Motion Analysis as Pedagogic Tool in Dance

Learning to Dance Means Learning to Think
Reference work entry

Abstract

Excellence in dance arises due to a truly exceptional match between movements of all body parts of a dancer and is ruined by tiny imperfections and flaws in performance. We analyzed the technical canon of dance technique by using an analogy to the morphological subsystem of linguistics and described the very basic elements of any dance technique and its roots in human motion system – morphemes of human motor action as an analytic and pedagogic tool in dance. This definition led to a critical analysis of some aspects of traditional teaching methods and questions of attention focus and motor skill learning in dance completed by some relevant historical perspectives. In the biomechanical lab, the practical use of these specific morphological instructions was tested and proved by kinematic data of dancer’s performance while in jumps before and after corrections given by the author.

Finally the new concept Danamos – dance.art.master.system is described with its core, the seven basic motion morphemes of human motor action, its relevance to any artistic motion sequence, and the cooperation of mental and physical action.

Keywords

Morpheme Danamos Attention Proprioception Function Canon External focus Dance didactic 

Notes

Acknowledgments

Translation by Jeremy Leslie-Spinks, MsC (Dance Science), ARAD Graphics by Marek Hertel, Berlin 2016, copyright by the authors Puttke/Volchenkov

References

  1. Bläsing B et al (eds) (2010) The neurocognition of dance. Psychology Press, East SussexGoogle Scholar
  2. Cruse H, Schilling M (2010) Getting cognitive. In: Bläsing B et al (eds) The neurocognition of dance. Psychology Press, East Sussex, pp 53–74Google Scholar
  3. Fischer S (1974) John Cranko über den Tanz. Fischer, Frankfurt am MainGoogle Scholar
  4. Hossner E-J, Schiebl F, Göhner U (2015) A functional approach to movement analysis and error identification in sports and physical education. Front Psychol 6:1339. BruxellesGoogle Scholar
  5. Huschka S (2002) Moderner Tanz. Rowohlt, HamburgGoogle Scholar
  6. Krasnow D et al (2011) Biomechanical research in dance. Literature Review. York University, TorontoGoogle Scholar
  7. McNevin NH, Wulf G (2002) Attentional focus on supra-postural tasks affects postural control. Human Movement science, 21,187–202CrossRefGoogle Scholar
  8. Steinkühler U, Cruse H, (1988) A holistic model for an internal representation to control the movement of a manipulator with redundant degrees of freedom. Biological Cybernetics, 79,457–466Google Scholar
  9. Vaganova A (1980) Grundlagen des Klassischen Tanzes. 5th edn, russ., Iskusstwo, Leningrad-Moskau, p 88Google Scholar
  10. Wulf G (2007) Attention and motor skill learning. Human Kinetics, Champaign, p 120, 121Google Scholar

Further Literature

  1. Bläsing B, Puttke M, Schack T (2010) The Neurocognition of dance. Psychology Press, East SussexGoogle Scholar
  2. Merényi SL (1981) Methodik des klassischen Tanzes. 5. Auflage, dtsch, Henschelverlag, BerlinGoogle Scholar
  3. von Laban R (1926) Choreographie. 1.Heft, dtsch, E. Diederichs, JenaGoogle Scholar

Copyright information

© Springer International Publishing AG, part of Springer Nature 2018

Authors and Affiliations

  1. 1.Board of German Federal Association of DanceBerlinGermany
  2. 2.Mathematics and StatisticsTexas Tech UniversityLubbockUSA
  3. 3.Center for Nonlinear PhysicsSichuan University of Science and EngineeringSichuanChina

Section editors and affiliations

  • Sebastian I. Wolf
    • 1
  1. 1.Movement Analysis LaboratoryClinic for Orthopedics and Trauma Surgery; Center for Orthopedics, Trauma Surgery and Spinal Cord Injury;Heidelberg University HospitalHeidelbergGermany

Personalised recommendations