Computational kinematics of dance: distinguishing hip hop genres.

Dance plays a vital role in human societies across time and culture, with different communities having invented different systems for artistic expression through movement (genres). Differences between genres can be described by experts in words and movements, but these descriptions can only be appreciated by people with certain background abilities. Existing dance notation schemes could be applied to describe genre-differences, however they fall substantially short of being able to capture the important details of movement across a wide spectrum of genres. Our knowledge and practice around dance would benefit from a general, quantitative and human-understandable method of characterizing meaningful differences between aspects of any dance style; a computational kinematics of dance. Here we introduce and apply a novel system for encoding bodily movement as 17 macroscopic, interpretable features, such as expandedness of the body or the frequency of sharp movements. We use this encoding to analyze Hip Hop Dance genres, in part by building a low-cost machine-learning classifier that distinguishes genre with high accuracy. Our study relies on an open dataset (AIST++) of pose-sequences from dancers instructed to perform one of ten Hip Hop genres, such as Breakdance, Popping, or Krump. For comparison we evaluate moderately experienced human observers at discerning these sequence's genres from movements alone (38% where chance = 10%). The performance of a baseline, Ridge classifier model was fair (48%) and that of the model resulting from our automated machine learning pipeline was strong (76%). This indicates that the selected features represent important dimensions of movement for the expression of the attitudes, stories, and aesthetic values manifested in these dance forms. Our study offers a new window into significant relations of similarity and difference between the genres studied. Given the rich, complex, and culturally shaped nature of these genres, the interpretability of our features, and the lightweight techniques used, our approach has significant potential for generalization to other movement domains and movement-related applications.

Rethinking the MBA through Hip Hop innovation and Hip Hop innovators: Fat Joe and DJ Khaled pair with two sport × entertainment faculty.

Theory without relevance for practice in a professional graduate degree has been critiqued by some scholars as a deficit approach when preparing MBA students for the workforce. Scholars and practitioners alike call for more pedagogy in the curriculum with a focus on innovation, creativity, and the involvement of industry practitioners. This paper serves as a case study of a moment in time on Monday, 14 June 2021, when the concept of "pracademics" was realized between two artists and two faculty. Following the transcription of the dialogue between two guest speakers from the Hip Hop world (i.e., Fat Joe and DJ Khaled) and two faculty from the sport management MBA program, the paper analyzes the deeper meaning of their intellectual presence with their expertise in the business of culture (i.e., Hip Hop). Findings reveal how the pairing of Hip Hop artists and faculty in an MBA program can address the innovation gap within global business curricula and models. The broader umbrella of pedagogy and application has implications for other academic disciplines to embrace this concept of pairing academics and industry practitioners.

"The Design and Acceptability of a Hip Hop Themed Integrated Nutrition Math Curriculum for Minoritized 5th Grade Students Using the Multisensory Multilevel Health Education Model".

Digital technology creates new opportunities to design multisensory learning experiences. Evidence suggests that digital innovation can greatly benefit health education, including nutrition programs. The COVID-19 pandemic disrupted the education sector, forcing schools to modify standard practices from exclusively in-person delivery to online or blended learning. Digitalized curriculums became particularly useful as an Emergency Remote Teaching tool. This article focuses on developing and implementing a multimedia, multisensory, and scalable Hip-Hop Healthy Eating and Living in Schools (H.E.A.L.S.) Nutrition-Math Curriculum (NMC). NMC comprises 20 lessons-music-based multimedia resources used in the classroom or at home. Fourteen lessons represent self-directed online modules (asynchronous learning) hosted on a Learning Management System (LMS) called "Gooru." The remaining six lessons are teacher-facilitated (in person or using Zoom) review sessions (synchronous learning). The article discusses (1) the development of NMC through the lens of the Multisensory Multilevel Health Education Model (MMHEM), (2) the high acceptability of NMC evaluated using a mixed-methods design among minoritized fifth-grade students attending an after-school program, and (3) the students' completion and mastery rates of the NMC modules based on LMS data. Multimedia nutrition education programs integrated with common core curriculum content, such as NMC, may be a promising avenue for disseminating health education to minoritized children living in New York City and similar high fast-food density cities.

