Interactive Dance Choreography Assistance

Abstract

Creative support for the performing arts is prevalent in many fields, however, for the art of dance, automated tools supporting creativity have been scarce. In this research, we describe ongoing research into (semi)automatic automated creative choreography support. Based on state-of-the-art and a survey among 54 choreographers we establish functionalities and requirements for a choreography assistance tool, including the semantic levels at which it should operate and communicate with the end-users. We describe a user study with a prototype tool which presents choreography alternatives using various simple strategies in three dance styles. The results show that the needs for such a tool vary based on the dance discipline. In a second user study, we investigate various methods of presenting choreography variations. Here, we evaluate four presentation methods: textual descriptions, 2D animations, 3D animations and auditory instructions in two different dance styles. The outcome of the expert survey shows that the tool is effective in communicating the variations to the experts and that they express a preference for 3D animations. Based on these results, we propose a design for an interactive dance choreography assistant tool.

Director’s Interpretation of Kazakh Dance: Development Trajectories in the Perspective of Creativity

“…This is an important criterion in the presentation of national choreographic work because the world of semantic convergence, analogies, and oppositions, which does not coincide with the semantic grid of the natural language of choreography, comes into conflict with it (Tleubayev, 2000). A specific approach to dance segmentation into related fragments has been effectively used for three-dimensional dance modeling and now forms the basis for interactive accompaniment of choreography training and in online dance training systems (de Boer et al, 2018).…”

Supporting Perception of Spatiality in Dance in Augmented Reality

“…The goal is to help users understand the spatiality of the choreography, as well as its temporality. We motivate the design of a 3D representation of dance movements by the results of the study in [12]. They compared Benesh and Laban notations in a 2D and a 3D animation and found that the 3D animation did not disrupt the dancers and stimulated their creativity, and supported their understanding of the movement better than the 2D animation.…”

Data-Driven Computer Choreography Based on Kinect and 3D Technology

“…e above calculation process can get all the angle values except the two degrees of freedom of the ankle [10]. For the calculation of the angle of the ankle joint, the relative position of the robot and the ground needs to be taken into consideration because the sole of the foot must be parallel to the ground.…”