Motion Capture and whole-body interaction technologies have been experimentally proven to contribute to the enhancement of dance learning and to the investigation of bodily knowledge, innovating at the same time the practice of dance. Designing and implementing a dance interactive learning system with the aim to achieve effective, enjoyable, and meaningful educational experiences is, however, a highly demanding interdisciplinary and complex problem. In this work, we examine the interactive dance training systems that are described in the recent bibliography, proposing a framework of the most important design parameters, which we present along with particular examples of implementations. We discuss the way that the different phases of a common workflow are designed and implemented in these systems, examining aspects such as the visualization of feedback to the learner, the movement qualities involved, the technological approaches used, as well as the general context of use and learning approaches. Our aim is to identify common patterns and areas that require further research and development toward creating more effective and meaningful digital dance learning tools.
Dance learning is by nature multimodal, while dance practice presents a wide diversity across genres and contexts. Choreography and artistic contemporary dance performances have been using interactive technologies to support their creative process for several decades. Nevertheless the use of interactive technologies to support dance learning and education is still relatively immature and raises many challenges and interesting questions when it comes to choosing the appropriate human computer interaction methods. In this paper, we present the characteristics of dance teaching and learning in relation to interactive technology and we highlight the points/feedback that dance, as a field of mastering expressive movement, can bring to the design of whole-body interaction experiences.
In this paper, we discuss the key elements of a semantic dancemove representation model based on rule-based extractions of logical descriptions from existing Labanotation scores. This is part of a larger effort on representing and analyzing dance movement based on choreological approaches and notation systems. The main goal is to develop a Knowledge-Based System that provides functionality (a) to search by movement concepts and characteristics in a meaningful way for dance practitioners, who may not necessarily be specialists in notation or analysis, and (b) to link different manifestations of movement recordings, especially Labanotation scores. We use examples to highlight the primary and abstract representation model and outline the main challenges in interpreting and segmenting a Labanotation score to transform it in a semi-automated way into a sequence of meaningful recognizable movement concepts. We are not aiming to develop an alternative notation system, but to construct a model and methodology to access existing scores (in digital form) and exploit the underlying information about movement for further computational analysis. We take into account some existing choreological approaches, which use an analogy between dance structure analysis and morphological language studies, and identify multiple levels of describing dance and movement. Finally, we discuss limitations of our approach as well as potential uses of the "search by movement" idea and outline some theoretical observations that emerged during this work.
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