Dance Department Research Articles

4차 산업혁명시대 대학무용학과 커리큘럼의 방향모색

4차 산업혁명시대 대학무용학과 커리큘럼의 방향모색

Tips for Success in Navigating a Master's Degree in Dance

ABSTRACTIn this article, I offer fourteen navigation tips on how to prepare for, traverse, and be successful in a master's program in dance. These navigation tips range from the social (getting outside of the dance department) to the practical (avoiding procrastination). I address the whole student including personal life, academic life, and professional life in seeking to ease the transition into graduate dance studies and navigate the next two to three years of school. The fourteen tips emerged from my personal experience and frequently asked questions.

Competency-based curriculum for the expansion of university students’ career spectrums in the dance department

ABSTRACT The purpose of this study was to explore the competency-based curriculum to expand Korean university students’ career spectrums in dance departments. A literature review and a two-time Delphi analysis with seven experts was carried out at the beginning of the study to discover necessary competencies. Thereafter, an Analytical Hierarchy Process (AHP) with another 23 experts was performed to explore the hierarchy of these competencies. Another group of three experts reviewed the dance curricula of six different universities and classified each course in a competency table to understand which competencies were more pursued than others in dance departments. The literature review and Delphi analysis resulted in 10 competencies with 43 subcomponents, with a Content Validity Ratio (CVR) of .99. Among the competencies, ‘Dance performance’ was ranked highest with a weight of .187, while ‘Multiculturalism’ was ranked lowest at .030 in the AHP (.1> consistency index and consistency ratio). In the last phase of the study involving three experts, the competencies pursued in each course were examined, and it was revealed that the number of courses pursuing the competency of ‘Liberal Arts & General Studies’ were overwhelming in the dance curriculum.

Rebalancing dance curricula through repurposing black dance aesthetics

ABSTRACT In my investigation of dance curricula in US higher education, the dance discipline’s primary pedagogical concentrations in classical ballet and Eurocentric modern dance techniques implicitly signal their centrality to the development of any academically trained dancer. This focus, in turn, generalizes and essentializes other cultural and innovative approaches that could be vital to the foundation of the well-trained 21st century dancer and undergraduate dance studies major. Although components of black aesthetic dance techniques and vernaculars, such as Dunham, Umfundalai, and Jazz, as well as Hip Hop and African derived styles, are being offered, they are typically not a central part of the curriculum, but electives. This study proposes the necessary approach to curricular overhauling. I offer an alternative ‘entercultural engaged pedagogy’ that can rectify what is currently lacking in higher education dance departments. Subsequently, this study’s approach to a paradigm shift away from the historical ethnocentric paradigm is not only the introduction of an entercultural approach to dance education but also the undoing of the monocultural epistemology.

