https://ojs.mtak.hu/index.php/tanc_es_neveles/issue/feedDance and Education2025-05-09T09:42:42+00:00Dr. Lanszki Anitalanszki.anita@mte.euOpen Journal Systems<p>Dance and Education is a scientific journal of the Hungarian Dance University. It publishes studies on the interdisciplinary fields of dance and social sciences - with particular emphasis on dance education and psychological approaches. Dance and Education accepts papers in English and Hungarian, which can be based on empirical research, systematic literature reviews, or presentation of methodological developments. Articles undergo double-blind revision. The diamond open-access journal is published twice a year in both online and print format and in both English and Hungarian.</p>https://ojs.mtak.hu/index.php/tanc_es_neveles/article/view/18245Visual Aesthetics of Hip-hop Dance Movements in a V-shaped Stage Setup2025-05-09T09:42:42+00:00Marisa Kempemarisa.kempe@uni-leipzig.deLara Sophie Louise Wunschlw56jeri@studserv.uni-leipzig.de<p>This study investigates the aesthetic perception of V-shaped stage setups with 11 dancers performing different Hip-hop movements. It aims to determine whether observers evaluate these setups differently in terms of aesthetic appeal and whether expertise influences judgments. Understanding these evaluations is essential for enhancing the impact of dance performances. The study recruited 182 participants, including experts and non-experts. All participants rated five video stimuli showing 11 dancing avatars in a V-shaped stage setup based on their aesthetic perception. Participants completed an online questionnaire, and data were analyzed using Friedman ANOVA. Significant differences were found in aesthetic ratings across the stage setups. The stage setup featuring the Kick Ball Change Side movement received the highest rating. No significant differences were found between experts and non-experts in their aesthetic evaluation of the stage setups. The results suggest that specific dance movements, particularly the Kick Ball Change Side, are universally perceived as aesthetically pleasing. These findings offer valuable insights for choreographers seeking to enhance the visual aesthetics of dance performances. Future research should explore additional stage setups and context factors.</p>2025-05-08T08:58:40+00:00Copyright (c) 2025 Marisa Kempe, Lara Sophie Louise Wunschhttps://ojs.mtak.hu/index.php/tanc_es_neveles/article/view/18425Factors Influencing Digital Text Creation Skills in Dance-Related Higher Education2025-05-09T09:42:42+00:00Ágota Tongoriagotatongori@gmail.comAnita Lanszkilanszki.anita@mte.euRéka Asztalosasztalos.reka@mte.eu<p>This study investigates the factors influencing digital text creation skills among dance students in higher education. The COVID-19 pandemic highlighted the importance of digitalization in dance education, a field traditionally less impacted by technology. Despite the increased use of digital tools and AI, improvements in writing and text creation skills are not automatic. This research aims to identify the underlying causes of low-quality written work among dance students, hypothesizing that factors such as vocational art education background, the demands of elite dance training, the fast-paced nature of digital culture, and the uncritical use of technology contribute to poor writing performance. An online questionnaire was administered to 170 graduate students, revealing challenges in time management, understanding thesis requirements, and the need for basic word processing and reference management skills. The findings suggest that integrating writing skill development into theoretical courses and providing targeted support can enhance students' academic writing abilities. The study underscores the need for a comprehensive educational development plan to address these issues.</p>2025-05-08T09:04:44+00:00Copyright (c) 2025 Ágota Tongori, Anita Lanszki, Réka Asztaloshttps://ojs.mtak.hu/index.php/tanc_es_neveles/article/view/18244‘What Are You Willing to Give Away?’ 2025-05-09T09:42:42+00:00Vipavinee Artpradidad5896@coventry.ac.uk<p><span class="TextRun SCXW78082833 BCX0" lang="EN-GB" xml:lang="EN-GB" data-contrast="auto"><span class="NormalTextRun SCXW78082833 BCX0">This </span><span class="NormalTextRun SCXW78082833 BCX0">paper</span> <span class="NormalTextRun SCXW78082833 BCX0">discusses </span><span class="NormalTextRun SCXW78082833 BCX0">selected</span><span class="NormalTextRun SCXW78082833 BCX0"> findings from </span></span><a class="Hyperlink SCXW78082833 BCX0" href="https://movingonline.coventry.domains/" target="_blank" rel="noreferrer noopener"><span class="TextRun Underlined SCXW78082833 BCX0" lang="EN-GB" xml:lang="EN-GB" data-contrast="none"><span class="NormalTextRun SCXW78082833 BCX0" data-ccp-charstyle="Hyperlink">Moving Online: Ontology and Ownership of Internet Dance</span></span></a><span class="TextRun SCXW78082833 BCX0" lang="EN-GB" xml:lang="EN-GB" data-contrast="auto"><span class="NormalTextRun SCXW78082833 BCX0"> (funded by AHRC </span></span><a class="Hyperlink SCXW78082833 BCX0" href="https://gtr.ukri.org/projects?ref=AH%2FW01002X%2F1" target="_blank" rel="noreferrer noopener"><span class="TextRun Underlined SCXW78082833 BCX0" lang="EN-GB" xml:lang="EN-GB" data-contrast="none"><span class="NormalTextRun SCXW78082833 BCX0" data-ccp-charstyle="Hyperlink">AH/W01002X/1</span></span></a><span