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Good morning All photographers
This is my entry #22 to the Black and White Photography challenge.
Rules to follow in this Black & White photography challenge:
- Black and white images that represent any positive meaning in life.
- Present one or two image every day.
- You may add people, if you want.
- No explanation.
- Use the tag - #bnwphotography - as your first tag
******
Thanks for reading.
@steembe" |
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| title | "The dance and its body language./La danza y su lenguaje corporal.[ENG/ESP]" |
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| body | "<center>
[](https://3speak.tv/watch?v=mundomanaure/akpgmhmh)
▶️ [Watch on 3Speak](https://3speak.tv/watch?v=mundomanaure/akpgmhmh)
</center>
---
<div class="text-justify">
Today I come to bring you the latest video of the Contemporary Dance Interpreter Daniel Alejandro, who will be performing on the balcony of the Castle.
>Hoy les vengo a traer el último video del Intérprete de Danza Comtemporanea Daniel Alejandro, el cual estará interpretando en el balcón del Castillo.
In this video we are going to evaluate several techniques that the Cat applies in his improvisation process consciously and unconsciously, in the same way it is good to mention them so that the reader has knowledge of it and understands the entire process that improvisation entails. The first thing we are going to talk about is body language or better known as Kinésia, it is a science that is responsible for systematizing and interpreting the movements of the body in order to study their expressive and communicative emotional meanings.
>En este video vamos a evaluar varias técnicas que el Gato aplica en su proceso de improvisación consciente e inconscientemente, de igual manera es bueno mencionarlas para que el lector tengo conocimiento en ello y entienda todo el proceso que la improvisación conlleva. Lo primero que vamos hablar es del lenguaje corporal o mejor conocido como Kinésia, es una ciencia que se encarga de sistematizar e interpretar los movimientos del cuerpo con el objetivo de estudiar sus significados emocionales expresivos y comunicativos.
For example, if we evaluate the entrance of the interpreter to the camera field that comes with a camera pan from right to left, we can see that Daniel is sitting having a drink, unlike the previous video of Roselbi, that the girl entered through the window , Daniel makes the space, he makes it his own, so much so that he inhabits it in a comfortable and calm way, with his guard down.
>Por ejemplo si evaluamos la entrada del intérprete al campo de cámara que viene con un paneo de cámara de derecha a izquierda, podemos observar que Daniel se encuentra sentado tomando una bebida, a diferencia del vídeo anterior de Roselbi, que la chica entraba por la ventana, Daniel se hace del espacio, lo hace suyo, tanto que lo habita de una forma cómoda y tranquila, con la guardia abajo.
The emotions that the interpreter is feeling can be recognized through their movement, expressing themselves with great intensity or with simply an action of the gaze or a physical contact of strong muscular pressure or a gentle Contact. In this case we can see how feelings and emotions vary in intensity according to the expression of the song, taking into account that the music was selected by him, so there must be an emotional affinity with it, generating an impulse of movement that begins with feelings and ends in bodily expression.
>Se puede reconocer las emociones que está sintiendo el intérprete a través de su movimiento, expresándose con gran intensidad o con simplemente un acción de la mirada o un contacto físico de fuerte presión muscular o un un Contacto suave. En este caso podemos ver cómo los sentimientos y emociones varían de Intensidad según la expresión de la canción, tomando en cuenta que la música la seleccionó él, por lo cual debe haber una afinidad emocional con ella generando un impulso del movimiento que comienza por los sentimientos y termina en la expresión corporal.
Taking into account the aforementioned, Allan Pease (2006) comments “The language of the body is an external reflection of the emotional condition of the person, each gesture or movement can be a valuable key to discover an emotion and how it can feel in a given moment"
>Tomando en cuenta lo mencionado anteriormente, Allan Pease (2006) comenta “El lenguaje del cuerpo es un reflejo exterior de la condición emocional de la persona, cada gesto o movimiento puede ser una clave valiosa para descubrir una emoción y de cómo puede sentirse en determinado momento”
It can be said that the expression of the body is a constant communication of the thought that is being generated internally, but it must be clarified that not all of us can read the body language of all, there are bodies that express cultural codes that we do not understand why our codes they are others as expressed by Dr. Birdwhistell, (quoted by Julius Fast 1971), "No position or movement of the body by itself has a precise meaning" (p.153); added to this, the social, cultural and environmental aspects that a person possesses. On this, Fast (1971) explains that: "To understand this wordless body language, kinesic experts often have to take into account cultural and environmental differences" (p.11).