HipHop2SToP a community-led health promotion initiative empowering Aboriginal youth in the Kimberley region of Western Australia: a process evaluation.

Introduction: For millennia, Aboriginal people's ways of knowing, doing and being were shared through art, song, and dance. Colonisation silenced these ways, affecting loss of self-determination for Aboriginal people. Over the past decade in Australia, hip-hop projects have become culturally appropriate approaches for health promotion. When community led, and Aboriginal worldviews centralised, hip-hop workshops are more likely to be effective. In 2020, during the COVID-19 pandemic, a community-led health promotion hip-hop music video, 'HipHop2SToP' was produced involving young people in Dampier Peninsula communities address healthy skin and healthy living practices. Methods: We report here a qualitative process evaluation of the HipHop2SToP project. Participants who had been involved in the planning and production of HipHop2SToP were selected using a purposive approach and invited either by email or face-to-face to participate in semi-structured interviews and share their experiences. Semi-structured interviews ranged from 30 to 60 min in duration and were conducted either face-to-face or virtually over MS Teams. Due to personal time constraints, two participants provided written responses to the semi-structured questions. All interviews were audio-recorded with consent and saved as a digital recording in a de-identified format. All audio recordings were transcribed verbatim and uploaded into QSR NVivo v12 along with written responses. Results: As a health promotion project, the critical success factors were community-ownership and discovering novel ways to collaborate virtually with remote communities using Microsoft (MS) software. Highlights included observing the young people actively engaged in the project and their catchy lyrics and key messaging for environmental health and skin infections. COVID-19 presented some challenges. Gaps in communication, clarification of stakeholder roles and expectations, and post-production outcomes were also identified as challenges. Conclusion: HipHop2SToP validates the need for Aboriginal community led health promotion programs. While creating some challenges COVID-19 also strengthened community ownership and created novel ways of maintaining relationships with remote Aboriginal communities. Future hip-hop projects would benefit from clarity of roles and responsibilities. Strengthening post-production outcomes by including a launch and well-planned, targeted communication and dissemination strategy will ensure the wider translation of important health messages and potential strengthen sustainability.

Injury, Training, Biomechanical, and Physiological Profiles of Professional Breakdancers.

Background: Breakdancing or breaking will enter the Olympics in 2024, however, there is a paucity of literature exploring the epidemiology, demands, and performance. Purpose: The purpose of this study was to describe injury and training profiles, along with the results of a short performance test battery, in a group of elite breakers. Study Design: Cross-sectional study (retrospective). Methods: Fourteen breakdancers (breakers) (4 Bgirls, 10 Bboys) participated in an interview regarding their injury and training history, endurance test (cycle VO2max testing), counter movement jump, squat jump, drop jump, isometric hip abduction, adduction, shoulder external and internal rotation strength testing on a fixed-frame dynamometer. Breakers were divided into elite (n=10) and developing (n=4) based on their qualification for a world finals competition; Wilcoxen rank sums were used to compare the two groups, or in the case of strength testing between those with and without an injury history. Results: The breakers had a median 11.0 [10.0 - 14.0] years breaking experience and trained 24.4 [20.5 - 30.0] hours per week. The knee was the most commonly injured body part and most frequently injured joint, with the thigh being the most common site for muscle injuries. There were no differences in endurance testing or jump height testing results between elite and developing breakers. There was no difference in shoulder external or internal rotation strength between athletes with a history of shoulder injury and those without. Similarly, there was no difference in hip abduction or adduction strength in those with a history of hip injury and those without. Conclusion: The results of this study should be viewed with caution due to the small sample size. However, this study is the first to publish functional and physiological descriptives on breakers. The authors hope these results support clinicians treating breakers as well as encourages future research related to breaking. Level of Evidence: 2b.

