Dance teacher education in the 21st century : Linking cultural and aesthetic practice

This paper describes the implementation of the recommendations of a series of research projects, within an undergraduate dance teacher-training course, into the training of collaborative, empathetic, ethical and creative dance teachers. Banks’s Dimensions for Multicultural Education (Banks, 1993) was used as a lens to analyze the design and delivery of cultural dance activities within a university dance-teaching unit, implemented in Australia and Timor Leste, and to reflect on the adaptability of the Performance in Context Model (Stevens & Huddy, in press) across different cultural contexts. Content and contextual knowledge, transformational learning pedagogy, teaching for equity and empathy development were explored through a culturally responsive teaching and learning unit, supported by critical analysis and reflection. This analysis identified a number of key understandings in relation to the design and delivery of cultural dance activities.

Separating shadows

This practice-led research is in the field of dance creation and performance. The dancer, unlike many artists from different fields, has to contend with the added complexity of being a creative tool. Grove states, ‘..they are the phenomenon of self-creation twice over, being both the artist and the work of art’ (2005, 44). A dancer’s success relies on the quality of their instrument and their ability to reliably employ it in the creative act (Jowitt 2001a). The traditional rehearsal studio is the creative meeting place for dance artists. A liminal space with specific spatial, temporal and personal considerations: a space fraught with uncertainty and vulnerability, ripe with potential. If harnessed, the creative potential inherent in vulnerability, experienced as increased sensitivity and openness (Press 2002), can facilitate new ways of investigating and doing. This research investigated ways in which dancers prepare themselves during the act of creation and rehearsal within the studio, for the public presentation of a site-specific dance work. Navigating the complexities inherent in performing site-specific dance work is best achieved through the development of a connection with the site during the creation of the work. This is achieved through the provision of rehearsals within the site and ensures seamless replication of rehearsal qualities from studio to non-traditional site. This research received funding and support from the Australia Council for the Arts, Arts Queensland, Brisbane Festival, Kelvin Grove Urban Village, Besen Family Foundation, Korean Culture Arts Foundation and the Australia Korea Foundation. It was presented in the Brisbane Festival, 2006. http://www.accentedbody.com/projects/accented-body

Social development of primary aged children through a movement education program

Unique in Canada, is a university based movement program offered to children aged 1-12 which is diverse and inclusive in its design to foster healthy physical, cognitive, affective and social development. The purpose of this study is to investigate how children's involvement in a weekly movement education program influences their social development. The primary-aged children involved in this research are participants in the university based Saturday morning program, The Children's Movement Program (CMP), in which creative dance, educational gymnastics and developmental games are employed to enhance optimal development. The 15 participants were systematically observed for 8 weeks as they naturally engaged in the program's activities. Interviews were conducted with both children and their caregivers throughout the duration of the program. Particular attention was paid to the perceptions of caregivers regarding the advantages of a program based upon principles of movement education. Results indicate that participation in the program increases children's opportunity to interact socially and address ways in which program content, pedagogy and context encourage social development. A figure was developed with these components to assist teachers in creating inclusive and meaningful movement experiences. 'Content' is referred to as the material to be learned or the desired outcome for the learner. 'Pedagogy' refers to the process in which the student will engage and 'Context' refers to the environment in which the experience occurs (eg. skating rink with playground balls). It is recommended that each is thoroughly addressed individually for its potential in lesson design.

Break: o grito corporal da periferia

In order to question a sociology as it considers appropriate the body dimensions, which contributes in a mean singular in relation to body, not only as a matter, but mainly as a producer of knowledge, our research shows a reflection on corporality as the production of knowledge and to understand different perspectives and social logic here in contemporaneity, whose rationality seems to be placed in question through a performance expressed, a lot of 'breaks', including the space, which the dancer break appropriates of a reversed form and not more than linear. Our problem is the possibility of a greater understanding of this young body with dance the break, is not only 'breaking' his body, but fluent in their own body fragments, producing probably a break in relation to a dominant power established, by creating a kind of 'social resistance' to provide another sense for his life, out of the senses by the dominant of a social field. This is the area of production of knowledge, of the 'body' that cries keep our eyes, the challenge of dive in the depth of gestures, beyond the physical structure, restoring in a strong political constitution and cultural in so far as this body faces. The body as spectacular becomes 'cause and effect' of communication, this body is not only individual, it is not expression only for itself; when the young dance outside their walls individuals, makes it relational, turning to relate with the other, with the space, time and the world. The methodological point of view, to study this corporality in element break, the body as language of senses, we considered withdrawals in the field, observations of movements of the universe of break creative dance, performance and analysis of "attitudes" (expression peculiar world hip hop ), as well as my experience with dancing in the street interventions through 'urban' and our own attitudes to the object of research which challenges us academically and, it all, existentially

A dança de salão como um dos conteúdos de dança na escola

This paper presents the right all citizens have to dance. It focus on the official orientations which deals with dance as a legitimate content at school briefly discussing the difficulty to implement this content. Among various dance manifestations we highlight Ballroom Dance, its characteristics and benefits. We trace the historical path of Ballroom Dance in Brazil at colleges.