World Dance Cultures: From Ritual to Spectacle by Patricia Leigh Beaman

Reviewed by: World Dance Cultures: From Ritual to Spectacle by Patricia Leigh Beaman Yizhou Huang WORLD DANCE CULTURES: FROM RITUAL TO SPECTACLE. By Patricia Leigh Beaman. New York: Routledge, 2018. 309 pp. Cloth, $135; Paperback, $49.95; eBook, $24.98. World Dance Cultures: From Ritual to Spectacle is the first monograph by Patricia Leigh Beaman, artist-in-residence at Wesleyan University and visiting associate artist at New York University's Tisch Department of Dance. With a focus on non-Western cultural traditions, Beaman presents a rich set of introductory materials on twenty-seven dance cultures. Though written as an undergraduate textbook, World Dance Cultures, with its accessible language and carefully chosen illustrations, also appeals to general readers. Given that more than half of the dance cultures featured in the text originate in Asia and the Pacific islands, the book can also serve as a starting point of research for Asian performance scholars. Beaman does not uphold a rigid definition of dance when choosing what to include in the book. In the introduction, Beaman elucidates her selection criteria as "the fragility of cultural traditions, and in some heartening instances, their resilience, is an important theme throughout this introductory textbook, which delves into the historical, political, economic, and artistic factors that shaped both these cultures and their dances" (p. xviiii). Beaman's selection criteria lead to both the book's strengths and weaknesses. On one hand, her emphasis on the fragility and resilience of cultural traditions guides readers to appreciate the dance forms in their own contexts. On the other hand, her stress on the obstacles that a dance overcomes in its development sometimes hinders a balanced depiction of the art form's cultural background. The book discusses a variety of Asian theatre, dance, and performance forms. The first chapter discusses the Indian dance forms Bharatanatyam and Kathak and dance theatre Kathakali. Chapter Two, titled "Bali and Java: from Temple, to Village, to Court," looks at the baris, sanghyang, and legong dance in Bali, Balinese dance theatre calonarang, and Javanese dance bedhaya. The next chapter, "Cambodia and China: Dance as a Political Tool," introduces Cambodia's robam boran, China's jingju, and model opera The Red Detachment of Women. Zooming in on Japan, chapter 4 examines noh, kabuki, and butoh. The following chapter takes readers to the pacific islands for the Hula kahiko in Hawai'i, the Māori haka, and the gisalo ceremony practiced in Papua New Guinea. Further chapters include dance and performance forms from Africa, North Africa, Turkey, Spain, and the Americas. World Dance Cultures has many helpful features for classroom use. Beaman's thoughtful way of structuring each chapter ensures that students treat each art form not as an amalgamation of techniques but [End Page 250] an expression of its culture. Instead of delving right into the specificities, each chapter starts with a map of the region and an overview that summarizes the discussion to come. After the overview, each section then tackles one particular form of dance. Using subheadings throughout these sections, Beaman makes sure to introduce major sociopolitical events, key figures, and culture-specific concepts before addressing the form's techniques, training, costume, and makeup. For instance, an account of kathak's history, including its emergence in the Mughal Empire, the prejudices that practitioners faced in the British Raj, and the form's resuscitation during the nationalist movement, precedes an examination of kathak's technical aspects. Beaman ends her discussion of each form with a subsection titled "Current trends," informing students of the recent development of the form and, if applicable, major practitioners on the domestic and international stage. World Dance Cultures includes multiple types of materials that facilitate teaching and student engagement. Color photographs are scattered throughout the book. To spark in-depth discussions, Beaman from time to time adds pertinent quotes and case studies ("Women in noh," for instance, pp. 97–98). To provide students with different perspectives, some chapters include excerpts of first-hand experience of the dances written by practitioners or researchers (e.g., "Mediating Cambodian History, the Sacred, and the Earth" by cultural anthropologist Toni Shapiro-Phim, p. 75). Instructors can find discussion questions both at the end of each section...

Dance Exposure Tracking in a Liberal Arts Collegiate Dance Department

ABSTRACT Dancers in a liberal arts program of study are an underrepresented group in the field of dance science and dance education literature. Dancers in this environment come with a broad range of interests and typically strive for high academic achievements outside of their dance studies. Therefore, their patterns of training and injury might be different than dancers typically studied in this field. This study sought to track dance exposure within a liberal arts collegiate dance department as it was hypothesized that dancers’ actual dance exposure time (AE) would be greater than their registered exposure time (RE). Self-reported injuries were also collected to assess incidence of injury. The findings of this study suggest a high incidence of injury and a statistically significant difference in AE versus RE. A customized periodization training program is recommended to assist institutions in combating these patterns within their own program.

