Dance Workshop Research Articles

Trajectories of adolescents living with vertical transmission-HIV virus.

This study analyzes the life stories of eight young people living with vertically transmitted HIV in order to understand their perceptions marked by secrecy and silence regarding their experiences with the virus. Conducted at a specialized outpatient clinic in Rio de Janeiro, the study adopted circle dance, a Complementary and Integrative Health Practice, as a care tool. Using a qualitative approach and Life History as a data collection method, the focus was to understand the youth's experiences related to the disease and the crucial aspects of their lives. Three girls and five boys participated in the study, all aware of their diagnosis. The principal emerging themes included family dynamics, school environment connection, challenges in treatment adherence, age at the time of diagnosis disclosure, and time elapsed since then. Analyzing these young people's narratives allowed us to explore individual and social aspects of their experiences, revealing their similarities and differences. The circle dance workshops provided a playful space for expressing emotions and feelings through body movements, expanding young people's perspectives on the future.

Hard Wired VIII: Methodical Approaches to Music and Dance: Exploring the Field of Heavy Metal and Its Genre Boundaries, hosted by Florian Heesch, Daniel Suer and Franziska Kaufmann, University of Siegen, Siegen, 8–9 September 20221

The report provides an account of the motivation for hosting a conference on dance in metal before briefly summarizing contributions along the lines of genre-related and methodological questions. It further highlights a dance workshop as part of the conference and reflects on its benefits for the conference format as an academic event that focuses on talks as the primary mode of communicating and negotiating knowledge.

“Dance Your Ph.D.” in VideoConfeDance: Developing a Blended-Method Dance Workshop for the Popularization of Science Through Choreography

“Dance Your Ph.D.” in VideoConfeDance: Developing a Blended-Method Dance Workshop for the Popularization of Science Through Choreography

Dancing toward Well-Being: Effects on Mood and Well-Being of a 12-Week Flamenco Dance Workshop in Women Aged 60–80 Years

The objective of this study was to examine the effect of a flamenco dance program on the mood and subjective well-being of 34 self-selected women from the community, aged between 62 and 79 years. The mean age was 70.11 (SD = 5.13). Participants voluntarily enrolled in a 12-week flamenco dance workshop conducted by the Autoestima Flamenca Association, with one two-hour session per week. Every two weeks, mood measurements (sadness, anxiety, anger and joy) were taken, and subjective well-being assessments were conducted before and after each session. It was found that the participants’ overall mood and subjective well-being improved significantly following the intervention. These improvements were observed at both the individual and group levels. Overall, our findings suggest that participation in a free 12-week flamenco dance program had a positive impact on mood and subjective well-being in this segment of the population.

Computational Thinking (CT) Unplugged dalam Pembelajaran Seni Tari di Sekolah Dasar

This research is based on empirical facts, that until now dance arts learning in elementary schools (SD) still uses educational patterns in dance workshops. The orientation is that the student memorizes a certain dance so that the learning method of the student imitates the movement exemplified by the teacher without being given space to creatively process the body based on imagination and all its creative potential. This has an impact on the cover of various intelligences possessed by students. To hack this research seeks to give birth to the concept of dance art learning in elementary school by applying unplugged computational thinking (ct). The goal is that the learning of dance in elementary school is not just to pursue the memorization of motion, but students can creatively realize their creative ideas in the form of dance in accordance with the level of development. To achieve this, the research method used is descriptive analysis. The results of this research in the form of dance learning concepts in elementary schools that apply computational thinking unplugged and ready to be applied

Dance Workshop for the Preservice Elementary Teachers: Reinforcing Perceived Competence in Folk Dance

Dance Workshop for the Preservice Elementary Teachers: Reinforcing Perceived Competence in Folk Dance

The effect of dance workshops participation on reaction time in persons with moderate intellectual disabilities - pilot study.