>Se puede decir que la expresión del cuerpo es una constante comunicación del pensamiento que se está generando internamente, pero hay que aclarar que no todos podemos leer el lenguaje corporal de todos, hay cuerpos que expresan códigos culturales que no entendemos por motivo a qué nuestros códigos son otros tal como lo expresa el Dr. Birdwhistell, (citado por Julius Fast 1971), “Ninguna posición o movimiento del cuerpo por sí mismo tiene una significación precisa” (p.153); agregado a esto, los aspectos sociales, culturales y ambientales que posee una persona. Sobre esto, Fast (1971) explica que: “Para comprender este lenguaje sin palabras del cuerpo, los expertos kinésicos tienen a menudo que tomar en consideración las diferencias culturales y ambientales” (p.11).
This makes us understand that not all bodies express the same thing, in which case we must face the idea of a classification and differentiation of what the movements of our body can mean according to a certain social and cultural context.
>Esto nos hace entender que no todo los cuerpos expresan lo mismo en tal caso debemos enfrentar la idea de una clasificación y diferenciación de lo que puede llegar a significar los movimientos de nuestro cuerpo según determinado contexto social y cultural.
However, according to Kinesic dogs, not only do they sustain themselves from the culture where the body comes from, over time after research processes they managed to understand there are other elements in which we can sustain ideas of generalized movements such as looks, contact, posture and distances concretized codes and symbols that over time has defined a language.
>Sin embargo, según los perros Kinésicos, no solo se sostienen de la cultura de dónde proviene el cuerpo, con el tiempo tras procesos de investigaciones lograron entender hay otros elementos en los cuales podemos sostener ideas de movimientos generalizados como lo son las miradas, contacto, postura y distancias concretado códigos y símbolos que a lo largo del tiempo ha definido un lenguaje.
This information from body language helps us to understand the way dance is communicated and also to be aware of the high sensitivity that a dancer may have regarding his body and his way of moving.
>Esta información del lenguaje corporal nos ayuda a entender la forma en que se comunica la danza y también a tener conciencia de la alta sensibilidad que un bailarín pues tener con respecto a su cuerpo y su forma de mover.
</div>
---
▶️ [3Speak](https://3speak.tv/watch?v=mundomanaure/akpgmhmh)
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| json_metadata | "{"tags":["art","dance","improvisation","language","video"],"app":"3speak/0.3.0","type":"3speak/video","image":["https://img.3speakcontent.online/akpgmhmh/thumbnails/default.png"],"video":{"info":{"platform":"3speak","title":"The dance and its body language./La danza y su lenguaje corporal.[ENG/ESP]","author":"mundomanaure","permlink":"akpgmhmh","duration":152.234667,"filesize":88552409,"file":"fUcUANgpYUHpeyfegBjVAoxuWZJJVHOHZBwKipRagPJsUUTWURAeCnxhugreqqqS.mp4","lang":"es","firstUpload":false,"ipfs":"QmdDyZBNjwDa8gJAjGe66oCbUb12SZ4zFrtWWceBimFt1d/default.m3u8","ipfsThumbnail":"QmdDyZBNjwDa8gJAjGe66oCbUb12SZ4zFrtWWceBimFt1d/thumbnail.png"},"content":{"description":"<div class=\"text-justify\">\n\nToday I come to bring you the latest video of the Contemporary Dance Interpreter Daniel Alejandro, who will be performing on the balcony of the Castle.\n\n>Hoy les vengo a traer el último video del Intérprete de Danza Comtemporanea Daniel Alejandro, el cual estará interpretando en el balcón del Castillo.\n\n\n\n\nIn this video we are going to evaluate several techniques that the Cat applies in his improvisation process consciously and unconsciously, in the same way it is good to mention them so that the reader has knowledge of it and understands the entire process that improvisation entails. The first thing we are going to talk about is body language or better known as Kinésia, it is a science that is responsible for systematizing and interpreting the movements of the body in order to study their expressive and communicative emotional meanings.\n\n>En este video vamos a evaluar varias técnicas que el Gato aplica en su proceso de improvisación consciente e inconscientemente, de igual manera es bueno mencionarlas para que el lector tengo conocimiento en ello y entienda todo el proceso que la improvisación conlleva. Lo primero que vamos hablar es del lenguaje corporal o mejor conocido como Kinésia, es una ciencia que se encarga de sistematizar e interpretar los movimientos del cuerpo con el objetivo de estudiar sus significados emocionales expresivos y comunicativos.\n\n\n\n\nFor example, if we evaluate the entrance of the interpreter to the camera field that comes with a camera pan from right to left, we can see that Daniel is sitting having a drink, unlike the previous video of Roselbi, that the girl entered through the window , Daniel makes the space, he makes it his own, so much so that he inhabits it in a comfortable and calm way, with his guard down.