Dance Course Research Articles

Fostering a Culture of Consent in Social Dance Communities

ABSTRACT This article examines how an affirmative consent model can be applied in social dance contexts and addresses how social dance teachers can foster a culture of consent in their classes and communities. This model is based on legal and cultural activists’ efforts to reduce incidents of sexual assault by shifting rape culture to consent culture. The author shares consent exercises developed in the context of a university salsa dance course and includes student perspectives and responses to illustrate their impact in empowering students to honor personal boundaries while engaging in touch-based social dancing. Practical suggestions are offered for dancers, teachers, and community groups that can help shift the culture in social dance communities toward normalizing open and proactive discussions around personal boundaries.

The Research on the Value of Northeast Yangge in Dance Curriculum of Preschool Education Specialty under the Background of Jilin Characteristic Region

Under the background of Jilin characteristic region, northeast Yangko is a dance with unique charm in Jilin region. It is a dance performance form of Jilin People's diligence, kindness, wisdom and integration. It is also a reflection of Jilin People's production and life, and it is Jilin People's yearning and praying for a better life. Integrating the Northeast Yangko with Jilin characteristics into the preschool education curriculum can not only cultivate students' aesthetic and dance skills, but also keep students' physical and mental health, cultivate students' professional quality, cultivate students' sentiment, and enable students to pass on their dance skills and the spirit of inheriting traditional culture to their students after they go to work, so as to make them feel better Traditional culture can continue to carry forward. Therefore, strengthening the application of northeast Yangko with Jilin characteristics in preschool education dance course is of great significance and role in improving the teaching effect of preschool education professional dance course and realizing the educational inheritance of northeast Yangko as a folk culture.

Навчання дітей та молоді українських народних танців у Галичині (1919–1939 рр.)

The article is devoted to the peculiarities of teaching Ukrainian folk dances to children and youth in Galicia (1919-1939), when it was important to preserve national identity, and the study of folk choreography was one of the means of national-patriotic education and cultural development. The authors argue that the interest in folk dance was revived under the influence of a choreographer Vasyl Avramenko’s performing skills and pedagogical activity. Vasyl Avramenko ystematized the theory and practice of folk dances teaching and opened the first school of Ukrainian national dances. The school functioned in various cities of Galicia. It is emphasized the role of cultural, educational and sports societies and organizations in popularizing the art of folk dance among children and youth. Thus, folk dances were taught at various courses, clubs and societies such as «Prosvita», «Ukrainska Zakhoronka», “Ridna shkola”, gymnastics societies «Sokil», «Luh» etc. It is discovered that at concerts on various holidays children and youth performed Ukrainian folk dances and music performances based on folk motifs interpreted by Vasyl Avramenko, Oksana Sukhoverska, Volodymyr Terletskyi, Yaroslav Bulka, Petro Lazoryshchak and other choreographers. The most popular folk dances were: «Kolomyika», «Arkan», «Kateryna», «Chumak», «Kozachok», «Hopak», «Zhuravel». Dancers performed them solo, in pairs or in groups. Although the methodolody of dance teaching was not systematized and well-developed, students developed a sense of rhythm and harmony, grace, plasticity, artistry. This was confirmed by numerous positive reviews on the performances of young Ukrainian dancers in the press of the time. Keywords: folk dance, folk dance courses, cultural and educational organizations, youth societies.

Dança, deficiência, educação acessível e formação de professores: experiências e teorizações em percurso

O presente texto apresenta experiências e reflexões de uma docente atuante em disciplinas dedicadas à teorizações e práticas em uma perspectiva inclusiva, em cursos de graduação em dança. Em um percurso de duas décadas destacam-se as percepções da autora quanto às mudanças no cenário político-educacional, nos contextos educacionais e artísticos, motivando a constante reflexão sobre conceitos, temáticas de estudo, metodologias e proposições a serem desenvolvidas com alunas e alunos que irão atuar na docência. As experiências evidenciam alguns fundamentos éticos, políticos, estéticos, poéticos, artísticos e pedagógicos norteadores para a composição de currículos, o potencial da prática como componente curricular guiando os processos de ensino-aprendizagem, a importância das colaborações entre o espaço acadêmico e outros segmentos sociais e, a sala de aula como espaço de composições e encontros na diversidade. Conclui-se que apesar de avanços significativos, os estudos sobre dança, deficiência e educação acessível, seguem sendo necessários, apontando para a relevância de espaços-tempos de experiências e reflexão crítica nos cursos de formação de professores de dança.