Background: Persons with intellectual disabilities who are physically active have faster reaction time compared to the physically inactive persons with intellectual disabilities (Yildirim et al. 2010). Aim: To recognize how participation in a series of hip-hop dance workshops can improve reaction time in persons with intellectual disabilities. Methods: 13 persons with moderate intellectual disabilities aged 14-22 (M = 17,30; SD = 2,52). A quasi-experiment was prepared using a single-group plan (nine dance workshops). Study design applied: pre-test - post-test. Measurement Tool - Optogait - acoustic response test. Results: Reaction time measured prior to dance workshops was M = 1,58; SD = 0,48 and after workshops was M = 1,34; SD = 0,69. The analysis using Wilcoxon signed-ranks test showed that this difference is statistically significant, Z = 2,06; p < .05. Conclusions: Hip-hop dance classes improve response times in persons with moderate intellectual disabilities.

Japanese onomatopoeia in bodily demonstrations in a traditional dance instruction: A resource for synchronizing body movements

Drawing on the multimodal analysis of interaction, this study investigates the coordination between language and body in an instructional setting where students are asked to move their bodies along with the instructor. The data examined comprise a videotaped interaction during a Japanese classical dance (Nihon Buyo) workshop held for international students in which a professional dance instructor introduced the dance to the students by having them perform a few simple choreographies. The data showed that the instructor often employed onomatopoeias (mimetics or ideophones) during her demonstrations. The study investigated how onomatopoeias are employed in coordination with bodily demonstration and what they accomplish in the instruction. The analysis revealed that the instructor coordinated her body movements with onomatopoeias using sound stretch, pitch and volume change, and voice quality. Onomatopoeias with such modulated prosody along with bodily demonstration highlight the features of the body movements in the choreography. Additionally, onomatopoeias act as resources for synchronized movements among participants in a physical activity through their prolongation and repetition. This suggests an interactional function of onomatopoeias that has not been discussed previously in the relevant literature.

PERCUSSIVE LEARNING PROCESSES IN ‘‘coco de roda’’ (regional dance) WORKSHOPS – an experience of the principle of sensitivity supported by ecopedagogy

PERCUSSIVE LEARNING PROCESSES IN ‘‘coco de roda’’ (regional dance) WORKSHOPS – an experience of the principle of sensitivity supported by ecopedagogy

Non-lexical vocalizations help novices learn joint embodied actions

Non-lexical vocalizations are key interactional resources for novices learning joint embodied actions. We use ethnomethodological video analysis of a beginners’ partner dance workshop to explore how novices use non-lexical vocalizations to navigate unfamiliar dance movements together. These vocalizations often accompany apologies, accounts, and bodily actions that mark moments of trouble with coordination. We show how these non-lexical vocalizations can provide reference points for novices who lack expert terminology to account for, evaluate, and re-animate their experiences of otherwise inchoate sequences of joint embodied action.

Entangled bodily planning. Developing bodily workshop design for kindergarten teachers’ bodily professional knowledge through somatic dance

This article explores how a kindergarten teacher educator (Ida) and a somatic dance teacher (Live) collaboratively and bodily planned dance workshops for kindergarten teachers with the aim of developing the kindergarten teachers’ bodily professional knowledge. The focus is on the kindergarten teacher educator’s and somatic dance teacher’s bodily planning process. Methodologically, the article is positioned within arts-based and collaborative research, which is defined under an umbrella of performative research, with the researchers positioned on the inside of the research. The research material is analysed in two layers. The first layer, through Barad’s agential realism, results in the creation of four entanglements: to body – to space, to listen – to respond, to rest – to move, to play – to create. These are suggested as design principles. In the second layer, the workshop design is theory infused with Winther’s concepts for embodied professional competence. As a result, the authors argue that bodily planning is of high value to really sense what is at stake when aiming at developing workshop design for bodily professional knowledge.

The Implantation of a Dance Workshop on the Quality of Life in the Work Environment

Dance routines and sensations are meant to stimulate the body to create circuits to refine perceptions and expressions. Movement experimentation may develop creativity, which produces and expresses dance. Some researches suggest that dance is a tool that might enhance the quality of life. Therefore, this research aimed to evaluate the “Movement Workshop: A Body-Space Experience (MWBSE)” implementation in Company A to promote health and improve their employees quality of life through the Paola Rettore Method (PRM), which was based on the spontaneity proposed by Isadora Duncan to observe nature and the Laban/Bartenieff System. Forty employees engaged in a two-year program of the PRM with sessions twice a week for 20 minutes each. Results suggested that a method based on dance and movement positively affected the work environment.

