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CHILCHILA THUMDO DANCE DESCRIBING HEORISM ; CHILCHILA_THUMDO_20151218-005 ; Documenting narrations of personal experiences of the process of initiation into manhood in Terik language of Kenya
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MWALIMU SUM. - : Benson Oduor Ojwang, 2015. : Maseno University, 2015
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| 162 |
ENDEBESS THUMDO DANCE PRAISING MOTHERS ; ENDEBESS_THUMDO_20151211-008 ; Documenting narrations of personal experiences of the process of initiation into manhood in Terik language of Kenya
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AMATA DICK. - : Benson Oduor Ojwang, 2015. : Maseno University, 2015
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| 163 |
Writing and dancing the body: from contradiction to complementarity
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| 164 |
The Spiritual Liberation of Music, Dance, and Ritual: Verbal- Versus Non-Verbal Communication in J. M. Coetzee’s Foe
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Foxcroft, Nigel. - : The Société d'Étude des Pays du Commonwealth / Society for the Study of Commonwealth Countries, 2015
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| 165 |
Instructor interview for Place-Based WAC/WID writing instruction in Hawaiian Studies, clip 9 of 11
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| 166 |
Paradigms of Communication in Performance and Dance Studies
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In: CLCWeb: Comparative Literature and Culture (2015)
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| 167 |
Honeybee linguistics : a comparative analysis of the waggle dance among species of Apis
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Abstract:
All honeybees use the waggle dance to recruit nestmates. Studies on the dance precision of Apis mellifera have shown that the dance is often imprecise. Two hypotheses have been put forward aimed at explaining this imprecision. The first argues that imprecision in the context of foraging is adaptive as it ensures that the dance advertises the same patch size irrespective of distance. The second argues that the bees are constrained in their ability to be more precise, especially when the source is nearby. Recent studies have found support for the latter hypothesis but not for the “tuned-error” hypothesis, as the adaptive hypothesis became known. Here we investigate intra-dance variation among Apis species. We analyse the dance precision of A. florea, A. dorsata, and A. mellifera in the context of foraging and swarming. A. mellifera performs forage dances in the dark, using gravity as point of reference, and in the light when dancing for nest sites, using the sun as point of reference. Both A. dorsata and A. florea are open-nesting species; they do not use a different point of reference depending on context. A. florea differs from both A. mellifera and A. dorsata in that it dances on a horizontal surface and does not use gravity but instead “points” directly toward the goal when indicating direction. Previous work on A. mellifera has suggested that differences in dance orientation and point of reference can affect dance precision. We find that all three species improve dance precision with increasing waggle phase duration, irrespective of differences in dance orientation, and point of reference. When dancing for sources nearby, dances are highly variable. When the distance increases, dance precision converges. The exception is dances performed by A. mellifera on swarms. Here, dance precision decreases as the distance increases. We also show that the size of the patch advertised increases with increasing distance, contrary to what is predicted under the tuned-error hypothesis.
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Keyword:
bees; communication; dance; honeybee; XXXXXX - Unknown
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URL: http://handle.westernsydney.edu.au:8081/1959.7/uws:50329
https://doi.org/10.3389/fevo.2015.00011
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| 168 |
Linguistic imperialism : a study of language and yoruba rituals in Wole Soyinka’s Death and the king’s horseman
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| 169 |
Discussion on Role and Functions of Props in Dance
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In: Cross-Cultural Communication; Vol 11, No 3 (2015): Cross-Cultural Communication; 110-112 ; 1923-6700 ; 1712-8358 (2015)
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| 171 |
Choreographing a New World: Katherine Dunham and the Politics of Dance
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| 172 |
The Image as Moving Trace. From the Gestural to the Imagetic Body ; "L’image comme trace en mouvement. Du corps du geste au corps de l’image"
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In: ISSN: 1720-5298 ; Lexia - Rivista di semiotica ; https://hal.archives-ouvertes.fr/hal-01163498 ; Lexia - Rivista di semiotica, Aracne, 2014, IMMAGINI EFFICACI - Efficacious images, pp.549 - 568 (2014)
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| 173 |
L'image comme trace en mouvement ; L'image comme trace en mouvement: Du corps du geste au corps de l'image
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In: ISSN: 1720-5298 ; Lexia - Rivista di semiotica ; https://hal-unilim.archives-ouvertes.fr/hal-01148757 ; Lexia - Rivista di semiotica, Aracne, 2014, Immagini efficaci, pp.535-553. ⟨10.4399/978885487680426⟩ ; http://www.aracneeditrice.it/aracneweb/index.php/pubblicazione.html?item=9788854876804 (2014)
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| 175 |
Multiple Intelligences and Dance Education for Young Children
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| 176 |
Et si la danse pouvait contribuer à développer le vocabulaire de jeunes enfants?
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| 177 |
KIPTALIL THUMDO THE DANCE OF THE VILLAGE HERO ; KIPTALIL-THUMDO_20141216-001 ; Documenting narrations of personal experiences of the process of initiation into manhood in Terik language of Kenya
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MUSA MOKIT. - : Benson Oduor Ojwang, 2014. : Maseno University, 2014
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| 178 |
GAMBA THUMDO DANCE SHOWING LEADERSHIP SKILLS ; GAMBA-THUMDO_20141220-003 ; Documenting narrations of personal experiences of the process of initiation into manhood in Terik language of Kenya
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KILETE SAMMY. - : Benson Oduor Ojwang, 2014. : Maseno University, 2014
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| 179 |
CHEBILAT THUMDO DANCE PRAISING WARRIORS ; CHEBILAT_THUMDO_20141222-004 ; Documenting narrations of personal experiences of the process of initiation into manhood in Terik language of Kenya
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PATRICK KOECH. - : Benson Oduor Ojwang, 2014. : Maseno University, 2014
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| 180 |
CHEBILAT THUMDO DANCE PRAISING THE FIRST BORN SONS ; CHEBILAT_THUMDO_20141214-010 ; Documenting narrations of personal experiences of the process of initiation into manhood in Terik language of Kenya
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BOYS. - : Benson Oduor Ojwang, 2014. : Maseno University, 2014
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