Danza, virtudes humanas y bienestar psicológico

[ES] El objetivo de este trabajo es hacer un análisis de la contribución de la danza en los profesionales y practicantes de la misma en el desarrollo de las virtudes humanas, las cuales suponen factores determinantes del bienestar psicológico. La investigación se basa en una metodología descriptiva-cuantitativa a través de la recogida de información en un cuestionario de 29 ítems cerrados. La finalidad es medir la relación de las variables de edad, género, perfil, tipo de danza y motivación en danza, con el supuesto de práctica danza-desarrollo virtudes humanas. Los resultados obtenidos permiten afirmar que los profesionales y practicantes de danza perciben esta relación como alta, lo cual abre una línea de investigación interesante para la Educación Social en cuanto a la danza como un nuevo ámbito o herramienta a través de la cual poder promocionar el desarrollo de las virtudes humanas y con ello incentivar el bienestar psicológico de los individuos.

Marie Sallé, Handel, Rameau and the development of narrative dance music:Bericht vom Internationalen Symposium an der Hochschule fur Musik und Theater Leipzig

Paradigmatic analysis reveals that these two composers developed distinct responses to creating narrative in dance music

Let's Dance: A Language for Service Behavior Modeling

In Service-Oriented Architectures (SOAs), software systems are decomposed into independent units, namely services, that interact with one another through message exchanges. To promote reuse and evolvability, these interactions are explicitly described right from the early phases of the development lifecycle. Up to now, emphasis has been placed on capturing structural aspects of service interactions. Gradually though, the description of behavioral dependencies between service interactions is gaining increasing attention as a means to push forward the SOA vision. This paper deals with the description of these behavioral dependencies during the analysis and design phases. The paper outlines a set of requirements that a language for modeling service interactions at this level should fulfill, and proposes a language whose design is driven by these requirements.

Implementing dance in a Queensland primary school : a descriptive case study

This research documents and analyses the modes of implementation of the Dance component of The Arts Essential Learnings in a Queensland school. The research identifies what makes good practice in dance education and the multiple modes of implementation that support this practice. The primary purpose of this research is to describe the factors that influence dance education, as it is delivered, in a Queensland primary school to inform the development of further support for primary teachers and to improve the quality of dance education in Prep -7 schooling. The literature review investigates dance education both in Queensland, Australia and internationally, identifying current issues related to the delivery of dance in a primary school environment including barriers to implementation of dance, authentic learning and integrated approaches to learning. Based on Engestrom.s reformulation of Vygotsky.s theory of socially mediated learning, the implementation of dance education curriculum was explored through descriptive case study method. The case study was conducted in a regional Queensland school identified as delivering the dance curriculum in a variety of ways. The research project provided opportunities to observe, document and analyse how teachers deal with pedagogical dilemmas and solve logistical problems associated with teaching the dance component of the Arts curriculum in this school. Teachers. practices were contextualised through investigation of the whole school context of dance curriculum development. The findings revealed a range of teaching approaches that influenced teachers. interpretation and children.s experience of the dance curriculum. The features of a supportive whole school and cultural environment for dance were identified. These have been captured in a reworked version of Engestrom.s Second Generation Activity Theory that can be applied to the implementation of dance education in primary schools.

Towards a transdisciplinary approach to integrating dance in a middle school curriculum

Within Queensland middle schools the implementation of an integrated curriculum has been challenging for many practitioners. In working to enhance dance learning in a Queensland middle school this research has focused on how dance can be integrated using a transdisciplinary approach. The research has investigated and reflected on the teaching and learning strategies used to integrate dance and has identified the key issues and challenges associated with the complex nature of an integrated curriculum in this context. Action research was used to review, plan for and implement integrated curriculum approaches and give insight into the external and internal challenges within the practice. This research has identified challenges associated with sustaining the integrity of dance as a subject area when integration requires designing curricula that go across key learning area boundaries. It has also revealed working within an integrated curriculum requires using common planning principles that focus on the students’ problem solving skills, making connections with the concepts, topics or ideas from the unit of work. The discussion of ways of working highlights a set of values, strategies or attributes a dance teacher can use while working within this middle school context. These include making collaborative partnerships and showing a willingness to work outside your area of expertise. For the school community, it outlines issues for attention and recommendations to assist in implementing dance while using a transdisciplinary approach. These recommended steps include embedding opportunities for teachers to partake in common planning, and time for professional development around transdisciplinary learning and Arts education.