Que dança é essa?: uma proposta para a educação infantil

Pós-graduação em Artes - IA

Um processo criativo em dança contemporânea: a simbiose pedra/osso na conexão entre os princípios da Eutonia e os fatores do movimento

Pós-graduação em Artes - IA

A interdisciplinaridade entre a Expressão Criativa e a Matemática no 2º ciclo da Escola de Dança Ana Luísa Mendonça

Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino de Dança.

Efeitos da dança criativa em mulheres idosas

Objectivo: Verificar os efeitos da prática da Dança Criativa (DC) em mulheres idosas, no peso (P), altura (A), índice de massa corporal (IMC), perímetro abdominal (PA), força, resistência e flexibilidade dos membros superiores e inferiores (F, R, FL-MS/MI), mobilidade física (MF) [agilidade (AG), velocidade (V), equilíbrio dinâmico (ED)], resistência aeróbia (RA) e satisfação com a vida (SV). Método: A amostra foi de 57 mulheres, entre os 65 e os 80 anos, tendo sido distribuídas aleatoriamente pelo grupo de controlo (GC) (n=25) e pelo grupo experimental (GE) (n=32). Este último frequentou aulas de DC durante 6 meses, 3 vezes por semana, com a duração de 50'. A análise estatística foi efectuada através do SPSS 17, b:mdo sido utilizadas técnicas não paramétricas. As variáveis funcionais foram avaliadas através da bateria funcional Fitness Test (Rikli & Jones, 1999) - Idosos e a SV através da Satisfaction with Live Scale (SWLS), (Diener, Larsen and Gri1fin, 1985). Resultados: Os resultados demonstraram diferenças significativas, para melhor, em todas as variáveis, excepto no P, no PA e na FLMS, entre o início e os 3 meses e entre o início E os 6 meses. No P e no PA foram observadas diferenças entre os 3 e os 15 meses. Na FRMS ambos os grupos apresentaram diferenças significativas, para melhor, e na FLMS só o GC apresentou diferenças significativas para pior. Não havia diferenças significativas entre o GE e o GC no início do estudo, excepto na RA. Conclusões: A DC promove melhorias no P; A; IMC; PA; F, R, FL-MI; MF; RA e SV em mulheres idosas. ABSTRACT: Objective: To test and verify the effects of the practice of Creative Dance in the weight, height, body mass, abdominal perimeter, strength, resistance and flexibility of the lower and upper limbs, as well as physical mobility (agility, velocity, dynamic balance), aerobic resistance and life satisfaction in elderly women. Method: 57 females constituted the sample analyzed within the ages of 65 and 80 years old randomly divided between the control group (25) and the experimental group (32). The experimental group attended 50 minutes’ classes prepared and orientated to the target core of this study during six months. The statistical analysis was processed with SPSS 17 software under non-parametric techniques. The functional battery Fitness Test (Rikli & Jones, 1999) was used to evaluate the functional variables and life satisfaction was accessed trough the Satisfaction with Live Scale (SWLS), (Diener, Larsen and Griffin, 1985). Results: The results defined positive significant differences in all variables evaluated, except weigh, abdominal perimeter and flexibility of the upper limbs between the beginning and the 3-month and the beginning and the 6- month. Differences were observed in weight and abdominal perimeter between the 3 and 6 months. 8oth groups showed considerable positive differences in the strength and resistance of the upper limbs and only the control group showed negative differences in flexibility of the upper limbs. At the beginning of the study there were no significant differences between the two groups, except in the aerobic resistance. Conclusions: Creative Dance promotes the improvement of weight, height, body mass index, abdominal perimeter, strength, resistance, flexibility of both upper and lower limbs in elderly women.

Creative adaptations: Integrating Feldenkrais principles in contemporary dance technique to facilitate the transition into tertiary dance education

As conservatoire-style dance teaching has traditionally utilised a hierarchical approach through which the student must conform to the ideal requirements of the conventional technique, current discourse is beginning to question how dance training can develop technical acuity without stifling students' ability to engage creatively. In recent years, there has been growing interest in the field of somatics and its relationship to tertiary dance training due to the understanding that this approach supports creative autonomy by radically repositioning the student's relationship to embodied learning, skill acquisition, enquiry and performance. This research addresses an observable disjuncture between the skills of dancers graduating from tertiary training and Australian dance industry needs, which increasingly demand the co-creative input of the dancer in choreographic practice. Drawing from Action Research, this paper will discuss a project which introduces somatic learning approaches, primarily from Feldenkrais Method and Hanna Somatics, to first-year dance students in their transition into tertiary education. This paper acknowledges previous research undertaken, most specifically the Somdance Manual by the University of Western Sydney, while directing focus to the first-year student transition from private dance studio training into the pre-professional arena.