Letter from the Editors

Research Article| October 01 2018 Letter from the Editors Claire Pamment; Claire Pamment Claire Pamment is Assistant Professor of World Theatre in the Department of Theatre, Speech and Dance at the College of William & Mary. She was a Yale Institute of Sacred Music, Worship and the Arts Fellow (2015–16), and has taught at various universities in Pakistan. Her direction credits include Sarmad Sehbai's adaptation of Dario Fo's Can't Pay Won't Pay (Islamabad, 2010), which was selected for Tehran's International Festival of University Theatre in 2011. More recently she co-directed with Iram Sana (Olomopolo Media) Teesri Dhun (The Third Tune), a devised documentary theatre performance about transgender struggles in Pakistan, developed out of her present research and supported by an SSHRC grant. Her research focuses on South Asian popular theatre and performance, with interests in marginality, transgendering and Muslim cultures. Her articles have been published in TDR, Comedy Studies, Asian Theatre Journal, and in numerous books. She is the author of Comic Performance in Pakistan: The Bhānd (Palgrave 2017). Search for other works by this author on: This Site Google Hesam Sharifian Hesam Sharifian Hesam Sharifian is a PhD Candidate at Tufts University, Department of Drama and Dance. He holds a bachelor's degree in Dramatic Literature from Tehran University and a Master's degree in Theatre History and Criticism from University of Illinois at Urbana-Champaign. His scholarly publications have appeared or are forthcoming in Theatre Survey, Asian Theatre Journal, New England Theatre Journal, and Academic Theatre Journal of Iran. Recognized by the professional associations of the fields of Theatre and Performance Studies, Hesam has been the recipient of the Helen Krich Chinoy Award and the Thomas Marshal Award, both from the American Society for Theatre Research. He has also won several grants and research competitions, such as the Jay and Deborah Last Fellowship in American Visual Arts from the American Antiquarian Society and the Tisch Library Fellowship in Humanities. His areas of scholarly interest include theatre and performance in Muslim worlds, theatre and opera iconography, American commercial theatre in the long nineteenth century, German expressionist theatre and opera, and multi-culturalism in theatre. Search for other works by this author on: This Site Google Ecumenica (2018) 11 (2): 5–7. https://doi.org/10.5325/ecumenica.11.2.0005 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Claire Pamment, Hesam Sharifian; Letter from the Editors. Ecumenica 1 October 2018; 11 (2): 5–7. doi: https://doi.org/10.5325/ecumenica.11.2.0005 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectivePenn State University PressEcumenica Search Advanced Search The text of this article is only available as a PDF. Copyright © 2018 by The Pennsylvania State University. All rights reserved.2018The Pennsylvania State University Article PDF first page preview Close Modal You do not currently have access to this content.

Controversies Surrounding the Munmyo Line Dance Performed During the Seokjeon daeje Rite: An Exploration of the Dance Form as an Intangible Cultural Asset