class="TextRun SCXW78082833 BCX0" lang="EN-GB" xml:lang="EN-GB" data-contrast="auto"><span class="NormalTextRun SCXW78082833 BCX0">). </span></span><span class="TextRun SCXW78082833 BCX0" lang="EN-GB" xml:lang="EN-GB" data-contrast="none"><span class="NormalTextRun SCXW78082833 BCX0">Dances are </span><span class="NormalTextRun SCXW78082833 BCX0">frequently</span><span class="NormalTextRun SCXW78082833 BCX0"> copied, reperformed</span><span class="NormalTextRun SCXW78082833 BCX0">,</span><span class="NormalTextRun SCXW78082833 BCX0"> and adapted with or without permission, raising important questions about ownership, appropriation</span><span class="NormalTextRun SCXW78082833 BCX0">,</span><span class="NormalTextRun SCXW78082833 BCX0"> and acknowledgment. </span></span><span class="TextRun SCXW78082833 BCX0" lang="EN-GB" xml:lang="EN-GB" data-contrast="auto"><span class="NormalTextRun SCXW78082833 BCX0">Through interviews with three </span><span class="NormalTextRun SCXW78082833 BCX0">Hip-Hop</span><span class="NormalTextRun SCXW78082833 BCX0"> artists who share their work online, this study examines the</span> <span class="NormalTextRun SCXW78082833 BCX0">ontological foundations of dance created for online consumption. </span><span class="NormalTextRun SCXW78082833 BCX0">In addition, the</span> <span class="NormalTextRun SCXW78082833 BCX0">creative, socio-cultural, financial, and legal implications of online sharing on artists’ ownership are also discussed. Initial findings show that whil</span><span class="NormalTextRun SCXW78082833 BCX0">e</span><span class="NormalTextRun SCXW78082833 BCX0"> understanding ownership and the nature of </span><span class="NormalTextRun SCXW78082833 BCX0">the</span><span class="NormalTextRun SCXW78082833 BCX0"> ‘thing’ </span><span class="NormalTextRun SCXW78082833 BCX0">(creative output)</span> <span class="NormalTextRun SCXW78082833 BCX0">that is created </span><span class="NormalTextRun SCXW78082833 BCX0">varies from artist to artist, there are </span><span class="NormalTextRun SCXW78082833 BCX0">genre-specific </span><span class="NormalTextRun SCXW78082833 BCX0">determinants, such as the </span><span class="NormalTextRun SCXW78082833 BCX0">Hip-Hop</span> <span class="NormalTextRun SCXW78082833 BCX0">‘</span><span class="NormalTextRun SCXW78082833 BCX0">sampling</span><span class="NormalTextRun SCXW78082833 BCX0">’</span><span class="NormalTextRun SCXW78082833 BCX0"> culture and the generation-based etiquette around ‘biting’ that has developed. This variation, specificity, </span><span class="NormalTextRun SCXW78082833 BCX0">combined with</span> <span class="NormalTextRun SCXW78082833 BCX0">the complexities of online sharing</span><span class="NormalTextRun SCXW78082833 BCX0">,</span> <span class="NormalTextRun SCXW78082833 BCX0">can lead to</span><span class="NormalTextRun SCXW78082833 BCX0"> ownership disputes, particularly </span><span class="NormalTextRun SCXW78082833 BCX0">when</span> <span class="NormalTextRun SCXW78082833 BCX0">financial </span><span class="NormalTextRun SCXW78082833 BCX0">stakes</span><span class="NormalTextRun SCXW78082833 BCX0"> are involved.</span></span><span class="EOP SCXW78082833 BCX0" data-ccp-props="{"335551550":6,"335551620":6}"> </span></p>2025-05-08T09:10:38+00:00Copyright (c) 2025 Vipavinee Artpradidhttps://ojs.mtak.hu/index.php/tanc_es_neveles/article/view/17018The Symbolism of Historical Dances in the Music of Tchaikovsky's Ballet Sleeping Beauty2025-05-09T09:42:42+00:00Ilona Kovácskovacs.ilona@mte.eu<p>The music of Pyotr Tchaikovsky's <em>Sleeping Beauty</em> has always played and continues to play a significant role in the success of ballet. The Russian composer has gifted the dancers with spectacular scenes, solos and duets. In addition to these, historical dances also appear in the score, such as the archaic sarabande, which seems a rather unusual choice for a 19th century Romantic composer.</p> <p>In the first half of the paper, I will give a brief historical overview of the role of the suite in Tchaikovsky's compositions, and then seek to answer the question of whether his œuvre contains antecedents for the various dances, especially the sarabande of <em>Sleeping Beauty</em>. For Rudolf Nureyev, one of the greatest ballet artists of all time, <em>Sleeping Beauty</em> accompanied him throughout his creative career. He danced many of its characters, one of his favourite roles being that of Prince Désiré, and as a choreographer he staged it no less than seven times. Nureyev understood the dramaturgical significance of the sarabande and, unlike many 19th-21st century directors, he did not omit the dance from his choreographies.</p>2025-05-08T09:13:52+00:00Copyright (c) 2025 Ilona Kovácshttps://ojs.mtak.hu/index.php/tanc_es_neveles/article/view/18897Dance Science Research2025-05-09T09:42:41+00:00Réka Asztalosasztalos.reka@mte.eu<p>In many areas of dance research, there is a notable lack of background literature. The two volumes discussed here, <em>Introduction to dance research methodology </em>[<em>Bevezetés a tánccal kapcsolatos kutatások módszertanába</em>] (2020, edited by Lanszki), and <em>Research methods in the dance sciences (</em>2023, edited by Welsh, et al.), aim to address this gap, providing guidance on both theoretical and empirical research in dance studies.</p>2025-05-08T09:17:14+00:00Copyright (c) 2025 Réka Asztalos