\n\n\n>Por ejemplo si evaluamos la entrada del intérprete al campo de cámara que viene con un paneo de cámara de derecha a izquierda, podemos observar que Daniel se encuentra sentado tomando una bebida, a diferencia del vídeo anterior de Roselbi, que la chica entraba por la ventana, Daniel se hace del espacio, lo hace suyo, tanto que lo habita de una forma cómoda y tranquila, con la guardia abajo.\n\n\n\n\nThe emotions that the interpreter is feeling can be recognized through their movement, expressing themselves with great intensity or with simply an action of the gaze or a physical contact of strong muscular pressure or a gentle Contact. In this case we can see how feelings and emotions vary in intensity according to the expression of the song, taking into account that the music was selected by him, so there must be an emotional affinity with it, generating an impulse of movement that begins with feelings and ends in bodily expression.\n\n\n>Se puede reconocer las emociones que está sintiendo el intérprete a través de su movimiento, expresándose con gran intensidad o con simplemente un acción de la mirada o un contacto físico de fuerte presión muscular o un un Contacto suave. En este caso podemos ver cómo los sentimientos y emociones varían de Intensidad según la expresión de la canción, tomando en cuenta que la música la seleccionó él, por lo cual debe haber una afinidad emocional con ella generando un impulso del movimiento que comienza por los sentimientos y termina en la expresión corporal.\n\n\n\n\nTaking into account the aforementioned, Allan Pease (2006) comments “The language of the body is an external reflection of the emotional condition of the person, each gesture or movement can be a valuable key to discover an emotion and how it can feel in a given moment\"\n\n>Tomando en cuenta lo mencionado anteriormente, Allan Pease (2006) comenta “El lenguaje del cuerpo es un reflejo exterior de la condición emocional de la persona, cada gesto o movimiento puede ser una clave valiosa para descubrir una emoción y de cómo puede sentirse en determinado momento” \n\n\n\n\nIt can be said that the expression of the body is a constant communication of the thought that is being generated internally, but it must be clarified that not all of us can read the body language of all, there are bodies that express cultural codes that we do not understand why our codes they are others as expressed by Dr. Birdwhistell, (quoted by Julius Fast 1971), \"No position or movement of the body by itself has a precise meaning\" (p.153); added to this, the social, cultural and environmental aspects that a person possesses. On this, Fast (1971) explains that: \"To understand this wordless body language, kinesic experts often have to take into account cultural and environmental differences\" (p.11).\n\n>Se puede decir que la expresión del cuerpo es una constante comunicación del pensamiento que se está generando internamente, pero hay que aclarar que no todos podemos leer el lenguaje corporal de todos, hay cuerpos que expresan códigos culturales que no entendemos por motivo a qué nuestros códigos son otros tal como lo expresa el Dr. Birdwhistell, (citado por Julius Fast 1971), “Ninguna posición o movimiento del cuerpo por sí mismo tiene una significación precisa” (p.153); agregado a esto, los aspectos sociales, culturales y ambientales que posee una persona. Sobre esto, Fast (1971) explica que: “Para comprender este lenguaje sin palabras del cuerpo, los expertos kinésicos tienen a menudo que tomar en consideración las diferencias culturales y ambientales” (p.11). \n\n\n\n\nThis makes us understand that not all bodies express the same thing, in which case we must face the idea of a classification and differentiation of what the movements of our body can mean according to a certain social and cultural context.\n\n>Esto nos hace entender que no todo los cuerpos expresan lo mismo en tal caso debemos enfrentar la idea de una clasificación y diferenciación de lo que puede llegar a significar los movimientos de nuestro cuerpo según determinado contexto social y cultural. \n\n\n\n\nHowever, according to Kinesic dogs, not only do they sustain themselves from the culture where the body comes from, over time after research processes they managed to understand there are other elements in which we can sustain ideas of generalized movements such as looks, contact, posture and distances concretized codes and symbols that over time has defined a language.\n\n>Sin embargo, según los perros Kinésicos, no solo se sostienen de la cultura de dónde proviene el cuerpo, con el tiempo tras procesos de investigaciones lograron entender hay otros elementos en los cuales podemos sostener ideas de movimientos generalizados como lo son las miradas, contacto, postura y distancias concretado códigos y símbolos que a lo largo del tiempo ha definido un lenguaje.\n\n\n\n\nThis information from body language helps us to understand the way dance is communicated and also to be aware of the high sensitivity that a dancer may have regarding his body and his way of moving.\n\n>Esta información del lenguaje corporal nos ayuda a entender la forma en que se comunica la danza y también a tener conciencia de la alta sensibilidad que un bailarín pues tener con respecto a su cuerpo y su forma de mover.\n\n \n\n\n</div>","tags":["art","dance","improvisation","language","video"]}}}" |
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