790 Freizeitgestaltung, darstellende Künste, Sport
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Highlights
• Investigation of how the peripheral muscle system responds to imagination in interaction with proprioceptive information.
• Motor imagery altered time to contraction but not velocity and maximal displacement of the muscle belly.
• Findings indicate that MI might impact on the initiation of contraction.
Abstract
Many studies have investigated the activation of cortical areas and corticospinal excitability during motor imagery (MI) in relation to motor execution. Similar activation of cortical areas during imagined and executed bodily movements and increased corticospinal excitability while imagining movements has been demonstrated. Despite these similarities on the central nervous system level, there is no overt movement during MI. This suggests that centrally generated signals must be inhibited at some level. Second, even in the absence of movement, some studies find behavioral effects of MI interventions. Most of the studies have investigated the role of MI on the cortical or spinal level, but less is known about the peripheral level, such as the muscle system. Testing muscular excitability during MI will give further hints whether and how low-threshold motor commands during MI reach the muscular system. Furthermore, the extent of the shown effects during imagery depends considerably on type of imagery, available proprioceptive information, and imagery ability. Therefore, this study investigates muscular excitability of the biceps brachii muscle manipulating imagery mode (MI vs. visual imagery) and proprioceptive information (with or without muscle effort). 40 participants were included in the analysis. The mechanical response of the muscle after a single electrical stimulus was assessed via tensiomyography. The corresponding variables maximal displacement, delay time, and contraction velocity were used to calculate 2 × 2 ANOVAs with repeated measurements. The absence of interaction effects shows that possible imagery effects on the muscle system are not increased by effort. MI altered time to contraction with lower delay time compared to control condition. Velocity and maximal displacement of the muscle belly during contraction did not differ between imagery conditions. This indicates that MI might impact on the initiation of muscle contraction but does not change the contraction itself. Thus, neuronal factors are moving further into focus in the context of MI research.
Der Diskurs über Integration und Integrationsmechanismen fand seinen Beginn in der Migrationsforschung, deren Anfänge bis in die erste Hälfte des 19. Jahrhunderts zurückreichen . Innerhalb dieses Feldes fanden immer wieder Wandlungen der Ausgestaltung des Begriffs der Integration statt, da die theoretischen Konzepte in unterschiedlichen gesellschaftlichen sowie historischen Kontexten entstanden sind bzw. entstehen. Heute existiert eine Vielzahl an theoretischen Perspektiven auf Integration, die eine hohe Heterogenität und auch Interdisziplinarität aufweisen. Generell zeigt sich somit, dass, wenn von Integration gesprochen wird, nicht wirklich klar ist, was unter dem Begriff zu verstehen ist. Die vorliegende Arbeit macht es sich somit zur Aufgabe, den Begriff der Integration und damit verbundene Zielvorstellungen aus Sicht der Akteurinnen und Akteure in Sportorganisationen zu beleuchten. Dafür wird eine Studie im Mixed-Methods-Design durchgeführt, die eine fragebogenbasierte Umfrage, explorative Interviews mit Vereinsvorständen und vertiefende Leitfadeninterviews mit Vereinsmitgliedern umfasst. Ein besonderer Fokus der Gruppenvergleiche liegt dabei auf Personen mit und ohne Migrationshintergrund, um die Perspektive von Personen mit Migrationshintergrund selbst in den Diskurs einbringen zu können. Da sich subjektive Sichtweisen auch aufgrund weiterer Faktoren unterscheiden können, werden außerdem Zusammenhänge zwischen sozialstrukturellen Merkmalen sowie Merkmalen der Vereine und subjektiven Sichtweisen auf Integration untersucht.