이 연구는 1981년부터 석전대제에 연행해 온 현행 문묘일무와 2006년부터 기존 문묘일무의 개선을 주장하는 두 일무간의 쟁점을 검토하여 국가무형문화재로서 가치 있는 전형은 어떤 것이 되어야 하는가를 점검하려는데 목적이 있다. 전자는 고성경린·김기수 등의 이왕직아악부 출신 악사들의 선험적 지식과 김영숙 현 일무보존회 회장이 1976년 이래 함께 복원·재현하여 석전의례에 사용해 온 일무를 말한다. 후자는 1998년 임학선 교수가 성균관대학교 무용학과에 부임하면서 문묘일무에 관심을 갖게 되었고, 이를 연구하는 과정에서 기존 일무의 문제점을 발견하고 새로운 양식의 일무를 개발하여 2007년 이래 국가무형문화재로서의 대상 일무 교체를 주장해 온 것을 말한다. 임학선은 전자의 일무에 대해 대략 두 가지 문제점을 제기하였다. 우선 문무에 대해서는 무보의 그림과 일치하지 않는 김영숙의 일무동작에 대해 춤사위 술어 해석이 잘못되었기 때문이라고 지적하였다. 다른 한 가지는 『반궁예악전서』의 아헌과 종헌의 문무를 무무로 임의 해석한 전자의 잘못을 지적하였다. 임학선은 전자의 무무 대신 명대(明代) 주재육(朱載堉)의 『악률전서(樂律全書)』 소무(小舞)의 간척무 사용을 대안으로 제시하였다. 하지만 이 연구 결과는 한국적 고유성이나 전통과 무관한 것이므로, 역사적 계통성을 고려하지 못한 또 다른 문제점을 안게 되었다. 본 연구는 이상의 내용을 기초로 두 가지 쟁점을 살피고, 이를 극복할 방법으로 석전대제의 국가무형문화재로서의 전통성과 고유성을 담지 할 수 있는 문묘일무의 전형을 역사적인 면에서 검토하였다. 결과적으로 현재 완비되지 못한 문묘제례일무를 다시 연구해야 한다고 보았다. 전문적이며 객관적인 연구가 이루어질 수 있도록 국가적 연구 지원 및 관리 시스템을 구축할 필요에 대해 제기하였다.In this study, I investigate a desirable model for Seokjeon daeje (釋奠大祭, ancestral rites for Confucius) as an intangible cultural asset by examining the controversies surrounding the munmyoilmu (文廟佾舞 (Civil Shrine Line Dance), which has been performed as part of Seokjeondaeje since 1981. I also examine another style of line dance that has been advocated for as a replacement to the Civil Shrine Line Dance since 2006. The Munmyo ilmu is a choreographed dance based on the knowledge of musicians from the Royal Music Institute of the Yi Household (Yiwangjik aakbu 李王職雅樂部), including Seong Gyeong-lin and Kim Ki-su. Since 1976, it has been restored and reproduced by Kim Young-sook, chairman of The Ilmu Conservation Society. However, many controversies surround the Munmyo line dance: Yim Hak-seon, professor at Sungkyunkwan University’s dance department since 1976, started the argument for replacing the dance. She discovered several problems with the old ilmu and proposed a new style of line dance. Since 2007, she has advocated for rescinding the status of the old ilmu as an intangible cultural asset. Professor Yim has highlighted two issues with the old line dance. First she argued that the dance moves in the civil munmu (文舞) dance do not correspond to the depictions in several books, and that this is because Kim Young-sook misinterpreted their descriptions. Second, she noticed a misinterpretation of munmu (civil dance) as mumu (武舞, military dance) in the aheon (亞獻) and Jongheon (終獻) volumes of the Bangungyeakjeonseo (泮宮禮樂全書 Complete collection of ritual music from Ban Palace). Professor Yim proposed replacing the military mumu dance with the gancheok (axe) dance (干戚舞) from the somu (小舞 “small dance”) repertoire of the in Akryuljeonseo (樂律全書 The Complete Records of the Ritual Tone System), a book written by Joo Jae-yook (朱載堉) of the Ming Dynasty. However, since the proposed dance lacks the distinctiveness and traditional aspects of Korean dance, this idea fails to consider historical pedigree. Therefore, adopting a historical viewpoint, I examine the above mentioned problems and propose a model for the munmyo ilmu that can represent both the distinctiveness and traditional aspects of the Seokjeon daeje as an intangible cultural asset. I conclude that new research on the Civil Shrine line dance needs to be conducted, and the government needs to provide support in this regard, and a formal management system should be established for professional and objective research in this field.