A digitális munkarend tapasztalatai a Magyar Táncművészeti Egyetemen

A COVID-19 betegség megjelenésével Magyarországon kormányrendelet írta elő, hogy a járványhelyzetben a felsőoktatási intézményeknek távoktatás formájában kell teljesíteni folyamatban lévő kurzusaikat. A helyzethez való alkalmazkodás különösen nagy kihívás volt a Magyar Táncművészeti Egyetemen, ahol a táncos jellegű képességfejlesztő órákon a személyes jelenlét és a teremadottságok nélkül nehezen képzelhető el fejlődés, de kihívást jelentett az is, hogy az intézményben nem volt egységes e-learning gyakorlat, csupán egyes oktatók számára volt mindennapos a digitális eszközök oktatási célú használata. Kutatásunkban feltártuk, milyen oktatási gyakorlatok alakultak ki a Magyar Táncművészeti Egyetem elméleti, valamint gyakorlatorientált, táncos kurzusain, továbbá hogy milyen tapasztalatokra tettek szert az oktatók és a hallgatók a majd’ 3 és fél hónapos időszak alatt. Az oktatók (n=65) és hallgatók (n=240) kitöltöttek egy eszközhasználatra és kurzus menedzsmentre vonatkozó online kérdőívet, továbbá a válaszadó oktatók közül 13-an strukturált interjúban is részletezték tapasztalataikat. Az oktatók nagy része pozitívan fogadta mindazt, amit a távoktatásból profitálni tudott, de érthető módon a tánc online távoktatását sokan lehetetlennek ítélték meg. A hallgatók egy része a saját időbeosztás és az otthoni kényelem miatt élvezte a távoktatást, de számos kritikával illették annak módszereit.

A digitális munkarend tapasztalatai a Magyar Táncművészeti Egyetemen

The Hungarian government prescribed distance learning for higher education institutions due to the spread of the coronavirus epidemic which was challenging at the Hungarian Dance Academy. The development of movement skills was difficult without personal presence, no common e-learning practice had existed in the institution before the pandemic. In the research we explored the distance learning and teaching practices developed at the theoretical and dance courses at the Hungarian Dance Academy, as well as the experiences of both teachers and students during the 3 and a half months. Instructors (n=65) and students (n=240) completed an online questionnaire on digital tool use and course management, furthermore 13 of the responding instructors also shared their experiences in a structured interview. Most of the instructors welcomed everything they could benefit from distance learning (e.g. creating new curricula, learning about new digital tools, improving relationships with students), but understandably, online distance learning of dance was considered impossible by many. Some students enjoyed distance learning because of their own schedule and the convenience of their home, but there were many critical remarks about its methods.

Autoethnographic Dance and Transformative Learning: Exploring Self-Reflexive Identity Work and Change

This retrospective case study investigated how learners in a transformative autoethnographic dance course engaged in and navigated self-reflexive identity work and corresponding learning outcomes. Data were drawn from 15 diverse undergraduate students enrolled in a course for credit at an urban community college. Findings indicated that learners used choreographic motifs to evoke emotional aspects of a biographic experience and to manage their emotional vulnerability. Learners differed in their self-disclosure, types of reflection, and degree of resolution in their dance narratives. Transformation of identity was found for one third of the class with evidence of change both from exploration of preconscious emotions and epistemic change in perspective.