Neben einer guten Tanztechnik spielt die Körperform von professionellen Tänzer*innen eine entscheidende Rolle. Im klassischen Tanz gilt eine leptosom-grazile Form mit langen Gliedmaßen bei Frauen als ideal. Dementsprechend ist die Prävalenz von Untergewicht hoch. Dabei ist es nicht ausgeschlossen, dass dieses physische Erscheinungsbild mittels Diäten erreicht wird. Auffällig ist eine höhere Prävalenz von Störungen des Essverhaltens und Essstörungen vor allem bei Tänzerinnen im Vergleich zu nicht tanzenden Vergleichsgruppen. Im Zusammenhang mit dem Untergewicht können hormonelle Störungen, wie Amenorrhoe, Osteoporose oder Leistungseinschränkungen auftreten. Daher ist es wichtig, Tänzer*innen regelmäßig zu untersuchen und präventive Maßnahmen zu ergreifen. Ziel der vorliegenden Übersicht ist die Darstellung der Literatur zu diesem Thema.
In the 1990s, the question of the legacy of historical performance was posed with a particular sense of urgency. In the context of most pioneers of the art form having retired from live performance, reenactments not only reproduced past works but positioned artists within the genealogy of performance. The sense of the passage of a generation and the transmission of the memory of past performances were made explicit by Marina Abramović in "The Biography" (1992), a theatre piece in which she stages the very process of accounting for her past, as well as by Takashi Murakami and Oleg Kulik, who emerged on the art scene in the 1990s and mimicked live works from the past.
Many sports employ caloric restriction (CR) to reduce athletes’ body mass. During these phases, resistance training (RT) volume is often reduced to accommodate recovery demands. Since RT volume is a well-known anabolic stimulus, this review investigates whether a higher training volume helps to spare lean mass during CR. A total of 15 studies met inclusion criteria. The extracted data allowed calculation of total tonnage lifted (repetitions × sets × intensity load) or weekly sets per muscle group for only 4 of the 15 studies, with RT volume being highly dependent on the examined muscle group as well as weekly training frequency per muscle group. Studies involving high RT volume programs (≥ 10 weekly sets per muscle group) revealed low-to-no (mostly female) lean mass loss. Additionally, studies increasing RT volume during CR over time appeared to demonstrate no-to-low lean mass loss when compared to studies reducing RT volume. Since data regarding RT variables applied were incomplete in most of the included studies, evidence is insufficient to conclude that a higher RT volume is better suited to spare lean mass during CR, although data seem to favor higher volumes in female athletes during CR. Moreover, the data appear to suggest that increasing RT volume during CR over time might be more effective in ameliorating CR-induced atrophy in both male and female resistance-trained athletes when compared to studies reducing RT volume. The effects of CR on lean mass sparing seem to be mediated by training experience, pre-diet volume, and energy deficit, with, on average, women tending to spare more lean mass than men. Potential explanatory mechanisms for enhanced lean mass sparing include a preserved endocrine milieu as well as heightened anabolic signaling.
To support the practice of preservation and mediation of video works in the LIMA Collection (Amsterdam), the authors explore the possibilities of reinterpretation as a rather common practice in the performing arts. As a choreographer and a dramaturge, they establish a correlation between reinterpretation and dramaturgy - as a way to deal with non-objective or transitory aspects of the works - and describe their method in relation to the video and performance artist Nan Hoover.
Can reenactments be a way to create counter-narratives in and for the museum? Through the analysis of political performance (or what the artist Tania Bruguera calls 'political-timing-specific' artworks), this essay discusses the potential of reenactment as both a practice of materializing memories and narratives of oppression and of rethinking museum policies in terms of preservation and display. Its main argument is that, while the archive can be regarded as a form of materializing the memory of these works, reenactment is more than a way of recovering the past; it is also a device for reconstructing memories of activism and oppression. This essay further suggests that reenactments of political-timing-specific works demand a change in accessioning, conservation, and presentation practices, which might be inclined to erase decentralized art-historical and material narratives.