Increased asphericity of the femoral head-neck junction in professional breakers compared to hobby athletes - a retrospective case-control study.

OBJECTIVE: Breaking has gained public attention as a form of sports activity. The associated intense movements of the hip joints are possibly linked to the development of femoroacetabular impingement (FAI). Therefore, this study aimed to assess clinical and radiographic FAI measures in professional breakers compared to hobby athletes. METHODS: The study cohort consisted of professional breakers with persisting hip pain who were 1:1 matched to a cohort of FAI patients without professional sports careers from our outpatient clinic. The primary endpoint assessed on standardized plain radiographs was the alpha angle (AA). Further measures were the acetabular index (AI), lateral center-edge angle (LCEA), crossover sign, ischial spine sign, and femoral head extrusion index (FHEI). The modified Harris Hip Score (mHHS) and the Western Ontario and McMaster Universities Osteoarthritis Index (WOMAC) score were used to obtain patient-reported measures. RESULTS: We recruited ten professional breakers and matched them to ten hobby athletes. The median AA was significantly higher in the breakers compared with the hobby athletes (73° [IQR 66.5°, 84.2°]) vs. 61.8° [IQR 59.5°, 64.8°], p = 0.0004). There was a significant reduction in weekly training hours in breakers after diagnosis (13.0 hours [interquartile range [IQR] 9.5, 32.4] to 1.5 hours [IQR 0, 4.8], p = 0.0039). There were no inter-group differences regarding mHHS, WOMAC, and additional radiographic measurements. CONCLUSION: Breakers have higher AA in cam-type FAI compared to nonprofessional athletes. The corresponding hip pain significantly reduced training hours and caused the end of their breaking career. The potentially high prevalence of FAI in breakers and the corresponding consequences need to be considered early when athletes present with hip pain.

Pitfalls of hip hop pedagogy: Re-examining and questioning the definition.

Recently, hip-hop pedagogy or Hip-Hop Based Education (HHBE) have become buzz words in the academic and public debate around hip-hop. However, we found that most definitions of hip-hop pedagogy are missing the concept of pedagogy itself. One consequence of failing to adequately explain the concept of pedagogy is that it may lead future hip-hop researchers, students, and teachers inadvertently to disseminate misinformation or foster unclear thinking by using "hip-hop pedagogy" in inaccurate or vague ways. For these reasons, it is important to have a shared understanding of hip-hop pedagogy. In this article, we present three updated, expanded definitions of hip-hop pedagogy with the potential for widespread acceptance. These definitions aim to convey in the simplest terms what hip-hop pedagogy is for the purpose of informing educators and preparing them to use data.

Psychoacoustic Similarity Judgments in Expert Rappers and Laypersons.

This study sought to determine whether rap expertise is associated with enhanced knowledge of psychoacoustic similarity. Using a stimulus composed of pseudo-word assonantal half-rhyme triplets (e.g., freet/speet//yeek), expert improvisational rap lyricists were compared to laypersons (non-lyricists) in their judgments of half-rhyme acceptability. According to both a perception-based and a linguistic feature-based measure of psychoacoustic similarity, lyricists were distinct from non-lyricists in the rates at which they found half-rhymes acceptable, and in how group responses were correlated with the similarity measures. Data indicate that, compared to non-lyricists, lyricists' half-rhyme acceptance rates are more highly correlated with linguistic features that have more robust perceptual cues. Evidence suggests that lyricists and non-lyricists employ different strategies for determining the acceptability of half-rhymes, and that lyricists might be more sensitive or attuned to similar aspects of speech sounds.

The effect of dance workshops participation on reaction time in persons with moderate intellectual disabilities - pilot study.