Perceptions of Senaputra Dance Students About the Art of Classical Dance and Traditional Creations

Around the 1970s, professional dance arts education for the general public began to grow. Students of professional dance were mostly the sons and daughters of wealthy individuals or government officials. Dance was regarded as a source of prestige for parents at the time. Such a perception exists because society is unable to contribute to the development of such status. After 50 years, though, that perception has changed. This study considered Sanggar Tari Senaputra Malang with the aim of examining the differences in perceptions among dance students at professional dance facilities. This was descriptive qualitative research and data were collected through observations of training activities and interviews with the leader of the Senaputra Dance Workshop (Siti Sofiana, 47 years old) and four trainers. Data were analyzed using phenomenological interpretation. The results demonstrated that: (1) classical dance takes a relatively long time to learn and is personal in nature to gain social prestige; and (2) traditional dance creations are simpler and faster to learn, and tend to establish social relationships.&#x0D; Keywords: classic dance, traditional dance, dance teacher, Sanggar Dance

Effects of music-rhythmic stimulation program on certain motor abilities of children with hearing impairment

Certain research on the development of motor skills of children with hearing impairment shows that their abilities are not age-appropriate, although they have the same basis for development as hearing children. Education of children with hearing impairments is predominantly focused on hearing and speech rehabilitation, while activities related to music and sports are mostly neglected. The aim of this study was to examine the effects of musical-rhythmic stimulation on the development of selected motor skills of children with hearing impairment aged six to fifteen. For this purpose, a special music and dance program of workshops for 26 children with hearing impairments (12 boys and 14 girls) was created for the period of four and a half months. At the beginning of the program implementation, the initial measurement of body coordination and speed of movement was performed, and the final measurement through five standardized tests at the end. The paired samples t-test was used to analyze the effects of applied musical-rhythmic and dance stimulations. The results of the research indicated certain statistically significant differences in the ability to coordinate the body and speed of movement, i.e. that the program of music and dance workshops has a positive effect on the development of selected motor skills in children with hearing impairment.

Distance dance as an actor network

As a contribution to the critical and creative discussion regarding definitions and examples of how dance practices are being reimagined in the age of distance, this article focuses on possibilities and challenges with organizing virtual contemporary dance workshops for older adults. The aim of this article is to explore intra-actions within entanglements including older adult amateur dancers, a choreographer, homes, dance studios, the software zoom, devices, music, and dance during the COVID-19 pandemic of 2020. Situations seen as webs of relations including the mentioned actors were created. To be able to describe how the constantly performed intra-active networks of dancers and other material actors were constituted, actor-network theory was applied. The results show specific trajectories that exemplifies intra-actions with the participants. The older adults became dancers that make meaning in their lives, even if the virtual trajectories possible to follow to some extent, are limited by the pandemic cursed distance

Teacher body(ing) kindergarten space(s) -an arts-based pedagogical development project for kindergarten teachers

ABSTRACT This article builds on an arts-based pedagogical development project where a kindergarten educator and a somatic dance teacher have created and conducted dance-workshops for kindergarten teachers, aiming at developing bodily professional knowledge through dance. The research is carried out from a post-human perspective (Barad, Karen, Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press, 2007), moving past the divide of theory and practice (Lenz Taguchi, Going Beyond the Theory/Practice Divide in Early Childhood Education. Introducing an Intra-Active Pedagogy. New York: Routledge, 2010). Methodically the project is placed within performative research (Haseman, Brad, ‘A Manifesto for Performative Research.’ Media International Australia Incorporating Culture and Policy: Quarterly Journal of Media Research and Resources 118 (1): 98–106, 2006) with a creative view on knowledge production and the researcher positioned on the inside of the research. When asking how kindergarten teachers’ understandings of their professional practice moves through this project, the answers are presented as (1) Descriptions from the actual dance workshops, and (2) Analysis of three mo(ve)ments: (1) Bodily-relational learning, (2) Material and spatial learning and (3) Emotional and affective learning, concluding that it is about time to re-body-think early childhood care and education and the kindergarten teachers’ professional knowledge as profoundly bodily.