Editor's Note

Editor's Note Rebecca Rovit, Associate Professor In his seminal essay, "Thick Description: Toward an Interpretive Theory of Culture" (1973), Clifford Geertz cautioned that to counter the "ever-present" danger of losing touch with the realities of our times, cultural analyses must engage what he referred to as "the hard surfaces of life—with the political, economic, stratificatory realities within which men are everywhere contained—and with the biological and physical necessities on which those surfaces rest."1 Forty-five years later, many of us in theatre and performance studies have adopted Geertz's call for social engagement, relying on interdisciplinarity to inform our scholarly analyses and our performance practices. Moreover, the visual and performing arts provide us with a natural site for social action. In this first issue of 2018 I am pleased to feature an array of authors whose articles—particularly in our special section on Dramatic Theory—resonate with our turbulent times. As a prelude to our guest-edited section, two authors consider the theoretical and practical potential of the dramatic work and its implications for performance. In "'Ulysses' Craft': Euripides and Levinas," Dylan Shaul takes up ancient strife in his examination of the satyr play genre, using the work of Emmanuel Levinas to explore the work of art as a site for ethical transformation. The art work also serves as a locus for a series of negotiations: between self and other, the individual and the masses, being and becoming, and war and peace. Significantly, the author emphasizes the ontological drama that Levinas establishes with the notion of hospitality in welcoming the other in a face-to-face encounter between Self and Other. Amy Steiger shifts our focus from the theoretical to the practical, while also incorporating the experiential in "Paradoxical Sleep and Flights of Imagination: Sleep Rock Thy Brain and the Performance of Research." She elucidates the transdisciplinary process by which a public university collaborated with the Actors Theatre of Louisville (2013) to produce a triptych of plays about sleep. Informed by the insights of sleep scientists and psychologists, the performance project created what the author suggests could be a model for new forms of public scholarship in theatre. Further, the Louisville artistic experiment exemplifies how communities can provide networking opportunities for institutions (including universities) and businesses to forge working relationships across the arts and STEM fields. When Geertz advocated that we create meaningful frameworks in which to examine aspects of social action, he suggested that such an examination would "plunge" us into "the existential dilemmas of life."2 At the core of our special section, titled "Dramatic Theory?" and guest-edited by Eero Laine, lies the idea of theatre as a site for cultural and theoretical intervention. I would like to acknowledge those people who continue to make the publication of JDTC possible. Thank you to the College of Arts and Sciences for your sustained support of the journal. My gratitude also goes to Michelle Heffner Hayes, Chair of the newly-formed (as of 1 July) Department of Theatre & Dance. New to our [End Page 1] editorial staff is Jocelyn Buckner, who begins her two-year term as Book Review Editor with this issue. I also am pleased to welcome Chris Hall as our new Managing Editor. Chris is a second-year doctoral student in the English Literature Department at KU. A recipient of the Hall Center for the Humanities Doctoral Fellowship, Chris researches modernism in light of imperialism and colonialism. His dissertation examines modernity through the lens of "worlds"—frameworks for discourses, material realities, and art—in order to erode oppressive boundaries of separation and difference. Finally, I extend my heartfelt thanks to each of you who so willingly has reviewed for the journal. Your active engagement in the peer-review process helps us to keep our standards high in publishing new scholarship in each issue. We encourage new authors and returning ones to send your submissions to jdtc@ku.edu. My four years as Editor will come to a close with the Fall 2018 issue. Be on the lookout for our announcement of my successor. In the meantime, we at JDTC wish each of you a happy and productive summer. Rebecca Rovit, Associate...