Background: Persons with intellectual disabilities who are physically active have faster reaction time compared to the physically inactive persons with intellectual disabilities (Yildirim et al. 2010). Aim: To recognize how participation in a series of hip-hop dance workshops can improve reaction time in persons with intellectual disabilities. Methods: 13 persons with moderate intellectual disabilities aged 14-22 (M = 17,30; SD = 2,52). A quasi-experiment was prepared using a single-group plan (nine dance workshops). Study design applied: pre-test - post-test. Measurement Tool - Optogait - acoustic response test. Results: Reaction time measured prior to dance workshops was M = 1,58; SD = 0,48 and after workshops was M = 1,34; SD = 0,69. The analysis using Wilcoxon signed-ranks test showed that this difference is statistically significant, Z = 2,06; p < .05. Conclusions: Hip-hop dance classes improve response times in persons with moderate intellectual disabilities.

Oficinas de composição musical com jovens: reflexões metodológicas para uma práxis transformadora / Workshops of musical composition with young people: methodological reflections for transforming praxis / Talleres de composición musical con jóvenes: reflexiones metodológicas para una praxis transformadora

Este artigo tem como objetivo descrever e problematizar questões referentes à operacionalização de oficinas de composição musical com jovens do movimento hip hop, apresentando potencialidades e dificuldades da utilização desta técnica na pesquisa qualitativa. O estudo foi realizado em uma comunidade na periferia de Cubatão, litoral de SP, segundo o referencial da Psicologia Sócio-Histórica. Utilizou-se a metodologia das oficinas, propondo alguns percursos e estratégias metodológicas para a pesquisa com jovens. Destacam-se os vínculos afetivos como importante estratégia para a construção do conhecimento e a realização das oficinas com a participação dos jovens, inclusive estes como facilitadores e não apenas como interlocutores do estudo. A pesquisa qualitativa e as oficinas de composição musical podem fomentar nos jovens a reflexão crítica da realidade através da objetivação de sua subjetividade, em um trabalho que é dialeticamente individual e coletivo.

This article aims at describing and problematizing issues related to the operationalization of music composition workshops with young people from the hip-hop movement, presenting the potentialities and difficulties of using this technique in qualitative research. The study was carried out in a community on the outskirts of Cubatão, in the coast of São Paulo, according to the Socio-Historical Psychology reference. It used the methodology of the workshops, proposing some pathways and methodological strategies for youth research. Emotional bonds are an important strategy for the construction of knowledge and the realization of the workshops with the participation of the young people, including these as facilitators and not only as interlocutors of the study. The qualitative research and music composition workshops can foster in young people a critical reflection of reality through the objectification of their subjectivity, in a work that is dialectically individual and collective.

Este artículo tiene como objetivo describir y problematizar cuestiones referentes a la operacionalización de talleres de composición musical con jóvenes del movimiento hip hop, presentando potencialidades y dificultades de la utilización de esta técnica en la investigación cualitativa. El estudio fue realizado en una comunidad en la periferia de Cubatão, costa de São Paulo, según el referencial de la Psicología Socio-Histórica. Se utilizó la metodología de los talleres, proponiendo algunos recorridos y estrategias metodológicas para la investigación con los jóvenes. Se destacan los vínculos afectivos como una importante estrategia para la construcción del conocimiento y realización de los talleres con la participación de los jóvenes, inclusive éstos como facilitadores y no sólo como interlocutores del estudio. La investigación cualitativa y los talleres de composición musical pueden fomentar en los jóvenes la reflexión crítica de la realidad a través de la objetivación de su subjetividad, en un trabajo que es dialécticamente individual y colectivo.

El hiphop como forma de resistencia frente al juvenicidio: la experiencia de Casa Kolacho / Hip-hop as a resistance to youthcide: the experience of Casa Kolacho / O hip-hop como resistência ao juvenicidio: a experiência de casa Kolacho

Resumen (analítico) El artículo aborda una de las facetas del hiphop como cultura juvenil: su dimensión de movimiento social y cultural protagonizado por jóvenes de sectores subalternos. Para ello se analiza el caso de Casa Kolacho, un centro de arte y cultura situado en la Comuna 13 de Medellín, que abrió sus puertas en 2013 como culminación de la toma de conciencia de los jóvenes del barrio contra la violencia ejercida por agentes estatales, paramilitares, guerrilleros y grupos criminales. El texto se centra en el testimonio de Jeihhco, uno de los impulsores del centro, cuyo relato repasa el papel del hiphop como una forma de resistencia frente al juvenicidio, usando la música y el arte como una estrategia contrahegemónica de expresión de «hacer más ruido que las balas¼, según las palabras del protagonista.

