A PILOT RESEARCH OF DANCE MOVEMENT AND SOCIAL ASPECTS OF APPLICATION OF ARGENTINE TANGO IN THE POPULATION OF DEAF PEOPLE
The deaf people are a group of people that is usally not involved in the dance, mainly because of the stereotiped beleive that the perception of music as a sound is mandatory to the dance. Argentine Tango is a dance, danced in a couple, where the most important element is communication between the partners. The music is used in a creative way and the rhytm is not followed in a strict manner.
Individual interpretation of the music gives a solid base for working with deaf people. The movement is a consequence of the vibrations of music, which the dancer feels or a consequence of the inner rhytm, if the music is not present.
The aim of the research is application of Argentine Tango into population of deaf people and critical assesment of dance movement and social aspects of it.
The research gives an insight into new possibilities of the recreation and the socialization of deaf people, which have not been considered yet.
The research proves that in different fields of dance such as learnig new movements, research of communication in the couple and comprehension of the space, deaf people do not differ from people, who can hear. It also confirms that individual interpretation of the music in Argentine Tango enable deaf people to follow the music through the feeling of vibrations.
dance, Argentine tango, deafness, deaf person
TangoFloorTec™ TECHNIQUE FOR BETTER AND SAFER PRACTICE IN ARGENTINE TANGO
Argentine tango is a dance in a couple, based on the couple’s communication. The structure of tango technique enables the dialog between the dance partners, but does not necessarily give a base for execution of a controlled movement. Thus tango lessons usually don’t include the explanation of proper execution of elements. The consequence can be bad posture and improper movement patterns, which can lead to health issues, like back, knee or ankle injuries. The BA Tango Biomechanics™ movement concept developed by Blaž Bertoncelj and Andreja Podlogar is based on the anatomically proper body movement in tango. The importance of this concept lies in the movement optimization and prevention of injuries. However, it is nevertheless a challenge to adopt proper movement patterns at regular workshops when the students are preoccupied with new steps, communication and music. TangoFloorTec™ is a tango technique of floor exercises developed by Andreja Podlogar, based on the movement concept of BA Tango Biomechanics™ . It helps to develop an understanding of the correct posture and body movements otherwise carried out while standing up. The aim of exercises is building an awareness of anatomically correct body positions and proper use and development of muscular segments important for obtaining balance and for improving communication through better response (core muscles, back muscles). The purpose of TangoFloorTec™ practice is an improvement of tango technique, balance and coordination and prevention of injuries.
Argentine tango, Tango Floor Tec, BA Tango Biomechanics™
GLOBALISATION, CULTURAL POLITICS AND ECONOMY AS REASONS FOR THE DEVELOPMENT OF NEW SOCIAL DANCE - NEOTANGO
Although there is no academic discourse about neotango, the aim of this article is to synthesize available information from different sources. The result is a partial answer why it separated from its original form as a different dance, what the reasons for this development are and what the ideology behind this new social dance form is. At the end of the 19th century, a social dance called tango (now known as Argentine tango) was developed as the organic fusion of different migrant cultural heritages mixed with local influence in the territory of Mar Del Plata. A hundred years later a derivative of the dance, called neotango, is gaining global popularity. Appreciating the improvisational heritage of Argentine tango, dancers of neotango distance themselves from its tradition. Ideas that tango constantly evolves, can be danced on any music, that movement can be optimised with concepts from other dance forms and that social codes are outdated, created friction with dancers who see Argentine tango as part of tradition in the current timeframe. The traditional view is also supported by the legislation of Argentina, which sees the Argentine tango as one of its domestic products on the global marketplace, with Buenos Aires being the centre of the Argentine tango experience economy. So the paradox of Argentine tango in relation to neotango is that the derivative is defending the core base of the original (freedom of movement, communication, improvisational experiment), while the original started to erode from its core as a consequence of cultural politics and cultural economy.
neotango, argentine tango, globalisation, cultural politics, cultural economy
DANCE AS A METHOD OF FALL PERVENTION FOR THE ELDERLY - A RANDOMISED CONTROL STUDY
Barbara Purkart, Blaž Bertoncelj, Andreja Podlogar, Friderika Kresal and Mitija Samardžija Pavletič
Falls are the leading cause of injuries among the elderly population. One third of individuals over the age of 65 years fall at least once a year, and an obvious increase is observed with increasing age. One out of five falls results in the elderly person needing medical care and one out of ten falls cause hip fractures.
The study’s aim is to determine if 3-month dance exercises can improve the static balance in active elderly individuals.