Doctoral Projects in Progress in Theatre Arts, 2018

Doctoral Projects in Progress in Theatre Arts, 2018 Troy Matthew Lescher (bio), Amy Beltrán (bio), and Sammi Stowe (bio) This is the sixty-sixth annual report of dissertations in progress in theatre arts in the United States. The entries contained in this report were gathered from those institutions offering a doctoral degree in theatre or related fields. The accuracy of the report depends largely on the cooperation of those faculty members who submitted complete and timely information. By compiling this data, we seek to inform the greater theatre community of the diverse research projects currently underway across various universities and disciplines. This report lists (in order) the doctoral student's name, dissertation title, institution, academic department, faculty supervisor, and projected year of completion. Dissertation topics are arranged in two parts: in part 1, topics are listed first geographically, and secondarily by time periods; and part 2 provides additional divisions for those projects that are not easily classified within geographic or historical parameters, but conform to other emerging areas of contemporary research. A request for submissions for the 2019 edition will be mailed in October 2018. Please contact the 2018–19 editor, Troy Matthew Lescher (troy.lescher@humboldt.edu), if your institution is not already receiving the annual call for submissions. My fellow associate editors and I are grateful for the effort of all those who have contributed to this annual report. We would like to express our sincere appreciation to the Humboldt State University Department of Theatre, Film & Dance and its chair, Ann Alter, for sponsoring this endeavor. [End Page 281] PART I ASIA Mantillake, Sudesh. Colonial Choreography: The British Colonial Construction of Sri Lankan Dance. University of Maryland. Theatre, Dance, and Performance Studies. Esther Kim Lee. 2018. Pitchford, Bart. Hela L'Wein: Imagining Citizenship through Performance in Displaced Syrian Communities. University of Texas at Austin. Theatre and Dance. Charlotte Canning. 2018. CHINA Huang, Yizhou. Staging Colonial Modernity: Performances for English-speaking Audiences in Shanghai between Two World Wars. Tufts University. Theatre and Performance Studies. Noe Montez. 2019. Kang, Bindi. Post-collective and Community in Contemporary Chinese Performance. The Graduate Center/CUNY. Theatre. Peter Eckersall. 2021. Zhang, Wei. Estranging a Post-Socialist China: Adaptations of Brecht in Chinese Theatre since the Cultural Revolution. University of Hawai'i at Mānoa. Theatre and Dance. Markus Wessendorf. 2018. ENGLAND Medieval/Renaissance Nakawaki, Bryan. "You played once i' th' university, you say?": Shakespeare's Drama on the University Stage. Purdue University. English. Charlie Ross and Paul White. 2018. Wicks, Heather. Love Her after: Desire, Death, and Tragic Subjectivity on the Early Modern Stage. Purdue University. English. Charlie Ross and Paul White. 2018. Restoration and Eighteenth Century Gallagher, Megan. Accidentally Substantive: Editorial Influence in Shakespeare's Fourth Folio. Claremont Graduate University. English. Lori Anne Ferrell. 2018. Lutz, Michael. Performative Humanism in Early Modern Drama. Indiana University. English. Linda Charnes. 2019. Zoch, Amanda. Pregnancy and Erasure in Early Modern Drama and Women's Writing. Indiana University. English. Ellen MacKay. 2018. Nineteenth Century Grinder, Brittany Proudfoot. Bitches in Britches: A History of Female Travesty Actresses of the English Stage. University of Maryland. Theatre, Dance, and Performance Studies. Esther Kim Lee. 2018. Twentieth Century Pierson, Kate. "When All the Town's a Stage": Ann Jellicoe's Community Play Process. Florida State University. Theatre. Mary Karen Dahl and Elizabeth Osborne. 2018. GERMANY Piggott, Jessi. Staging Commitment: The Social Aesthetics of Weimar Agitprop. Stanford University. Theater and Performance Studies. Matthew Smith. 2019. IRELAND Van Winkle, Kathryn Rebecca. "They shall be speaking forever": Performances of Rising, Riot, and the Nation in Ireland 2016. University of Texas at Austin. Theatre and Dance. Charlotte Canning. 2018. SOUTH AMERICA Thompson, Jennifer. Dramaturgies of Democracy: Performance, Cultural Policy, and Citizenship in Chile, 1979–Present. The Graduate Center/CUNY. Theatre. Jean Graham-Jones. 2021. Villada, Diego. Visiting the Living Museum: Brazilian Roots Tourism and the Emancipatory Possible. University of Pittsburgh. Theatre Arts. Lisa Jackson-Schebetta. 2018. USA General Ormiston, Rebecca. Acts of Recovery: Eugene O'Neill and Addiction Treatment in Post-WWII America. Stanford University. Theater and Performance Studies. Jennifer Brody. 2018. Nineteenth Century Hughes, Bethany. Playing Indian on Stage, 1829–1924. Northwestern University. Theatre. Harvey Young. 2018. Twentieth Century Brooks, John. The Racial...

Effects of parents and teachers’ support of autonomy and degree of recognition on career preparation behavior of undergraduate students in art major

This study selected the undergraduate students in art major as the population, and collected a total of 367 students, including 122 major in dance, 87 major in music major and 158 major in design major. In order to solve the research problems, exploratory factor analysis and correlation analysis were performed using the SPSS Ver20.0 statistical program, followed by one-way ANOVA, t-test, and multiple regression analysis. As a result, first, the difference of parents and teachers’ support of autonomy and career preparation behavior according to the personal characteristics of undergraduate students in art major showed that musical department was higher than dance and design department in major satisfaction and teacher autonomy. In career counseling and information gathering, dance and music were higher than design. In the gender, female counseling was higher than male counseling. There was no difference between family average income and mother's education level. Second, as a result of difference in career preparation behavior according to the recognition of major in undergraduate students in art major, it was found that career counseling and information gathering were higher than those who were very satisfied or satisfied with major. Third, parents and teachers’ support of autonomy had a positive effect on parental autonomy support in career counseling, career counseling, and autonomy support in information gathering. Therefore, the degree of awareness of the major and parents ‘and teachers’ support of autonomy seems to be related to career preparation behavior.