Study of Body Posture in Latin Dance and Its Important Significance

<p>In this fast-developing era of the 21st century, the spread of culture is far beyond people's imagination. Since it was introduced into China, Latin dance has developed rapidly and now now entered colleges and universities as a novel major. The focus of the education of Latin dance has gradually turned from popularization to cultivating specialized Latin dancer. Professional physical colleges and dance schools have also established art departments or dance departments one after another to ensure more students to obtain corresponding qualifications through theoretical and practical learning professionally and systematically, and pursue the artistic temperament and enthusiasm brought by dance. However, in the development process of modern Latin dance in China, there are some defects in universities' Latin dance courses. It is especially important to understand the importance of body posture in Latin dance. This paper introduces the requirements of five kinds of Latin dances on body posture. By using the methods of literature, induction and analysis, interview and investigation, combined with the characteristics of Latin dance, this paper explores and analyzes body posture in Latin dance and its important significance. Then the practice methods of body posture in Latin dance and its influence on Latin dance practice in the future are obtained.</p>

From how we’ve made it here to where we stand now: The presence of the Alexander Technique in higher education in Brazil

This article traces the arrival of the Alexander Technique in Brazil in the 1980s and its later insertion in higher education in the country. It focuses on two experiences: one at Universidade Federal do Estado do Rio de Janeiro – UNIRIO (Federal University of the State of Rio de Janeiro) – as a university extension course for musicians and one at Universidade Federal de Minas Gerais – UFMG (Federal University of Minas Gerais and State University of Campinas) as an elective subject for dancers as part of the undergraduate dance course. The article aims to discuss the particularities as well as the challenges of introducing the Alexander Technique for the first time to trained dancers and musicians. The methodological approach included interviews with Alexander Technique teachers working and living in Brazil as well as the author’s personal experiences teaching the Alexander Technique in a university setting, articulated with the literature on this topic. The article hopes to contribute to the reflection on the role of somatic practices in higher education in order to collaborate with strategies that may help the teaching-learning process in an artistic-pedagogical academic environment.

Learning/teaching, creating and performing through LBMS

This article presents Laban/Bartenieff movement studies (LBMS) experiments through pedagogical procedures and creative processes. It comprises artistic and performative perspectives in choreography and dance education from a nineteen years’ research within master and doctorate studies. Laban’s Motif writing shifts its main function to act as a trigger for creative processes. Besides, somatic serenities, as an important body state for the production of presence, are encouraged in somatic–performative practices that include LBMS into dance programme courses in Rio Grande do Sul. The concept of somatic serenities is introduced to develop an inner–outer body connection state as an intimate experience with dance, which produces knowledge. This text considers performative dance practices and practice as research as an LBMS teaching methodology in dance courses in the south of Brazil.

A TRANSFORMAÇÃO DE MARIA: UM ESTUDO SOBRE REPRESENTAÇÕES DO FEMININO E CONSTRUÇÕES IDENTITÁRIAS NA PRÁTICA DE DANÇAS CIGANAS

A dança é uma forma de expressão rica em significados. Na cultura cigana, a música e a dança estão presentes, tanto como forma de expressão dos sentimentos, quanto como ritual de conexão com a natureza e com a espiritualidade. Homens e mulheres têm diferentes papéis representados nessa dança que refletem modos de ser, crenças e valores próprios. Tais representações são expostas, não somente pelo repertório de movimentos executados, mas pelo conjunto de elementos que compõem a cena da dança. Esse texto resulta da pesquisa desenvolvida como trabalho de conclusão do Curso de Especialização em Dança que teve como objetivo analisar representações do feminino, presentes nas danças ciganas e de que modo essas representações podem refletir transformações naqueles que a praticam. A partir da abordagem qualitativa, a pesquisa adotou o método descritivo, empregando como técnica o estudo de caso. Nesse sentido, não pretendeu produzir generalizações a partir do estudo, porém, foi possível a partir dos resultados apresentados, reconhecer o potencial da dança como tecnologia de si, para promover reflexões e desencadear transformações positivas. Palavras-chavesDanças Ciganas. Identidades. Representações.

Analysis on the Advantages and Disadvantages of Using Multimedia Courseware in Chinese Folk Dance Classes

The development of technology will affect the development of traditional dance classes. The teaching method is no longer a singular course of teaching and learning. Multimedia courseware is a commonly used course technology, based on computer and projection technology, to convey rich knowledge to students. This paper discusses the use of multimedia courseware in dance classes, then, combined with the majors the author have studied, creatively discusses the influence of multimedia courseware on Chinese folk dance courses.