Folk opera and theatre for development

The research field was intercultural theatre, specifically adapting indigenous performance forms for applied theatre purposes. The context was the rich performative traditions of Papua New Guinean cultures, which have remained largely untapped over several decades of "theatre for development" and "entertainment education". Papua New Guinean company Raun Raun Theatre developed Folk Opera from a similar concept in African theatre in the 1970s. The form incorporates elements of song, dance, ritual, chant, metaphor, music, and body adornment from traditional cultures. The form’s spectacular scope suited international touring in large theatrical venues, and the themes of emerging nationalism with which Raun Raun was concerned. The research team made three key innovations in the use of Folk Opera: adapting the form from theatres to community contexts, using the form to address issues of individual choice for health promotion, and emphasising experiential education over entertainment. Field-testing in Karkar Island showed community members gained clearer understandings of relevant health issues through participating in the folk opera form than through other educational approaches. The significance of the research was recognised by the members of the cross-cultural workshop team and the community of Karkar Island including the local Member of Parliament. The success of the Folk Opera form as an approach to sexual health promotion was recognised through the provision of AUD$74,000 funding by the National AIDS Council Secretariat of Papua New Guinea for a train-the-trainer program incorporating this innovative form of applied theatre. The research has been presented at a number of national and international conferences including the 6th International Research in Drama Education conference in 2009.

Assessment as a Generative Dance : Connecting Teaching, Learning and Curriculum

This chapter focuses on learning and assessment as social and cultural practices situated within national and international policy contexts of educational change. Classroom assessment was researched using a conceptualization of knowing in action, or the ‘generative dance’. Fine-grained analyses of interactivity between students, and between teacher and student/s, and their patterns of participation in assessment and learning were conducted. The findings offer original insights into how learners draw on explicit and tacit forms of knowing in order to successfully participate in learning. Assessment is re-imagined as a dynamic space in which teachers learn about their students as they learn with their students, and where all students can be empowered to find success.

Dance literacy: An embodied phenomenon

Literacy in dance involves conscious awareness of cognitive, aesthetic and physical activity along with the skills to articulate these activities as required in any given context. Dance literacy, perhaps uniquely, also entails unconscious, tacit, embodied knowledge within the holistic body, a corporeality: knowledge which is physically experienced but only articulated in the dance. The essence of this corporeality has a transcendent quality which contributes to the universality of dance. The degrees to which a dancer’s awareness is refined, the physical activity articulated and the embodied knowledge universal, will define the level of development of the dancer’s literacy. This literacy can be learned, though not every body and mind has equal capacity for development. If we wish to develop dance literacy, qualitatively encompassing more than dance technique, the art of learning must be carefully cultivated to allow the art of dance to flourish. The pathways of learning dance are individuated; transcendence is realised through the common experience that what we are learning is coming from within.

Mindfulness-meditation on the move : implementation of an ACT-based mindfulness practice intervention and training within a University Dance program