Abstract (analytical) This article addresses one of the faces of hip-hop as a youth culture: its dimension as a social and cultural movement starring young people from subaltern sectors. The authors analyze the case of Casa Kolacho, an artistic and cultural center located in Comuna 13 in Medellín. Casa Kolacho opened its doors in 2013 as an expression by young people in the neighborhood against the violence carried out by state security forces, paramilitaries, guerrillas and criminal groups. The text focuses on the testimony of Jeihhco, one of the promoters at the center, whose life story focuses on the role of hip-hop as a form of resistance against «youthcide¼ using music and art as a counter-hegemonic strategy of expression from "make more noise than bullets", according to the words of the protagonist.

Resumo (analítico) O artigo aborda uma das faces do hip-hop como cultura juvenil: sua dimensão do movimento social e cultural liderado por jovens de setores subalternais. Para isso, analisa-se o caso da Casa Kolacho, um centro de arte e cultura localizado na Comuna 13 de Medellín, que abriu suas portas em 2013 como o ápice da conscientização dos jovens do bairro contra a violência exercido por agentes estatais, paramilitares, guerrilheiros e grupos criminosos. O texto se concentra no testemunho de Jeihhco, um dos promotores do centro, cuja história revisa o papel do hip-hop como forma de resistência contra o juvenicídio, usando a música e a arte como estratégia contra-hegemônica de expressão e sobrevivência.

Hip-hop, identity, and conflict: Practices and transformations of a metropolitan culture.

In this paper, I expose how it is possible to investigate the hip-hop culture on three levels of analysis-historical, semiotic, and phenomenological-precisely as theorized by Cohen (1997) for his study on modern subcultures. The analysis will focus on the hip-hop of the beginning, since the middle of the Seventies and Eighties in the United States, but then it will broaden to a reflection on its diffusion and re-invented, with particular reference to the interactions with the globalization and the changes occurred in contemporary metropolis. In this sense, considering hip-hop as a subculture in the following pages, I reflect (a) on the origin of rap music, its interrelation with the Afro-American culture and the concept of blackness which it conveys. Subsequently, I clarify (b) that the art of writing, in the form of Tag, and break dance have certificated the presence of young people from the United States outskirts, and then the passage to a precise historical moment. Finally, I try to demonstrate (c) that today, a different dimension of hip-hop is implemented, whose features have changed in parallel with the transformations that have affected the metropolis and the youth cultures. These last one are increasingly hybrid and involved in a recreational, market system, where the changing nature of hip-hop allows: its enormous success, with the domain of the musical market and other assimilation processes, such as clothing, which have contributed to its mutation in a global culture, some margins of autonomy.

Improving reliability and validity in hip-hop dance assessment: Judging standards that elevate the sport and competition.

This study examined the reliability and validity of judging system scores of past hip-hop dance competitions in Japan. The analysis focused on the scores for each assessment category separately. Judges' scores were obtained from national dance competitions held annually in Japan between 2014 and 2019. In these competitions, five experienced judges evaluated the dancers' performances. The judges scored on a 10-point scale in five categories as follows: creativity, expression and interpretation, impression, technical quality, and synchronisation. This study found that the technical quality category demonstrated good reliability, whilst the impression showed poor reliability. Systematic bias was significant for all categories. There are no levels of difficulty defined for technique, no criteria set for correct movement and no explanation provided for each scoring level, which suggests that each judge may have interpreted the criteria for evaluating hip-hop dance differently. Developing these definitions and identifying the biases that affect evaluation would ensure a reliable evaluation system.