Tracing the complex history of the term 'reenactment', back to R.G. Collingwood's philosophy of history, on the one hand, and popular practices of war reenactments and living history museums, on the other, a survey of its current contribution in art and museum practices highlights the importance of historicity - a category the postmodern was supposed to have vacated - in a wide range of examples, from Rod Dickinson and Jeremey Deller to Alexandra Pirici, Manuel Pelmuş, and Milo Rau. Performance reenactments, in particular, are premised on performance art having become historical, but also threaten to digest history in favour of a mere productivist mobilization for the needs of current attention economies. An alternative could be the attempt to counter historical with dramatic time in order to unlock unrealized possibilities and futures, as the term preenactment promises.
Performance. Oper. Feminismus : Bemerkungen zu "7 Deaths of Maria Callas" von Marina Abramović
(2022)
Auf der Bühne der Deutschen Oper liegt eine Frau in einem Bett. Wir blicken, so ist dem Programmheft zu entnehmen, in die Rekonstruktion eines historischen Schlafzimmers. Maria Anna Sofia Cecilia Kalogeropoulou soll hier gewohnt haben, besser bekannt unter ihrem Künstlernamen Maria Callas. [...] Bevor Abramović in Kalogeropoulous Schlafzimmer erwacht, gab es sieben Kurzfilme zusehen, die als filmische Kommentare auf sieben Bühnentode des klassischen Opernrepertoires konzipiert wurden. In der Reihenfolge ihres Ablebens treten auf: Violetta, Tosca, Desdemona, Cio-Cio-San, Carmen, Lucia und Norma. In den Filmen lässt sich Abramović von deren jeweiligen Todesarten inspirieren: Abramović stürzt von einem Turm, Abramović wird von einer Schlange erwürgt, Abramović zertrümmert im Wahnsinn Mobiliar usw., alles bei ununterbrochenem Einsatz der Zeitlupe. Den Filmen wird die sie jeweils inspirierende Szene live musikalisch zur Seite gestellt, jede Figur dabei von einer anderen Sängerin verkörpert. Allerdings kommen in den meisten Fällen nicht die tatsächlichen Todesszenen der betreffenden Dramatis Personae zur Aufführung, sondern ein Potpourri ihrer vermeintlich schönsten Melodien. [...] Das fundamentale dramaturgische Problem der "7 Deaths of Maria Callas" erklärt sich aber erst mit Blick auf eine Installation, die Abramović auf Grundlage derselben Zusammenstellung von Film und Musik, allerdings unter Zuhilfenahme von historischen Aufnahmen von Kalogeropoulou präsentiert hat. In dieser Version, unter dem Titel "7 Deaths" in der Londoner Lisson Gallery gezeigt, entfaltet sich ein intimer Dialog zwischen deutlich voneinander zu unterscheidenden Medien und Stilen. Die Autonomie der musikalischen Darbietung geht in der Bühnenversion verloren, der Charakter der Installation verschiebt sich in Richtung Stummfilm mit Live-Musik. Letztere hat nur noch begleitende Funktion und kann weder von der Aura des Historischen noch von den stilbildenden Interpretationen der Callas profitieren. Noch in ihrer Abwesenheit stellt Kalogeropoulou aber an performativer Intensität alles zur Aufführung Kommende in den Schatten. Denn während Abramović bei dem Versuch scheitert, sich mit ihrer physischen Präsenz gegen ihren eigenen Celebrity-Status zu behaupten, treten die Sängerinnen des Abends mit dem Medienphänomen Maria Callas in Konkurrenz. Eine Übermacht völlig anderen Kalibers.