Reframing Movement Modifications: Integrative Dance in a Collegiate Environment

ABSTRACT Dancers embody movement with an individualized approach, informed by their own unique physicality, creativity, and lived experience. In this paper, the author describes an integrative dance course in higher education that invites adult community members with developmental and intellectual disabilities to dance alongside college students twice per week for one hour. By grouping college students and community members into small cohorts, the design of the class is able to support differentiated learning and an acknowledgment of the diversity of the dancers engaging in movement. A detailed description of class structure, logistical considerations, and pedagogical strategies for integrative dance in a collegiate environment is discussed, overlaid with an argument to replace the term “modified” with “integrative” when dancing with individuals with disabilities.

Sneaking Meditation

ABSTRACT Contemporary dance and meditative practices are increasingly intertwining in both academic and professional settings as the wide range of current mind/body modalities infiltrate the already vast landscape of modern dance. While the value of emphasizing mindful movement in dance cannot be understated, focusing solely on the slower, sensorial experience generally linked with meditative practices can dampen the “danceyness” of the experience itself. Incoming university dance majors may perceive this shift in concentration and intensity in technical training as a step back and lose interest in the program. How can we present dance as both meditative and virtuosic, thus integrating mindfulness and body-fullness to create a fuller dancing experience? In this article, I share practical and experiential methods of incorporating meditative practices into a contemporary or modern dance course while honoring the energetic rigor that draws many students to initially pursue an education and career in dance.

Enhancing students’ choreography and reflection in university dance courses: A mobile technology‐assisted peer assessment approach

AbstractChoreography is an important and challenging educational objective in dance courses. However, most previous technology‐enhanced learning studies for dance education mainly focused on students’ dance skills, while the issue concerning the approaches to promoting students’ choreographic performance has generally been ignored. To address this issue, the present study developed a mobile technology‐assisted peer assessment approach based on social constructivism for use in a university general education dance routine choreography class. A total of 266 university students were divided into an experimental group and a control group. The experiment lasted for 15 weeks and involved two rounds of peer assessment. The results showed that mobile peer assessment could significantly enhance the innovative competence of dance routines and dance skills. In addition, according to the students’ feedback, the dance routine choreography class was conducive to improving social skills, innovative competence, and intrinsic motivation, while mobile peer assessment could assist students in understanding accurate evaluation criteria, reflecting on their own in a more objective way, and broadening the aspects of appreciating the work.

Feasibility Study on the “Six in One” Teaching Mode in Line Dance

Line dance is one of the most important parts of physical education, which has been widely and deeply promoted in physical education. To sum up, the traditional teaching mode of line dance basically focuses on the three aspects of "teaching, learning and doing", that is, for the teaching content, the teacher teaches and the students follow the teacher to learn and do. Most of the students just master the set of movements taught by the teacher, can not create their own dance moves or even participate in the competition. Therefore, this paper analyzes the shortcomings of traditional line dance teaching, reforms the teaching content and teaching mode, and probes into the teaching mode integrating "teaching, learning, doing, practicing, researching and competing", so as to provide some reference for the teaching reform of line dance course in colleges and universities in China.

Effects of a 10-week multimodal dance and art intervention program leading to a public performance in persons with multiple sclerosis - A controlled pilot-trial

Background: Dance therapy is increasingly reported in neurological diseases for improving several motor and cognitive functions, but was mostly studied in partner dance. No individual choreo-based dance program has ever been reported in MS. Objectives: The aim of this pilot study is to investigate effects of a ten-week choreo-based dance intervention on different impairments in MS. Participants: Seventeen participants with MS were allocated to a dance group (DG) or an art group (AG) for a ten-week intervention program, with a public live performance at the end of the intervention. Methods: The DG received choreo-based dance courses twice a week for 90 min, while the active control AG weekly contributed to the production by painting, music, spoken word and photo- or videography. Measurements for fatigue and fatigability, physical capacity and coordination, sensory function, cognitive capacity, quality of life and dual task performance took place before and after the intervention. Differences were analysed with Wilcoxon Signed Rank test. Results: Both groups improved significantly on executive cognitive performance during dual task and fatigue. Only the DG improved significantly on functional lower limb strength, hand function, coordination, self-reported balance and walking, and showed a trend towards improving on cognition (PASAT). The AG showed significant improvements in on cognitive function (SDMT). Conclusion: A ten-week multimodal dance intervention has positive effects on impact of fatigue, physical capacity and coordination, and cognitive performance during a dual task. Larger samples, follow-up measurements and research in different disability groups is recommended.