Promoting Entrepreneurship for Dance Majors in Higher Education

Dance graduates are more likely to become self-employed or undertake freelance work in the field of dance. To succeed and build a career, they need to understand the arts market and develop management and organization skills for planning, fundraising, application writing, promoting, and touring. In Korea, the low employability of dance graduates and lack of their entrepreneurial skills have been age-long problems because dance courses and module contents have given weight on dance technique modules. Dance departments have failed to develop graduateness and to provide the students satisfactory career guidance. It would be the best if, during university, students are given support not just in fulfilling their creative potential but also helping them gain confidence and adequate skills required to equip them for self-employment and freelance working. I thus suggest that to embed entrepreneurship across the dance curriculum can be an effective approach to address the reality of employment in dance and develop innovative career strategies. This article identified entrepreneurial competencies required for a successful career in the dance sector and suggested pedagogical approaches to enhance entrepreneurship for dance majors in higher education.

Persistence in Pedagogy

This self-reflexive essay addresses issues of teaching and pedagogy for social change in the Trump era. It places current teaching reflections in the context of the history of the corporatization of the university, systemic inequities in academia, and current political debates. It expands upon the structure of a teaching philosophy in order to share critical reflection, relevant sources, and pedagogical strategies drawn from the author’s experience teaching in dance departments.

PENSAR O GESTO DANÇADO: ENTREVISTA COM CHRISTINE ROQUET

Após uma formação em análise do movimento com Odile Rouquet e em seguida com Hubert Godard, no departamento de Dança da Universidade Paris 8, Christine Roquet defende em 2002 seu doutorado intitulado “La scène amoureuse en danse: codes, modes et normes de l'intercorporéité dans le duo chorégraphique” [A cena amorosa na dança: códigos, modos e normas da intercorporeidade no duo coreográfico]. Desde 2003, ela é professora de análise do movimento nesse mesmo departamento e é responsável pelo curso de graduação Arts du spectacle chorégraphique. Nesta entrevista, realizada em janeiro de 2017 em Fontenay-sous-Bois (França), Christine Roquet contextualiza em um primeiro momento como a análise do movimento – proveniente do campo da Dança – se desenvolveu na França e, na segunda parte, a discussão toma como eixo central a abordagem particular do departamento de Dança da Universidade Paris 8. A problemática da definição de um campo de estudo; o parentesco entre práticas somáticas, notação do movimento e aulas de dança; a especificidade das teorias desenvolvidas por Michel Bernard e Hubert Godard são alguns dos temas que atravessam essa conversa entre uma professora e um aluno que inicia seus estudos nesta área.

Smart kinesthetic measurement model in dance composision

<p>This research aimed to discover a model of assessment that could measure kinesthetic intelligence in arranging a dance from several related variable, both direct variable and indirect variable. The research method used was a qualitative method using path analysis to determine the direct and indirect variable; therefore, the dominant variable that supported the measurement model of kinesthetic intelligence in arranging dance could be discovered. The population used was the students of the art of dance department and were chosen by using purposive sampling technique so that the kinesthetic intelligence could be well measured. The result of this research was that the correlation between the ability in perceiving movement and the ability in conveying movement was 3.8048. The correlation between the ability in perceiving movement and kinesthetic intelligence was 0.3137. The correlation between the ability in perceiving movement and arranging a dance was -0.3751. The correlation between conveying movement and kinesthetic intelligence was 0.1333. The correlation between conveying movement and arranging a dance was -0.2399. The correlation between kinesthetic intelligence and arranging a dance was 0.8529. These result proved that kinesthetic intelligence has significant influence to the ability in arranging a dance. It could be concluded that a smart assessment model of kinesthetic intelligence in arranging a dance that was needed should measure the kinesthetic intelligence first while the ability to perceive and convey movement became the supporting element to strengthen the kinesthetic intelligence in arranging a dance.</p>