Tensiomyography measures the radial displacement of a muscle during an electrically evoked twitch contraction. The rate of muscle displacement is increasingly reported to assess contractile properties. Several formulas currently exist to calculate the rate of displacement during the contraction phase of the maximal twitch response. However, information on the reproducibility of these formulas is scarce. Further, different rest intervals ranging from 10 s to 30 s are applied between consecutive stimuli during progressive electrical stimulation until the maximum twitch response. The effect of different rest intervals on the rate of displacement has not been investigated so far. The first aim of this study is to investigate the within and between-day reliability of the most frequently used formulas to calculate the rate of displacement. The second aim is to investigate the effect of changing the inter-stimulus interval on the rate of displacement. We will determine the rectus femoris and biceps femoris rate of displacement of twenty-four healthy subjects’ dominant leg on two consecutive days. The maximum displacement curve will be determined two times within three minutes on the first day and a third time 24 h later. On day two, we will also apply three blocks of ten consecutive stimuli at a constant intensity of 50 mA. Inter-stimuli intervals will be 10 s, 20 s or 30 s in each block, respectively, and three minutes between blocks. The order of inter-stimulus intervals will be randomized. This study will allow a direct comparison between the five most frequently used formulas to calculate the rate of displacement in terms of their reproducibility. Our data will also inform on the effect of different inter-stimulus intervals on the rate of displacement. These results will provide helpful information on methodical considerations to determine the rate of displacement and may thus contribute to a standardized approach.
State security archives in Eastern Europe are shedding new light on the operative practices of the secret services and their interaction with performance art. Surveillance, tracking, undermining, disruption, writing of reports, and measure plans were different operative methods to be carried out in continuous repetitive processes. This paper argues that, through these repetitive working processes, state security agencies were permanently engaged in different forms of reenactments: of orders, legends, report writing, and inventing measure plans. With this operative reenactment, state security agencies not only tried to track down facts but also created 'fake facts' serving their agenda. These 'fake-facts' were then again repeated and reenacted by informants endlessly to be 'effective' in the surveillance and elimination of performance art.
The Neoplastic Room at the Muzeum Sztuki in Łódź was originally designed in 1948 by the avant-garde artist Władysław Strzemiński. Destroyed in 1950 and reconstructed in 1960, it became the focal point of the museum, with the 'International Collection of Modern Art' by the a.r. group being exhibited there. At the same time, it became a point of reference for contemporary artists and a strategy for building a permanent collection for the museum, as well as a reflection on how the past can give a vision of the future. This essay focuses on the gesture of 're-curating' the Neoplastic Room in relation to the performative practice of the artists involved (e.g., Daniel Buren, Elżbieta Jabłońska).
Background: In March 2020, the COVID-19 outbreak led to the declaration of a pandemic. The accompanying restrictions on public life caused a change in the training routines of athletes worldwide. The present study aimed to investigate the effects of a 13-week supervised home training program on physical performance, sleep quality, and health-related quality of life in professional youth soccer players during the first COVID-19 lockdown in Germany.
Methods: Eight professional soccer players (age range 16–19; height: 1.81 ± 0.07 m; body weight: 72.05 ± 6.96 kg) from a Bundesliga team in Germany participated in this study. During the lockdown, they trained 5–6 days per week with home-based training plans and were monitored via tracking apps and video training. To determine the effects of home training, measurements were taken before (March 2020) and after (June 2020) the home training period. Bioelectrical impedance analysis was used to determine body composition, and an isokinetic strength test and a treadmill step test, including lactate measurements, were used to measure physical performance. Two questionnaires were responded to in order to assess health-related quality of life [Short-Form 36 Health Survey (SF-36)] and sleep quality (Pittsburgh Sleep Quality Index).
Results: When comparing measurements before and after the home training period, we observed significant increases in the following variables: body weight (72.05 ± 6.96 kg vs. 73.50 ± 6.68 kg, p = 0.034), fat mass (11.99 ± 3.13 % vs. 13.98 ± 3.92 %, p = 0.030), body mass index (22.04 ± 0.85 kg/m2 vs. 22.49 ± 0.92 kg/m2, p = 0.049), and mental health component summary score (MCS) of the questionnaire SF-36 (53.95 ± 3.47 vs. 58.33 ± 4.50, p = 0.044). Scores on the general health (77.88 ± 14.56 vs. 89.75 ± 13.76, p = 0.025) and mental health (81.50 ± 9.30 vs. 90.00 ± 11.71, p = 0.018) subscales of the SF-36 also increased significantly.