"Variations on Psycho Killer" - Musical Score. Commissioned by Pauline Kim Harris. A virtuosic set of variations on the famous Talking Heads song for solo violin. General information State: Unpublished Organisations: School of Creative Arts, Sonic Arts, UOA35 - Music, Drama, Dance and Performing Arts Authors: Lyon, E. Keywords: (Talking Heads, Violin Music) Publication date: 2012

Musical Score. Commissioned by Pauline Kim Harris. A virtuosic set of variations on the famous Talking Heads song for solo violin.

"The End" for piano and computer. Performed by Shiau-uen Ding. Composer's Voice Concert Series: 15 Minutes of Fame. Jan Hus Church, NYC. General information State: Published Organisations: School of Creative Arts, Sonic Arts, UOA35 - Music, Drama, Dance and Performing Arts Authors: Lyon, E.

Performed by Shiau-uen Ding. Composer's Voice Concert Series: 15 Minutes of Fame. Jan Hus Church, NYC.

Dancing between diversity and consistency : refining assessment in postgraduate degrees in dance

This publication is the culmination of a 2 year Australian Learning and Teaching Council's Project Priority Programs Research Grant which investigates key issues and challenges in developing flexible guidelines lines for best practice in Australian Doctoral and Masters by Research Examination, encompassing the two modes of investigation, written and multi-modal (practice-led/based) theses, their distinctiveness and their potential interplay. The aims of the project were to address issues of assessment legitimacy raised by the entry of practice-orientated dance studies into Australian higher degrees; examine literal embodiment and presence, as opposed to cultural studies about states of embodiment; foreground the validity of questions around subjectivity and corporeal intelligence/s and the reliability of artistic/aesthetic communications, and finally to celebrate ‘performance mastery’(Melrose 2003) as a rigorous and legitimate mode of higher research. The project began with questions which centred around: the functions of higher degree dance research; concepts of 'master-ness’ and ‘doctorateness’; the kinds of languages, structures and processes which may guide candidates, supervisors, examiners and research personnel; the purpose of evaluation/examination; addressing positive and negative attributes of examination. Finally the study examined ways in which academic/professional, writing/dancing, tradition/creation and diversity/consistency relationships might be fostered to embrace change. Over two years, the authors undertook a qualitative national study encompassing a triangulation of semi-structured face to face interviews and industry forums to gather views from the profession, together with an analysis of existing guidelines, and recent literature in the field. The most significant primary data emerged from 74 qualitative interviews with supervisors, examiners, research deans and administrators, and candidates in dance and more broadly across the creative arts. Qualitative data gathered from the two primary sources, was coded and analysed using the NVivo software program. Further perspectives were drawn from international consultant and dance researcher Susan Melrose, as well as publications in the field, and initial feedback from a draft document circulated at the World Dance Alliance Global Summit in July 2008 in Brisbane. Refinement of data occurred in a continual sifting process until the final publication was produced. This process resulted in a set of guidelines in the form of a complex dynamic system for both product and process oriented outcomes of multi-modal theses, along with short position papers on issues which arose from the research such as contested definitions, embodiment and ephemerality, ‘liveness’ in performance research higher degrees, dissolving theory/practice binaries, the relationship between academe and industry, documenting practices and a re-consideration of the viva voce.

Dance dialogues : conversations across cultures, artforms and practices

These Proceedings, arising from the 2008 World Dance Alliance Global Summit, reflect both its spirit and diversity, re-appraising what dance is and might be in the 21st century. Through 53 papers from 14 countries in the Americas, Europe and the Asia-Pacific region, the authors — ranging from seasoned scholars to emerging artists publishing for the first time — span the perspectives of academics, educators, performance and community artists, health professionals and cognitive scientists; predominantly from dance but also from film, visual arts, science, performance and philosophy. The papers are grouped under the five Summit themes: Re-thinking the way we make Dance; Re-thinking the way we teach Dance; Mind/body connections; Transcultural conversations and Sustainability

TraSe algorithm : automatic evolutionary morphing of electronic dance music

The TraSe (Transform-Select) algorithm has been developed to investigate the morphing of electronic music through automatically applying a series of deterministic compositional transformations to the source, guided towards a target by similarity metrics. This is in contrast to other morphing techniques such as interpolation or parameters or probabilistic variation. TraSe allows control over stylistic elements of the music through user-defined weighting of numerous compositional transformations. The formal evaluation of TraSe was mostly qualitative and occurred through nine participants completing an online questionnaire. The music generated by TraSe was generally felt to be less coherent than a human composed benchmark but in some cases judged as more creative.