dancers generally, including legal recognition of sex workers as laborers. (PsycInfo Database Record (c) 2022 APA, all rights reserved)
ABSTRACT
In the United Kingdom, United Sex Workers is organizing as the sex workers' branch of the trade union United Voices of the World (UVW). Sex workers have located dancer unionization and labour rights within a political framework and set of demands relating to socially reproductive labour and decriminalization of all forms of sex work. Their efforts have led to an Employment Tribunal decision that dancers fall within the definition of “worker” found in various UK labour laws. At the same time, the broad perspective and demands of the sex-worker rights movement expose the limits of worker status, and the gains made through unionization have, at least at this time, been eclipsed by COVID-19.
ABSTRACT
To understand those dances from and in their autochthonous places, Peterson, an American performance studies scholar based in Australia, conducted years of research in the Philippines-the provenance of the dances that piqued his early scholarly interest in studying Filipino bodies in performance. Since 2001, along with the diasporic dances he first saw, which Philippine dance practitioners refer to as "folk" dances, he studied the sinakulo (a play about the life and Passion of Jesus Christ), the Aliwan festival, and political acts of theater activist Mae Paner whose stage name is "Juana Change" in Manila;the Moriones festival on the island of Marinduque;and the Ati-atihan festival in Kalibo, Aklan on Panay island. Chapter 4 is a critical explanation as to why folk dancing gained much traction in the Philippines' nationalism efforts in the middle of the twentieth century;it examines the pioneering contributions of Francisca Reyes-Aquino in the research, teaching, and dissemination of this dance form. [...]Peterson zeroes in on the crucial role "Juana Change" (Mae Paner's alter ego) played in the 2010 election in support of Benigno S. Aquino III's presidential candidacy and his eventual winning as the country's 15th President. Following Edward Casey, following Maurice Merleau-Ponty, bayan for Peterson does not simply refer to a location, but is also about embodying a place- a kind of embodiment corporeal experiences and memories instantiate. [...]while the dancers, musicians, penitents, and actors present in his book are performers imbued with the ability to bear communal identities and their own specificities, they are also "placelings" capable of bringing into their bodies the places where they have elected to perform outside the quotidian.
ABSTRACT
Dance is proven to offer a myriad of physical, psychological, and social benefits. However, because dance has been frequently perceived as a feminine practice, there is a prevailing prejudice towards boys who dance, making it hard for them to engage in this physical activity. Social marketing has been presented as a promising framework to deal with different social problems, including prejudice, although its effectiveness is still difficult to establish. Drawing on the Theory of Planned Behavior (TPB), a quasi-experimental study involving a sample of 436 children and adolescents, composed of 51.38% boys and 48.62% girls was implemented to measure the effectiveness of a Social Marketing Intervention (SMI) in reducing prejudice towards dance and boys who dance, in particular, and in increasing their intentions to practice this physical activity. The study furthermore aimed to compare the influence of the SMI on participants of two different stages of child development to ascertain when it is most effective to intervene. The questionnaire was used to collect information and included items derived from relevant literature. To assess differences between children and adolescents before and after the SMI, the analysis relied on independent t-tests and paired t-tests. Results suggest positive effects of the SMI on some dimensions of the TPB.