Conclusion: The COVID-19 lockdown led to an increase in body composition parameters and showed an improvement in the MCS and scores on the general and mental health subscales of the SF-36. Physical performance and sleep quality could be maintained during the home training period. These observations may help trainers for future training planning during longer interruptions in soccer training.
A sense of repetition pervades contemporary South African political and cultural debate. Several recent studies have drawn attention to the fact that the renewed student protests since March 2015 parallel several features of the resistance and liberation movements of the 1970s and 1980s. At a pivotal position between the two moments of political struggle stands the 'miracle' of the peaceful transition in 1994. Within this set of circumstances a group of curators, artists, and writers, Gabi Ngcobo and Kemang Wa Lehulere, amongst others, formed a collective under the name CHR (Center for Historical Reenactments) in Johannesburg in 2010. The CHR has pursued several questions that interrogate the complexity of a shared memory bridging segregated Apartheid legacy: how do readings of the past inform contemporary urgencies, and what are the political potentials of artistic interpretations of histories? How do they participate in the formation of new subjectivities?
Germany experienced a 6-month second lockdown (November 2020–April 2021) during the COVID-19 pandemic, which included the closure of all physical activity (PA) facilities. The use of online exercise classes (OECs) was promoted by public health and exercise organizations. Using the present cross-sectional online survey, we assess the use of and opinion towards OECs in Germany during the second lockdown. We used contingency tables and the Chi2 test to calculate the frequency of awareness and use of OECs according to PA status, well-being and demographic data, and conducted a binary logistic regression with OEC awareness or use and dichotomized independent predictors. The associations between opinion and activity status, frequency of use, educational attainment, age and body mass index were calculated using Spearman correlations. A total of 993 datasets were analyzed in detail. Of the 785 (79.1%) participants reporting awareness of OECs, 536 tried them, and 262, 188 and 85 used them <1 per week, 1–2 per week and ≥3 per week, respectively. The users were typically active, female participants with poorer mental well-being. The opinions towards OECs varied according to participant characteristics, such as activity status, BMI and age. Overall, regular OEC use was quite limited, and, as such, cannot replace in-person exercise opportunities. Keeping physical activity facilities open and safe must be prioritized in the ongoing pandemic.
In the reactivation of the feminist collective of artists Le Nemesiache, this paper looks at the tension between rhetoric and translation in relation to the dislocation of archival materials from their situatedness in place (Naples) and time (1970 to the present). Translation emerges as the conveyor of the conditions from which the addresser started, as well as the ones of the addressees, as a potential that takes place in the moment of enunciation through a plurality of subjects. Considering the epistemological tension between history and fiction, as well as the mediation that happens through the body and the different subjectivities triggered by intra-action, this essay will engage with the following question: if the archive is the memory, can dramaturgy and reenactment from the archive become the message of a prophecy?
Locating authenticity in artworks that are remade (all or in part) or re-performed over time presents a unique challenge for art conservators, whose activities have traditionally been oriented toward caring for the material aspects of art objects. The paper offers a brief overview of perspectives on authenticity and discusses various theoretical models that have been developed to conceptualize how media, installation, and performance artworks are displayed and cared for over time. These include the score/performance model, the concepts of autographicity and allographicity, the concept of iteration, and authenticity as a practice. The author proposes a theoretical model based on the ritual aspects of presenting artworks, arguing that authenticity, repetition, and community participation can be reconciled within a ritual context.
In this fifteen-minute lecture-performance, Malin Arnell presents her dialogue with the work of French-Italian artist Gina Pane (1939–1990). Oriented around textual and visual traces of Pane and Arnell's historical intra-action, this ongoing dialogue explores performance art documentation and historical narratives. The project interrogates the operations of archives, asking: 'How do queer feminist performance archives make you vulnerable, how do they make you feel, act, react?' 'Whose bodies remain present, and which bodies are lost?' The framework of the work - its repetition with variations and its artistic and queer feminist methodologies - enables an exploration of history, documentation, and bodily epistemology as an attempt to take responsibility for what is not known by doing, through action - through performance.