The Tangibilization of Indigenous Dances and the Rehearsal of a Similarity Model for Quantitative Analysis of Movement

  1. Poveda, Jorge
  2. Fewer, Rory 1
  3. Wallace, Benedikte 2
  1. 1 University of California System
    info

    University of California System

    Oakland, Estados Unidos

    ROR https://ror.org/00pjdza24

  2. 2 University of Oslo
    info

    University of Oslo

    Oslo, Noruega

    ROR https://ror.org/01xtthb56

Journal:
Revista de Humanidades Digitales

ISSN: 2531-1786

Year of publication: 2024

Issue: 9

Pages: 71-94

Type: Article

DOI: 10.5944/RHD.VOL.9.2024.37943 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Revista de Humanidades Digitales

Abstract

This article explores several tools of varied affordability within the field of computer-based technologies of human movement recognition as a means of responding to the current lack of protection extended to Indigenous dances. Following a general theoretical overview of new technologies developed to process human movement, including motion capture, video visualization, and computer vision, this paper offers an investigation into the practical applications of such technology when applied to dance. The Movement Similarity Project at the University of Oslo’s RITMO Centre is explored as a case study, in which motion-capture technology has been utilized to measure and quantify the degree of similarity between different dance recordings. The possibilities, limitations, and future directions of these technologies are evaluated according to their ability to safeguard Indigenous dances.

Bibliographic References

  • Brown, M. (2005). Heritage Trouble: Recent Work on the Protection of Intangible Cultural Property.International Journal of Cultural Property,12, 40-61. https://doi.org/10.1017/S094073910505001.
  • Burri, M. (2008). The Long Tail of the Rainbow Serpent: New Technologies and the Protection and Promotion of Traditional Cultural Expressions. In Graber, C. & Burri, M. (Eds.), Intellectual Property and Traditional Cultural Expressions in a Digital Environment (pp. 205-236). Edward Elgar Publishing. http://dx.doi.org/10.2139/ssrn.1090824.
  • Cao, Z., Hidalgo, G., Simon, T., Wei, S., & Sheikh, Y. (2017). OpenPose: Realtime Multi-Person 2D
  • Pose Estimation using Part Affinity Fields. ArXiv, 20(1), 1-13.
  • Clifford, J. (1988). Introduction: The Pure Products Go Crazy. In Clifford, J. The Predicament of Culture (pp. 13-21). Harvard University Press.
  • Desmond, J. (1991) Dancing out the Difference: Cultural Imperialism and Ruth St. Denis's “Radha” of 1906. Signs, 17(1), 28-49.
  • Escobar Varela, M. & Hernández-Barraza, L. (2020). Digital dance scholarship: Biomechanics and culturally situated dance analysis. Digital Scholarship in the Humanities, 35(1), 160-175.
  • Frankel, S. (2014). “Ka Mate Ka Mate” and the protection of traditional knowledge. In Crawford,
  • A. & Lincoln, L. (Eds.), Intellectual Property at the Edge: The Contested Contours of Ip . Cambridge University Press.
  • Geduld, V.P. (2010). Dancing Diplomacy: Martha Graham and the Strange Commodity of Cold-
  • War Cultural Exchange in Asia, 1955 and 1974. Dance Chronicle, 33(1), 44-81.
  • General Conference of the International Labour Organization. (1989). Convention 169 Concerning Indigenous and Tribal Peoples in Independent Countries. https://www.ilo.org/dyn/normlex/en/f?p=NORMLEXPUB:12100:0::NO::P12100_ILO_CODE:C169.
  • Gervais, D. (2003). Spiritual But Not Intellectual? The Protection of Sacred Intangible Traditional Knowledge. Cardozo Journal of International and Comparative Law, 11, 468-495.
  • Intergovernmental Committee on Intellectual Property and Genetic Resources, Traditional Knowledge and Folklore. (2018). The Protection of Traditional Cultural Expressions: Updated Draft Gap Analysis. Genève. https://www.wipo.int/meetings/en/doc_details.jsp?doc_id=426450.
  • Jensenius, A. R. (2013). Some Video Abstraction Techniques for Displaying Body Movement in Analysis and Performance. Leonardo, 46(1), 53-43. https://doi.org/10.1162/LEON_a_00485.
  • Jensenius, A. R. (2014). From experimental music technology to clinical tool. In Stensæth, K. (Ed.), Music, health, technology, and design (pp. 12-25). Norges musikkhøgskole.
  • Jensenius, A. R. (2018). Methods for Studying Music-Related Body Motion. In Bader, R. (Ed.), Springer Handbook of Systematic Musicology (pp. 805-818). Springer Handbooks.
  • Kico, I., Grammalidis, N., Christidis, Y. & Liarokapis, F. (2018). Digitization and Visualization of Folk Dances in Cultural Heritage: A Review. Inventions, 3(4), 72-95.
  • Kraut, A. (2015). Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance. Oxford University Press.
  • Laban, R., & Ullmann, L. (1988). The movement and the body. In Anonymous, The Mastery of Movement (pp. 95-148). Macdonald and Evans.
  • Millan, M. (2020). Pueblos Originarios. La lideresa mapuche, Moira Millán denuncia a una coreógrafa europea por extractivismo cultural. Quinto poder conurbano. https:// quintopoderconurbano.com/inicio/2020/02/24.
  • Murphy, J. (2007). The People Have Never Stopped Dancing: Native American Modern Dance Histories. University of Minnesota Press.
  • Paterson, R. & Karjala, D. (2003). Looking Beyond Intellectual Property in Resolving Protection of the Intangible Cultural Heritage of Indigenous Peoples. Cardozo Journal of International and Comparative Law, 11(3), 633-1127.
  • Stanley, N. (2007). The Future of Indigenous Museums: Perspectives from the Southwest Pacific. Berghahn Books.
  • Teubner, G. & Fischer-Lescano, A. (2008). Cannibalizing Epistemes: Will Modern Law Protect Traditional Cultural Expressions? In Burri, M. & Graber, C. (Eds.), Intellectual Property and Traditional Cultural Expressions in a Digital Environment (pp. 17-45). Edward Elgar Publishing.
  • https://doi.org/10.4337/9781848443914.00008.
  • Thompson, M., Diapoulis, G., Himberg, T., & Toiviainen, P. (2017). Interpersonal Coordination in
  • Dyadic Performance. In M. Lesaffre, P.-J. Maes, & M. Leman (Eds.), The Routledge Companion to Embodied Music Interaction (pp. 186-194). Routledge, Taylor & Francis Group.
  • Routledge Companions. https://doi.org/10.4324/9781315621364-21.
  • Torsen, M. & Anderson, J. (2010). Intellectual Property and the Safeguarding of Traditional Cultures: Legal Issues and Practical Options for Museums, Libraries and Archives. WIPO Publishing.
  • UNESCO. (2003). Text of the Convention for the Safeguarding of the Intangible Cultural Heritage. https://ich.unesco.org/en/convention.
  • World Intellectual Property Organization (WIPO). (2002). Consolidated Analysis of the Legal Protection of Traditional Cultural Expressions/Expressions of Folklore. https://www.wipo.int/
  • edocs/pubdocs/en/tk/785/wipo_pub_785.pdf.
  • Zellen, B. (1998). Surf's Up!: NWT's Indigenous Communities Await a Tidal Wave of Electronic information. Cultural Survival Quarterly Magazine, 21(4). https://www.culturalsurvival.org/
  • publications/cultural-survival-quarterly/surfs-nwts-indigenous-communities-await-tidal-wave.
Data source: Dialnet