Tango Together: Developing and Implementing Dance Workshops in a Memory Care Center

<h3>Research Objectives</h3> The objectives of this program were to examine the feasibility of a dance program for persons with dementia and their family caregivers in a memory center and to examine its impact on physical function and socialization. <h3>Design</h3> Pre-post design. <h3>Setting</h3> The intervention and data collection took place at a memory care center in Boerne, Texas. <h3>Participants</h3> 37 community members completed the dance program, and 6 of those individuals participated in the pilot study. Of the sample who completed pre and post testing (n=6), 5 were female, living with dementia and 1 was a male caregiver, with an average age of 85 years. <h3>Interventions</h3> The Tango Together program was designed by an interdisciplinary team of students to improve balance, sensory stimulation, fine motor skills and motivation. Students also incorporated fall-prevention and caretaker education into the program. <h3>Main Outcome Measures</h3> Data were collected before and after completion of the Tango Together dance program. Gait parameters were recorded from the Strideway gait mat including gait velocity (cm/sec), step length and stride length (cm) for both right and left legs. <h3>Results</h3> All 6 participants completed the dance program successfully with no adverse events. Gait velocity (54.8±20.7 to 68.6±23.1 cm/s), step length for right side (34±10.6 to 40.4±11.3 cm) and stride length for both right (70.5±20.5 to 81.2±23 cm) and left (70.9±21.2 to 80.9±22.5 cm) improved significantly (p < 0.05) after completion of the Tango Together program. <h3>Conclusions</h3> Development of this program provides the groundwork for delivering a dance-based program for individuals with dementia. Results from this pilot study indicate the feasibility of a community based dance intervention in improving gait parameters for individuals with dementia. Future studies with larger sample sizes and including a retention period need to be conducted. <h3>Author(s) Disclosures</h3> Each of the authors declares that he or she has no relevant or material financial interests that relate to the research described in this abstract.

Improvisational Dance as Enactive Cognition: What Do Novice Dancers Teach Us about Embodied Cognition in Dance?

ABSTRACT We demonstrate the ways an improvisational dance workshop provided the opportunity for university students to be autonomous actors and engage in embodied sense-making through dance—two key parts of the conceptualization of enactive cognition. As part of a Design-Based Research project, we use Interaction Analysis to present examples of using autonomy in dance learning in a public art museum. We describe the interactions of one pair of novice dancers engaging in two designed dance activities, and how their improvisational dancing highlights the ways in which dance is a tool for sense-making. This research explores dance as both the content and context for learning, deepening the conceptualization of 4E cognition in dance education.

On Carolee

Abstract The essay celebrates Carolee Schneemann, the author's friend and colleague since their first meeting in the early 1960s at Judson Memorial Church, New York. The essay describes the author's and Schneemann's participation in the dance workshops at Judson. The essay cites select works produced by Schneemann at Judson, including Lateral Splay (1962) and Meat Joy (1964). The essay reflects on the relation between the dance workshops and Schneemann's work in painting. It gives particular focus to Schneemann's canonic “solo” Interior Scroll (1975) and the author's experience of the artist's retrospective exhibition Kinetic Painting at MoMA PS1 in 2018. The author presented this essay in the memorial service for Schneemann at Judson Memorial Church on 3 May 2019.

“We are Not that Old You Know:” Dance as a Dwelling Place for Women over 65 in the Northern Part of Sweden

ABSTRACT This article communicates a study on dance for people over 65 in Sweden. Earlier studies on dance for elderly people have primarily focused on treatment and wellbeing. The current study centers on the right to make oneself heard in and through contemporary dance as an artistic form of expression, regardless of age, gender, or geographical context. The specific aim of the study is to describe and analyze the experiences of women aged over 65 in a rural area, who participated in contemporary dance workshops as a form of arts learning. The workshops, which were observed and documented, constituted part of an EU-financed project, Age on stage. Participants also shared experiences through informal chats and e-mails. The material was analyzed in a narrative manner. The results show that the workshops created a safe space for dance as a dwelling place, where dance was discovered, and at the same time developed, collaboratively. The results also highlighted the importance of this type of artistic participation for elderly women in terms of developing an understanding of themselves and coping with life.