<i>The Physics of Dance</i>

Laws, K.; Dittman, Richard

doi:10.1119/1.13996

Cited by 4 publications

(9 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…1 J-K). The dancer regains the angular momentum lost due to friction during the slipping phase by swinging the free limbs when the foot is stationary, which enables the floor to exert a large frictional torque T F on the foot in the same direction as the swinging (Laws, 1984(Laws, , 1998Imura, Iino, & Kojima, 2008). The dancer can keep turning for more than 30 revolutions by repeating these movements.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Mechanics of the Fouetté turn

Imura¹,

Yeadon²

2010

Human Movement Science

View full text Add to dashboard Cite

The Fouetté turn in classical ballet is performed repeatedly on one leg with swinging of the free limbs, producing a continued sequence of turns with one turn leading into the next. The purpose of this study was to determine the possible time history profiles of the twisting torque between the supporting leg and the remainder of the body that will allow continued performances of the Fouetté turn. Simulations were performed using a model which comprised the supporting leg and the remainder of the body to find torque profiles that maintain the initial angular velocity so that the state after one revolution is the same as the initial state. The solution space of torque profiles was determined for various rotation times and coefficients of friction between foot and floor. As the time for one revolution became shorter the solution space became smaller and for a given turn time there was a lower limit on the coefficient of friction. As the frictional coefficient became smaller the solution space became smaller and for a given coefficient there was a lower limit on the turn time. Turns of a given tempo can be performed on floors with different friction by modifying the twisting torque profile. When a turn is completed with a net change in angular velocity this can be compensated for in the next turn by adjusting the twisting torque profile.

show abstract

Section: Introductionmentioning

confidence: 99%

“…*** insert Fig. 1 here *** Dancers have to perform the Fouetté turn in time to the music in the choreography, facing the front at the same position for the aesthetics of ballet (Laws, 1984). However, they sometimes turn to music tempo that is too fast or too slow and struggle with performing successful turns.…”

Section: Introductionmentioning

confidence: 99%

Mechanics of the Fouetté turn

Imura¹,

Yeadon²

2010

Human Movement Science

View full text Add to dashboard Cite

show abstract

“…Expert ballet dancers can continuously perform over 30 revolutions of the fouetté turn used in classical ballet dancing, whipping the gesture leg and the arms and bending and stretching the supporting leg (Figure 1 A to J). The arm ipsilateral to the gesture leg follows the motion of the leg (Laws, 1984). The other arm is kept at the side of the dancer after the leg is extended in front of the dancer until the leg moves to the side (Figure 1 C to G) (Warren, 1990).…”

mentioning

confidence: 99%

“…The other arm is kept at the side of the dancer after the leg is extended in front of the dancer until the leg moves to the side (Figure 1 C to G) (Warren, 1990). During these limb movements, the sole of the supporting foot is in contact with the floor (Laws, 1984). Both arms are kept in front of the chest during turning on tiptoe (Figure 1 J to A) (Warren, 1990).…”

mentioning

confidence: 99%

“…The whipping of the gesture leg and ipsilateral arm to the leg is important for the continuous turns. A frictional torque from the floor generated by the whipping supplies the angular momentum for the next revolution (Laws, 1984;Imura et al, 2008). The hip abductors and adductors of the leg are assumed to be activated for the whipping and stop of the leg, respectively (Laws, 1998).…”

mentioning

confidence: 99%

See 1 more Smart Citation

Kinematic and Kinetic Analysis of the Fouetté Turn in Classical Ballet

Imura

Iino²,

Kojima³

2010

Journal of Applied Biomechanics

View full text Add to dashboard Cite

The fouetté turn in classical ballet dancing is a continuous turn with the whipping of the gesture leg and the arms and the bending and stretching of the supporting leg. The knowledge of the movement intensities of both legs for the turn would be favorable for the conditioning of the dancer’s body. The purpose of this study was to estimate the intensities. The hypothesis of this study was that the intensities were higher in the supporting leg than in the gesture leg. The joint torques of both legs were determined in the turns performed by seven experienced female classical ballet dancers with inverse dynamics using three high-speed cine cameras and a force platform. The hip abductor torque, knee extensor and plantar flexor torques of the supporting leg were estimated to be exerted up to their maximum levels and the peaks of the torques were larger than the peaks of their matching torques of the gesture leg. Thus, the hypothesis was partly supported. Training of the supporting leg rather than the gesture leg would help ballet dancers perform many revolutions of the fouetté turn continuously.

show abstract

Dynamic attending and responses to time.

Jones¹,

Boltz²

1989

Psychological Review

917

852

View full text Add to dashboard Cite

A temporally based theory of attending is proposed that assumes that the structure of world events affords different attending modes. Future-oriented attending supports anticipatory behaviors and occurs with highly coherent temporal events. Time judgments, given this attending mode, axe influenced by the way an event's ending confirms or violates temporal expectancies. Analytic attending supports other activities (e.g., grouping, counting), and if it occurs with events of low temporal coherence, then time judgments depend on the attending levels involved. A weighted contrast model describes over-and underestimations of event durations. The model applies to comparative duration judgments of equal and unequal time intervals; its rationale extends to temporal productions/extrapolations. Two experiments compare predictions of the contrast model with those derived from other traditional approaches.One characteristic of modern society is a preoccupation with fixed time schedules and standardized timekeepers. We maintain appointments at hourly intervals, rush to meet the 5:00 p.m. bus, and dine at predetermined hours. Yet our natural ability to judge time remains poorly understood. How often do we estimate the time elapsed since last glancing at a clock and discover with surprise that we were fairly accurate? Surprise is understandable because at least as often we lose track of time and err. The validity of these impressions is confirmed by laboratory research showing that duration judgments depend not only on actual physical duration but also on a variety of nontemporal factors. These include the spatial layout and complexity of an event as well as the attentional set, skill, affect, and constitutional state of the judge (Allan, 1979;Fraisse, 1984; Kristofferson, 1984).Researchers have addressed many of these issues that include both psychophysical problems (e.g., Weber's Law for time discrimination) and organismic variables (e.g., age, drugs, and arousal effects). Of recent interest is the influence of nontemporal information on time judgments, due largely to a fascination with such problems as the filled interval effect. This phenomenon reveals that two equivalent time intervals may not be judged as such because of the nontemporal information that fills them. Although the most popular models of judged duration attempt to explain this effect (e.g., Block, 1978;Ornstein, 1969), the effect itself raises problems for a general theory of time estimation (Allan, 1979).In this article we focus on some problems raised by the filled This research was supported by Grant BNS-8204811 from the National Science Foundation and by a fellowship from the Netherlands Institute for Advanced Study awarded to the senior author (I 986-1987).The authors thank Chris Antons, David Buffer, Walter Johnson, Gary Kidd, Kerri Marsh, Elizabeth Maxshburn, John Michon, Mitch Pratt, Ken Pugh, Jackie Ralston, and Wither wan Vreden. Special thanks axe due to Steve Handel and two anonymous reviewers for their excellent comments on an earlier version of...

show abstract

The Physics of Dance

Cited by 4 publications

References 0 publications

Mechanics of the Fouetté turn

Mechanics of the Fouetté turn

Kinematic and Kinetic Analysis of the Fouetté Turn in Classical Ballet

Dynamic attending and responses to time.

Contact Info

Product

Resources

About