Exploring Social Media Contexts for Cultivating Connected Learning with Black Youth in Urban Communities: The Case of Dreamer Studio.

Using the Connected Learning framework as a conceptual lens, this study utilizes digital ethnographic methods to explore outcomes of a Hip-Hop Based Education program developed to provide music related career pathways for Chicago youth. Using the narratives of the participants within the program, I draw on participant observation online and in-depth interviews collected to explore the link between the tenets of Connected Learning and digital participation in this artistic community of practice. I explore participants' work within social media platforms toward building their creative skill, cultivating a public voice, connecting to mentors, and communicating in ways that strengthens the social bonds within their peer community. This study's findings affirm prior studies that suggest late adolescence is an important time frame where children are developing social identities online in affinity spaces but in ways that are tied to civic engagement, self-empowerment, and critical skill development for their future pathways. To conclude, I suggest that investigating participant activity on social media platforms as a part of field work can help ethnographers to better connect their impact to the agency and life trajectories of their youth participants.

Shaping Future Directions for Breakdance Teaching.

This article reports on the evolution of breakdance. Given the inclusion of breakdancing in the 2024 Olympic Games in Paris, France, scholars have generated substantial international research related to breakdance teaching in recent years. However, few researchers have focused on the impact of formal formative assessment on breakdance teachers' teaching and students' learning. We wish to contribute to the quality of breakdance teaching and learning by identifying the positive impact of recent research on formative assessment on student learning and designing a formal formative assessment task related to breakdance. This article lays out a framework of formal formative assessment tasks and identifies the positive impact of formative assessment on dance education. Although our work is far from perfect, it does provide a general methodological framework for assessing breakdance students' abilities in formal educational settings.

"Now We're All Family": Exploring Social and Emotional Development in a Summer Hip Hop Mixtape Camp.

Child and adolescent mental health indicators were trending in the wrong direction pre-COVID-19 and have worsened with the exacerbation of life stressors during a pandemic, especially among youth of color and girls (Racine et al. in JAMA Pediatr 175:1142-1150, 2021). Hip Hop integrated group work with adolescents has increased in the literature, with an emphasis on being more culturally responsive and engaging compared to traditional therapeutic approaches. Levy and Travis (J Spec Group Work 45:307-330, 2020) found in their research that while all Hip Hop integrated groups were effective, the semi-structured group had the most significant reduction in symptoms of stress, depression, and anxiety, compared to the highly structured and minimally structured groups. The purpose of the present study was to determine whether a Hip Hop integrated intervention, that is multi-modal and interdisciplinary (i.e., blending two distinct models [HHE/CCMC] and facilitated by a social worker and school counselor). could effectively promote positive social and emotional development, across three leadership styles. Three groups of six high school students (total n = 18), identifying predominantly as Latinx and Black, were selected from a high school summer enrichment program. Results suggest social and emotional benefits for youth across all groups, regardless of facilitation style. Benefits included increased confidence, a strong sense of community, experiencing joy, and a willingness to step outside of their comfort zones to collaborate and create something personally meaningful. The setting (summer) and sample (high school students) have implications for programming and policies to best meet the mental health needs of youth year round and during times of instability.

Body asymmetries in dancers of different dance disciplines / Asimetrías corporales en bailarines de diferentes disciplinas de baile

SUMMARY: Dance is an attractive sport discipline in which participation is increasing every year, unfortunately, the prevalence of injuries is also increasing. Various dance disciplines and dance techniques require body control, often in extreme anatomical positions that place a heavy strain on the musculoskeletal system. The aim of this research was to analyze body asymmetries of four different dance disciplines (standard and Latin American dance - STLA, acrobatic rock and roll - RNR, breakdance - BD and hip hop - HH), by using anthropometric (InBody 720; Biospace Co., Ltd) and 3D body measurements (NX-16; TC2) to establish possible later discomforts and injuries. T-test was performed to find differences between left and right extremities in all four dance disciplines. Results of the study showed that asymmetries are present in all of the studied dance disciplines. When comparing dance disciplines, we found out that STLA dancers are the most prone to develop body asymmetries (six out of nine paired variables), mainly because of the closed position. The position itself is the asymmetry and in which dancers remain for a very long time while training the technique of each dance. As dance is known for its asymmetrical movement of the body and it is expected that some of the asymmetries will appear after a few years of training. For a better understanding of possible consequences of asymmetries in dancers' bodies, further and more detailed analysis within each dance discipline is required.

