The recent spread of novel coronavirus infection has increased opportunities for participation in and practice of hybrid physical expression workshops. However, the differences in effects and influences between online and offline types of participation have not been studied. The purpose of this study is to clarify the differences in effects and influences among different types of participation in a hybrid physical expression workshop. In this study, a physical expression workshop project, Party of Vibration, was established in cooperation with choreographer and dancer Kaoruco and was practiced a total of 12 times, with a total of 156 participants. In this study, pre-post comparison, Covariance Structure Analysis, and Text Mining were conducted. This study identified the characteristics of the effects and influences of online and offline types of participants and provided fundamental findings for the design of hybrid physical expression workshops.

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Dance classes are a part of the current Japanese educational system. It has been reported that some students exhibit hesitancy toward dance. However, it is unclear why such hesitancy occurs. This study aimed to identify the factors contributing to students’ embarrassment and perceptions of inability, which are subcomponents of hesitancy toward dance. A total of 58 undergraduate students (Mage = 19.91, SD = 1.26; 18 men and 40 women) were surveyed. Two open-ended questions were asked regarding their embarrassment and perceptions of their inability to dance. Based on previous studies, responses were classified into three categories for embarrassment to dance (social evaluation concerns, low self-evaluation, and self-image discrepancy) and four categories for their perceived inability to dance (skillfulness, presence of others, lack of experience/knowledge, and expressing oneself). These findings can aid in reducing hesitancy toward dance.

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The purpose of this research is to determine the area of the Arauma that has been passed down in the Tsugaru region based on the distribution and characteristics of the performance of each region, and to create a typology of Arauma through a comparative study of typical Arauma.

Three areas are defined: Minami-Tsugaru region, Kita-Tsugaru region, and Kamiso region. Then, as typical examples of these areas, we selected and compared and studied the Yawatazaki Arauma, Kashiwagi Arauma, Kanagi sanaburi Arauma, Aiuchi Arauma, Imabetsu Arama, and Okawadai Arama.

The style common to all of them is the shape of hobby horsies and the way they put their bodies inside them and dance like horses. In addition, all the Arauma can be seen stepping on the ground, which is thought to have the meaning of driving away evil spirits within the ground.

Arauma in the Minami-Tsugaru region is closely related to Komaodori,and is a performance in which the horse role is independent without a bridle handler, and is characterized by repeating a single dance consisting of a combination of movements centered on stepping on the ground three times.

Arauma in the Kita-Tsugaru region is danced during Mushiokuri by a trio of three people, one horse actor and two bridle handlers, and is characterized by the impromptu dance that expresses the appearance of the horse.

Arauma in the Kamiso region is danced during the Nebuta Festival by a pair of male horse and female bridle handlers, and there is a single dance that combines the action of stepping on the ground three times and once.

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This study examines Bii biyelgee, a “Mongolian dance” form originating from the socialist era through an active fusion with European culture. It also examines the dance form’s status as a national cultural expression and how it is taught in school. People’s common perception was that Bii biyelgee originated from the ethnic minority groups in western Mongolia. However, the author’s study, targeting four educational institutions, revealed that Bii biyelgee has expanded to become a cultural expression of the entire nation of Mongolia. Although the significance of its western Mongolian origin is still acknowledged, Bii biyelgee now encompasses dances from all across the country, with the culture of Khalkha, the largest group in Mongolia, ingeniously forming its basis.

Thus, Bii biyelgee in “Mongolian dance” has been redefined as a national cultural expression of Mongolia, even though the contribution of minority ethnic groups is still being acknowledged. Bii biyelgee is taught to promote actively adopting the culture of the West and elsewhere and “developing” it (according to the socialist view of history). These phenomena, already observed in the traditional Mongolian culture (music, ethnic costumes, etc.), constitute a kind of “creation of traditional culture” within the values of the socialist period. This paper reveals that this socialist mindset persists in today’s “Mongolian dance” education.

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"Contemporary rhythmic dance" competitions for elementary, junior high, and high school students being launched in 2012 and 2013.In recent years, dances with specific meanings, such as the Bubbly Dance, have been featured in "contemporary rhythmic dance" competitions. In this study, through a quantitative text analysis of newspaper articles about the "All Japan Elementary and Junior High School Dance Competition", while technique was also considered for judging, "heart," "feeling," and "facial expression" to "express" the "theme" were also important points that permeated the competition, and we were able to read the Tendency to Emphasize Expression in street dance competitions for elementary and junior high school students. From the above, it became clear that dances performed by elementary and junior high school students tended to be portrayed in the mass media as a creative aspect of cooperative learning, with an emphasis on constructive communication and consensus building amongst group members, rather than as one-way instruction of dance choreography by the group leader.

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