Materials and Methods:
We enlisted 50 active and healthy individuals between 65 and 70 years of age. We excluded 14 women, which left us with 18 male and 18 female individuals. These were randomly divided into two groups, a control group, who continued with their normal activities, and the experimental group, who attended an Argentine tango course twice a week, for 90 minutes per session. Before the experiment began we measured static balance abilities of the participants using a force plate. They performed 3 repetitions standing with feet together for 30 seconds and on one leg for 20 seconds while holding the free leg in a standardized position. The tests were conducted in a quiet room; the individuals were barefoot, holding their hands on their hips, gazing at a specific point. The average of the 3 repetitions was used to derive a mixed ANOVA. 4 individuals failed to do these measurements.
Results and conclusions:
At the beginning of the experiment we observed no notable differences between the groups. 28 individuals successfully completed the research protocol and after 3 months we noticed significant differences between the groups, especially when testing the one legged stance. Sway path total, antero-posterior, medio-lateral and total sway area per second were significantly lower in the experimental group. Active elderly individuals after 3-month dance exercises showed better static balance. This leads us to conclude that dance, a social and enjoyable activity, does improve the balancing abilities of the elderly and can help with fall prevention.
Argentine tango, prevention of falls, elderly people
AT THE JUNCTION OF THE OLDEST AND THE NEWEST MEDIA
The aim is to investigate the common denominators of human body as the oldest known media and the new media, as well as the perception of the viewer as an end user of performance work.
The defined common denominators between human body and new media objects are: the original data is not visible to the observer and it is only represented/communicated through an interface, which is limited by its own capability, data are modular so different elements can exist independently, data are variable and can be represented in multiple versions, data can be automated and transcoded.
In the field of performing arts the human body(ies) and new media object(s) can co-create theatrical moment, which is a result of parallel process of representation by a human on one side and the computer on the other, based on defined common denominators. Furthermore, human body(ies) and new media objects can co-depend on each other to produce complete information to the observer. Complex digital systems can also communicate with performer (sensors + programed response) but only in the paradigm of partnering (positive reaction of the system if parameters are met) and not in the paradigm of complex human response.
The effective strategy of implementation of human body(ies) and new media object(s) in performance space is finally defined by the multi-modal perception capabilities of the observer.
Keywords: dance, new media, stage design, performance art, theatre
PREFORMATIVE SPACES 2.0
The research is focused on the possibilities of micro performing spaces, which are necessary for the development of independent performing arts and culture industries in Slovenia. In reality, these kinds of spaces already exist but they are in contradiction with the current legislation in Slovenia. The first part of the research focuses on global reasons why micro performing spaces have developed, on legislative obligations in different countries and the solutions how different players met these requirements. The second part of the research features the analysis of the current situation in Slovenia with focus on active micro performing spaces and defines restrictive hotpoints in the Slovenian legislation. As research shows, it would be necessary to take steps toward legalisation of existing spaces and atn the same time facilitate the opening of new spaces which will support local needs, contemporary preformative art practices and borderline/exotic art practices within the territory of Republic of Slovenia.
culture industries, performing art, micro art spaces, contemporary art practicies, legislation
ARGENTINE TANGO IN THE TIME OF COVID-19 PANDEMIC ON THE TERRITORY OF REPUBLIC OF SLOVENIA
The primary purpose of the research is to capture a sample of Argentine Tango dancers and their attitudes towards dance in this “new reality” of the epidemic COVID-19. That is, how this new environment affects an individual's decisions and their willingness to dance and to define whether virtual systems can at least partially replace their desire for the Argentine Tango - which in its essence requires physical contact in real space. The aim of the research was also to understand, under which conditions individuals are still willing to actively engage in dance in real space under the restrictive conditions due to COVID-19.
This research is primarily intended as a tool for organizers, teachers and artists working in the field of Argentine Tango in Slovenia, to help them prepare new strategies for activities and content and in the same time, to understand the possibilities of monetizing them. Although the research specifically targeted the field of Argentine Tango in Slovenia, the results, at least in part, can be applied to other geographical areas, specially in Europe and other fields of social dance.
77 people have voluntarily participated in the research (66 completed questionnaires, 11 of them on behalf of the couple), which according to our estimates represents about 10% of currently active Argentine Tango dancers in Slovenia.
Firstly, the vast majority (just under 90%) are willing to dance even under restrictive conditions in the physical space, but are much more reluctant to just take classes without social events and without changing partners - which is understandable for Argentine Tango culture. Secondly, in the virtual space, dancers are also willing to pay for quality content, but at least 50% less than for the same content in the real space. Thirdly, dancers are in majority extremely traditional in theih payment options (bank account transfer, some of them would pay even with cash only), they do not trust digital payment solutions (like Paypal) and no one is willing to pay with cryptocurrencies. This can present technical challenges for creators and time delays in authorizations for paid content. Also, the option of internet donations, which is globally established as one of the payment options, is not allowed under Slovenian tax legislation - it is illegal..
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