Queer Resistance

Research Article| June 01 2017 Queer Resistance Jennifer Tyburczy Jennifer Tyburczy Jennifer Tyburczy is associate professor of Feminist Studies and affiliated faculty in the Department of Theater and Dance and the Latin American and Iberian Studies Program. Her first book, Sex Museums: The Politics and Performance of Display (University of Chicago Press, 2016), won the 2016 Book of the Year Award by the GLBTQ Studies Division of the National Communication Association and was nominated for the 2017 Lambda Literary Award in LGBT Studies. Her research has also been published in Criticism, Journal of Literary & Cultural Disability Studies, Museum & Society, Radical History Review, Signs, Text & Performance Quarterly, and Women & Performance. Based on this research, she curated the award-winning exhibition Irreverent: A Celebration of Censorship for the Leslie-Lohman Museum of Gay and Lesbian Art in New York. Tyburczy is currently at work on a second book project, Sex After NAFTA: Crossing Borders and the Economy of Intimacy, in which she employs an interdisciplinary methodology to trace the influence of the North American Free Trade Agreement (NAFTA) on everyday practices of intimacy. Search for other works by this author on: This Site Google QED: A Journal in GLBTQ Worldmaking (2017) 4 (2): 51–55. https://doi.org/10.14321/qed.4.2.0051 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Jennifer Tyburczy; Queer Resistance. QED: A Journal in GLBTQ Worldmaking 1 June 2017; 4 (2): 51–55. doi: https://doi.org/10.14321/qed.4.2.0051 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveMichigan State University PressQED: A Journal in GLBTQ Worldmaking Search Advanced Search The text of this article is only available as a PDF. © 2017 Michigan State University2017 Article PDF first page preview Close Modal Issue Section: Forum You do not currently have access to this content.

Artists as Scholars: The Research Behavior of Dance Faculty

The research behaviors and library use of dance scholars are widely unknown, particularly in regard to issues of access to historical materials and new technology preferences. In the past thirty years, college and university dance departments in the United States have developed into independent, research-based programs. Despite the lack of current research examining the information needs of dance scholars, academic librarians must support the performance, research, and pedagogy of these programs. Interviews with dance faculty from three diverse institutions of higher education provide exploratory data about these scholars’ research needs. This qualitative study provides context for dance faculty experiences as both artists and teachers.

English

In this research, Movement Notation (Laban) and Traditional Method in Folk dance Teaching were compared in terms of learning success. Movement notation group (n = 14) and Traditional group (n = 14) consisting of students from the S.U. State Conservatory Turkish Folk Dance Department were formed. During the 14 week long study, the symbols of the Movement Notation (Laban) have been taught by exemplifying motifs in Turkish Folk Dances. Groups were formed by neutral assignment and "post-test control group model" was used. In the analysis of the data, parametric analysis and descriptive statistics were applied in solving sub problems. The learning achievements of the students in the Movement Notation (Laban) and the traditional group were compared both in terms of individual and group averages. It was determined that both the individual and group learning success of the Movement Notation Group (Laban) in the direction of the findings were higher than in the Traditional Learning Group (P<0.05).   Key words: Turkish folk dances, movement notation (Laban), traditional learning method, learning achievement. &nbsp

Co-Evolution of a University Department and a Dance Company: Creation of Value of Art in a Community

ABSTRACTIn Korea, arts and culture in the provinces are at a disadvantage in many aspects. We examine the difficulties of being a provincial dance organization. We analyze the strategies to overcome these difficulties and the resulting process of the co-evolution of a department of dance at a provincial university and its offshoot dance company. In their endeavor for survival, these dance organizations seek to be a part of the community with community dance programs that induce the participation of residents. The resulting values created in the community of the Western District of Daejeon City and the success factors of these organizations are also analyzed. Some implications of the co-evolutionary process to other provincial dance organizations are discussed.

Their life on the boundary line: college life of female undergraduates in department of dance to put off drop-out

Their life on the boundary line: college life of female undergraduates in department of dance to put off drop-out