Bildaktivism i dansarkivet: Betydelsen av Anna Wikströms Akademi för dans

Abstract The article combines Critical Archival Studies theory about agency and activism with an empirical exploration of dance history in Gothenburg, Sweden’s second city. It focuses on Anna Wikström’s Academy for Dance (1930-1965), an education which has not been explored in previous research. A previous member of The Swedish Ballet, Wikström offered her students courses in artistic dance, dance as physical exercise, pedagogy, and social dancing. Thereby, her broad education differed from the narrow, elitist Ballet School at The Stora Teatern. The article accounts for how the collaboration between choreographer and dancer Gun Lund and Astrid von Rosen, scholar at the University of Gothenburg, contributes new knowledge about the local dance culture. It is argued that archival and activist approaches make it possible for more voices, bodies, and functions to take place in dance history. As such, the exploration complements previous postmodern dance historiography (see for example Hammergren 2002; Morris och Nicholas 2017) with a Gothenburg example.

The challenges of providing a quality certificated dance education within secondary schools – findings from a comparative study exploring the experiences of eight English and Scottish dance teachers.

ABSTRACT Whilst the fight for the inclusion of dance in schools has been an ongoing struggle, current government directives and educational policies present an even greater threat to the future of quality dance education in schools and this needs to be addressed. This paper begins to explore the certificated dance education currently on offer in the United Kingdom (UK) through teachers’ experiences of delivering the newly adapted GCSE (England) and National 5 (Scotland) dance curricula. Eight semi-structured interviews with dance teachers in England (n-4) and Scotland (n-4) were undertaken alongside a documentary analysis in order to provide an initial understanding of the challenges and motivations for delivering these curricula. Smith-Autard’s Midway Model is often considered to be the exemplar of quality dance education and therefore the content, structure, and assessment approaches used in these teachers’ delivery of the curricula were compared with those advocated in this model. The findings suggest the challenges faced by teachers may differ between the two contexts and revolve around the level of prescription. Regarding structure specifically, this research recommends that policy-makers might consider increasing course length for certificated dance courses and establish a better dialogue with practitioners prior to introducing new course designs and during inception.

PENERAPAN STRATEGI PRACTICE REHEARSAL PAIRS PADA MATA KULIAH SENI TARI DAN DRAMA DI UPGRIS

This study aims to measure student learning outcomes and analyze the character education process in dance and drama courses at UPGRIS PGSD Study Program through practice rehearsal pairs. The research method used is a quantitative-qualitative mixed method. The target of this research is focused on dance and drama lectures in the even semester 2017/2018. The research was conducted at the Elementary School Teacher Education Study Program, Faculty of Education, University of PGRI Semarang. There are 4 data collection techniques used in this study, namely observation, interview, questionnaire and document study. The data validity technique used is triangulation technique and source triangulation. Data analysis techniques use the Gain index formula for quantitative analysis, and analysis of learning concepts and character education for qualitative analysis.The results showed that the application of rehearsal pairs practice strategies can improve student learning outcomes in the appreciation of dance material by bringing Dolalak dance. Measurement of learning outcomes is done by Gain index and get the result of g = 1,02 or g bigger than 0,7 which is included in the high category. Increasing student learning outcomes are influenced by learning materials, learning methods, and student factors themselves. Students become more enthusiastic to practice outside of lecture hours because there are friends who become their study partners. The adoption of pairs of rehearsal practice strategies can also strengthen character education for students, including caring, cooperation, responsibility, and democratic character, which is strengthened through face-to-face lecture processes and independent training tasks.