RESUMEN: El baile es una disciplina deportiva atractiva cuya participación aumenta cada año, sin embargo también aumenta la prevalencia de lesiones. Varias disciplinas de baile y las técnicas de baile requieren el control del cuerpo en posiciones anatómicas extremas las cuales ejercen una gran presión sobre el sistema musculoesquelético. El objetivo de esta investigación fue analizar las asimetrías corporales de cuatro disciplinas de baile diferentes (baile estándar y latinoamericano - STLA, rock and roll acrobático - RNR, breakdance - BD y hip hop - HH), utilizando técnicas antropométricas (InBody 720; Biospace Co., Ltd) y mediciones corporales en 3D (NX-16; TC2) para establecer posibles molestias y lesiones posteriores. Se realizó la prueba T para determinar diferencias entre los miembros izquierdo y derecho en las cuatro disciplinas de baile. Los resultados de este estudio mostraron que las asimetrías se encontraron en todas las disciplinas de baile. Al comparar las disciplinas de baile, descubrimos que los bailarines de STLA son los más propensos a desarrollar asimetrías corporales (seis de nueve variables pareadas), principalmente debido a la posición cerrada. La posición en sí es asimétrica y en la que los bailarines permanecen durante mucho tiempo mientras entrenan la técnica de cada baile. Como el baile es conocido por el movimiento asimétrico del cuerpo, es posible que algunas de las asimetrías aparezcan después de algunos años de entrenamiento. Se requiere un análisis más profundo y detallado dentro de cada disciplina de danza para una mejor comprensión de las posibles consecuencias de las asimetrías en los cuerpos de los bailarines.

Predictive Polymer Models for 3D Chromosome Organization.

Polymer simulations and predictive mechanistic modelling are increasingly used in conjunction with experiments to study the organization of eukaryotic chromosomes. Here we review some of the most prevalent models for mechanisms which drive different aspects of chromosome organization, as well as a recent simulation scheme which combines several of these mechanisms into a single predictive model. We give some practical details of the modelling approach, as well as review some of the key results obtained by these and similar models in the last few years.

Práticas pedagógicas do hip-hop nas aulas de educação física: uma revisão sistemática / Pedagogical practices of hip-hop in physical education classes: a systematic review / Prácticas pedagógicas del hip-hop en las clases de educación física: una revisión sistemática

O objetivo deste trabalho é analisar publicações sobre o hip-hop como prática pedagógica no contexto da Educação Física Escolar. Para tanto realizamos revisão sistemática em quatro bases de dados, utilizando os descritores hip-hop e Educação Física, publicados entre os anos de 2011 e 2021. Selecionamos 15 trabalhos que abordavam o hip-hop na Educação Física Escolar. As produções acadêmicas sobre o tema se espalham por diversas áreas do conhecimento, no entanto são raros os estudos sobre práticas pedagógicas desta cultura urbana na educação básica. Concluímos que há a necessidade de novos estudos sobre o hip-hop na escola que demonstrem diálogos e problematizações nas aulas. (AU)

The objective of this work is to analyze publications on hip-hop as a pedagogical practice in the context of School Physical Education. For that, we carried out a systematic review in four databases, using the descriptors hip-hop and Physical Education, published between 2011 and 2021. We selected 15 works that addressed hip-hop in School Physical Education, which were organized according to the study area. Academic productions about this subject are spread across several areas of knowledge, however, studies on pedagogical practices of this urban culture in basic education are rare. We conclude that there is a need for further studies on hip-hop at school that demonstrate dialogues and problematizations in classes. (AU)