As part of the introduction of a broader dance medicine and science related health and wellbeing program, a 9 week mindfulness-meditation ACT-based program was delivered to all students undertaking full-time University dance training (N = 106). The aim of the program was to assist students in the further development of performance psychology skills that could be applied in both performance and non-performance settings. Participant groups were comprised of both male (N = 12) and female (N = 94) students from across all three year levels of two undergraduate dance courses, divided into three groups by mixed year levels due to timetable scheduling requirements. Pre- and post-testing was undertaken utilising the Mindful Attention Awareness Scale (MAAS-15), a uni-dimensional measure of mindfulness, in addition to qualitative questions checking the current level of awareness and understanding of mindfulness practice and its application. Weekly sessions were conducted by qualified sport and exercise psychologists and covered key practices such as: Mindfulness of Body, Mindfulness of Breathing, Mindfulness of Sounds, ACT-based and general Imagery exercises, Developing Open Awareness, Mindfulness of Emotions, and Developing Inner Stillness. Students were required to maintain a reflective journal that was utilised at the end of each weekly session, in addition to completion of a mid-Semester reflective debrief. Teaching staff additionally attended the weekly sessions and linked the mindfulness practice learnings into the student’s practical dance and academic classes where appropriate. Anecdotal feedback indicates that participation in the mindfulness-meditation sessions and the development of these mental skills has resulted in positive performance and personal outcomes. Observations collated from staff and students, results from the data collection phases and recommendations regarding future applications within dance training settings will be discussed within the presentation.

Performance psychology applied to dance

The recent interest in the area of performance psychology has included a focus on applied practice within the performing arts. The use of psychology within this field has been occurring for many years, although practice has been observed to originate primarily from within clinical psychology in dealing with ‘problems’ (e.g. eating disorders). During the past 15 years, increased interest and focus has come from the field of sport psychology and its application to fields such as dance. Experience with the application of sport psychology in the dance profession has shown that dancers identify primarily with the concept of performance psychology. The focus of applied performance psychology practice with dancers has been observed to incorporate principles from across sport, clinical and organisational psychology, yet packaged together in such a way that the focus is on performance enhancement – whether that be in terms of dance technique, artistry, creativity, or personal skill development both on and off the stage. This paper focuses upon sharing the practitioner’s experience of the delivery of performance psychology to dancers (both professionals and dancers-in-training), and discussion of the considerations related to this undertaking within this unique population.

Dance teaching and learning in context : activating the head, heart and hands

Traditionally, the art of teaching dance has largely been a skill transferred from teacher to student. This master-apprentice paradigm encourages the passing on of technical and artistic traditions associated with the various genres of dance. Whilst this approach supports the passing of the flame of the art form from generation to generation, it has, in part, limited the teaching pedagogy that informs dance as an art form. The future of dance teaching is reliant on teachers’ engagement with the further development of inquiry learning and reflective practice skills within the dance studio. This paper charts one component of a reflective pedagogy, Head, Heart, Hands (Pstalozzi as cited in Rud 2006), developed as a result of an action research project, within a suite of three units across a three-year undergraduate teacher-training course for school, community and studio dance teachers.

Perceiving the interactive body in dance: Enhancing kinesthetic empathy through art objects

Through a consideration of audience experience of embodiment in contemporary dance performance, this project used kinesthetic empathy as a theoretical construct to inform choreographic decision-making. The research outcome challenged the traditional performer/audience relationship through an interactive dance performance work entitled Planets. This acted as a platform that allowed both audience and performer to collaboratively listen to, process and form movement in a shared kinesthetic state. This connection was enabled through the distribution of interactive art objects, which responded to the shifting proximity between performer and audience. The performance was thus experienced through following a shared goal as instigated by the interactive technology. Through practice-led research, knowledge from kinesthetic empathy, embodied cognition and the mirror neuron system were used to develop the project’s aim in encouraging interactive audiences to engage in movement. This aim influenced studio explorations of movement through an enquiry into the kinesthetic self in dance. Investigations used movement quality, tension, mobility and acceleration to access a familiar movement vocabulary appropriate for a broad interactive audience. This informed the role of the researcher as performer. Planets was developed as a collaborative project between Michael Smith and interactive visual designer Andy Bates and performed over three nights at the Ars Electronica Festival 2014 in Linz, Austria. Supported by documented footage from Planets and audience responses to the performances, this paper draws together the theoretical underpinnings behind the development of the work and includes the experiential perspective of the performer.