![]() ![]() Musicality can be defined as a natural, spontaneously developing trait based on and constrained by biology and cognition. In so doing, abstract dance exposes the observer to perceptions of unfamiliar situations, thus paving the way to new interpretations of human motion and hence to perceiving ourselves differently in both the physical and emotional domains. Abstract dance removes itself from familiar daily movements, violates the observer’s predictions about future movements and detaches itself from narratives. Nonetheless, despite the presence of a human dancer on stage and our extreme familiarity with the human body, the process of abstraction is applicable also to dance. For instance, we can mentally reconstruct its motion from minimal information (e.g., via a “dot display”), predict body trajectory during movement and identify emotional expressions of the body. In fact, we are all experts in recognizing the human body. Unlike abstraction in the fine arts that aims for a certain independence from representation of the external world through the use of non-figurative elements, dance is realized by a highly familiar object – the human body. This work explores to what extent the notion of abstraction in dance is valid and what it entails. We conclude that there is potential therapeutic benefit for those with developmental delays, developmental coordination disorders, individuals post-stroke, and those suffering from a plethora of neurodegenerative conditions. The roles of individual sensory modalities in multimodal integration, especially relative influences of vision and somatosensation, deserve further study. We conclude that the essential functions fundamental to the dance include the control of equilibrium, posture, and sway which are sensitive to training effects, and that, therefore, dance training has the potential to stabilize and align dancers’ performance via these functions. Activation patterns are largely consistent with subcortical system activation involved in the timing and coordination of discontinuous movements, and specific cortical systems are activated to support the control of the continuous movements. Elements of both discrete and rhythmic movements are present in dance, itself a gestural system. Furthermore, CEEOL allows publishers to reach new audiences and promote the scientific achievements of the Eastern European scientific community to a broader readership.Dance possesses favorable effects on the brain and its ability to form connections as well as in its ability to stimulate substances that support neuroplasticity used to treat individuals with many forms of neurodegenerative conditions such as Parkinson’s disease and other neurodegenerative conditions by influencing the integratory function of movement and cognition. CEEOL offers various services to subscribing institutions and their patrons to make access to its content as easy as possible. Currently, CEEOL covers more than 2000 journals and 690.000 articles, over 4500 ebooks and 6000 grey literature document. CEEOL provides scholars, researchers and students with access to a wide range of academic content in a constantly growing, dynamic repository. Currently, over 1000 publishers entrust CEEOL with their high-quality journals and e-books. In the rapidly changing digital sphere CEEOL is a reliable source of adjusting expertise trusted by scholars, publishers and librarians. It is still one of the most relevant tools in the modern dance vocabulary of movement.ĬEEOL is a leading provider of academic e-journals and e-books in the Humanities and Social Sciences from and about Central and Eastern Europe. The Horton technique is still being taught today at the Alvin Ailey School and in many other dance schools around the world. Lester Horton had students who later became great artists, such as Bella Lewizky, Carmen de Lavallade, James Truitteand, the most famous of them all, Alvin Ailey. The Horton Technique is a very elaborate succession of exercises that create a long, flexible, lean, expressive dancer’s body. His syllabus borrows elements from classical ballet, yoga, and many poses from the visual arts (sculptures and paintings). ![]() ![]() He stands alongside Martha Graham, Merge Cunningham and Jose Limon, being the creator of one of the four modern dance training systems. Summary/Abstract: Lester Horton was an American dancer, choreographer and teacher who lived, created and taught on the West Coast of the United States of America. ![]() Published by: MediaMusica Keywords: dance cognition music and dance musicality and rhythmicity dance syllabus cognition and recognition Subject(s): Fine Arts / Performing Arts, Music The Lester Horton Dance Technique – Cognition and musicality in dance education Author(s): Ruxandra-Mihaela Enache The Lester Horton Dance Technique – Cognition and musicality in dance education ![]()
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