El objetivo de este trabajo es analizar publicaciones sobre el hip-hop como práctica pedagógica en el contexto de la Educación Física escolar. Para ello, realizamos una revisión sistemática en cuatro bases de datos, utilizando los descriptores hip-hop y Educación Física, publicadas entre 2011 y 2021. Seleccionamos 15 trabajos que abordaban el hip-hop en la Educación Física escolar. Las producciones académicas sobre el tema se encuentran dispersas en varias áreas del conocimiento, sin embargo, son escasos los estudios sobre las prácticas pedagógicas de esta cultura urbana en la educación básica. Concluimos que existe la necesidad de más estudios sobre el hip-hop en la escuela, que demuestren diálogos y problematizaciones en las clases. (AU)

Investigación acción participativa en el grupo denominado colectribu de jóvenes artistas en situación de riesgo social / Participatory action research in the group colectribu of young artists in social risk / Pesquisa-ação participativa no grupo: colectribu de jovens artistas em situação de risco social

La presente investigación intenta describir la dinámica grupal desenvuelta entre miembros del grupo artístico de hip hop Colectribu, conformado por jóvenes en situación de riesgo social, expuestos a fenómenos como violencia, pandillas, y consumo de substancias que asisten al programa Resistencia Juvenil dependiente de la Fundación La Paz. Se describe un espacio de desenvolvimiento artístico permitiendo el crecimiento de habilidades artísticas mediante talleres de lírica, producción musical y otros. Se plantea a través de esto la reformulación de la pandilla dejando atrás la intención violenta y de transgresión a las normas para conducir el trabajo de Colectribu hacia la creación, contribución a la sociedad y fortalecimiento personal. Colectribu es la unión de jóvenes provenientes de distintas partes de La Paz que se reúnen en base a los que es el hip hop, es una forma de expresar a las personas un mensaje nuevo, consciente y reflexivo". Se realiza un estudio de acción-participativa que además de ser plasmado en dicha investigación, se realiza un documental catalogando la realidad de los miembros del grupo que puede ser encontrado en https://youtu.be/fiX6eR1FV4A.(AU)

This research tries to describe the group dynamic that unravels between members of the hip hop artistic collective Colectribu, consisting of young people in social risk, exposed to phenomena such as violence, gangs and substance abuse, they attend the Resistencia Juvenil program dependent from the La Paz Foundation. It describes a space of artistic development allowing growth of artistic abilities by means of lyricism workshops, musical production and others types of workshops. At the same time the concept of gang reformulates, leaving behind the violent intent to redirect the work from Colectribu to creation, social contribution and personal growth. Colectribu is a union of youth who come from different places of La Paz who get together joined by hip hop, it's a way of expressing to people a new message, that is conscious and reflexive. An action-participative study was made, as well as a documentary who logs the reality of the members of the group that can be found at https://youtu.be/fiX6eR1FV4A.(AU)

Esta pesquisa procura descrever a dinâmica de grupo desenvolvida entre os membros do grupo de arte hip hop Colectribu, formado por jovens em situação de risco social, expostos a fenômenos como violência, gangues e uso de substâncias que participam do programa "Resistência Jovem" dependente da Fundação La Paz. É descrito um espaço de desenvolvimento artístico que permite o crescimento de habilidades artísticas por meio de oficinas de letras, produção musical e outras. Com isso, propõe-se a reformulação da quadrilha, deixando para trás a violenta intenção e violação das normas de conduzir o trabalho de "Colectribu" à criação, contribuição à sociedade e fortalecimento pessoal. "[Colectribu] é a união de jovens de diferentes partes de La Paz que se reúnem com base no que é o hip hop, é uma maneira de expressar uma mensagem nova, consciente e atenciosa para as pessoas. É realizado um estudo de ação participativa que, além de refletido na referida pesquisa, é realizado um documentário catalogando a realidade dos membros do grupo que pode ser encontrada em https://youtu.be/fiX6eR1FV4A.(AU)