School Dance Research Articles

The Vietnamese Dance Academy and its role in the formation of the national choreographic education system

The article highlights the history of the formation and the main stages of the activity of the Vietnamese Dance Academy, which has secured the reputation of the leading national choreographic school of Vietnam. In the context of the historical and cultural process, it is shown how the tasks of the school's activities and its status changed over time and in accordance with changes in the priorities of the state cultural policy. There are three stages in the development of an educational institution. In accordance with the spirit of the times, the school underwent changes, was transformed into the Vietnamese College of Dance, then into the Vietnamese Academy of Dance. The initial period of the school's activity is associated with the process of professionalization of choreographic art and the institutionalization of the national ballet. The transitional stage was the transformation of the school into a Vietnamese dance College, when the potential was being built up, which later ensured the transition to an Academy engaged in training highly professional personnel at the level of secondary and higher education. The importance of the Soviet system of integrative choreographic education at the initial stage is shown. For the first time, the question of the personal contribution of Soviet teachers Y.E. Brunak and H.F. Mustaev to the formation of the Vietnamese system of professional choreographic education is highlighted. On the basis of a combination of general scientific and special methods, including chronological, typological, historiographical methods, methods of comparative and source analysis, new facts on the history of the formation and development of the choreographic education system of Vietnam are established and introduced into scientific circulation. The educational, methodological, scientific and international directions of the Academy's activities at the present stage are highlighted. The author deals with the problems of modern development and prospects for development in the near future. It is concluded that the Vietnamese Dance School is the first educational institution in the history of Vietnam that provides professional training for a previously non-existent type of ballet performing art in Vietnam.

An Exploration on Changes and Practical Teaching Model of School Dance Education: Focusing on the 2022 Revised Curriculum

An Exploration on Changes and Practical Teaching Model of School Dance Education: Focusing on the 2022 Revised Curriculum

Assessment of Foot Deviations and Associated Foot Injuries and its Effect on Foot Functional Activity among Amateur Adolescent Female Kathak Dancers in Selected Dance Schools in Bengaluru

Background & purpose: Kathak is a north Indian classical dance form that requires fast rhythmically sophisticatedfootwork and fast turns, which puts the dancers at risk of foot injuries. Any foot deviations or reduced foot functionare associated with an increased risk of a foot injury. This study aims to assess foot deviations and related footinjuries and their effect on functional activity and create awareness among kathak dancers about foot position andits risk factor for injury. Methods: This study included 100 recruited subjects based on the inclusion and exclusioncriteria. Demographic data and other variables were collected and recorded, and measures like foot posture andfunction indexes were used.Results: The foot posture index mean and SD of the left feet for the subjects recruited in the present study were1.83 and 1.43 and of the right feet were 1.89 and 1.54 respectively. The overall foot functional index score mean andSD, for the subjects recruited in the present study were 9.76 and 10.39.Conclusion: The present study concluded by stating that the foot posture index was normal and didn’t haverestrictions on foot usage while performing the kathak dance form. Whereas with the foot function index, it wasobserved that the pain experienced by subjects was severe which restricted their activity pattern and hinderedtheir dance performance.

Participation of Soviet specialists in the creation of the Egyptian national dance school as an manifestation of cultural sensitivity phenomenon

The paper presents a combination of historical and sociological research. The authors scrutinize the history of the work of Soviet choreographers, first of all related to the choreographic school of I. Moiseyev in Egypt in 1950-60s. As a result of this work, the Egyptian traditional dances, which probably originated in ancient times, including raks sharki, known worldwide as bellydance, were recorded and brought to the professional stage. The authors rely on the concept of institutionalization of culture, the essence of which is that folklore tradition in an industrial and urban society can no longer be transmitted naturally through the family, but can be preserved through fixation and institutionalization in the system of cultural institutions and supplementary education. This idea was realized in the USSR and in Egypt with the active participation of Soviet specialists.
 The authors conclude that the successful experience of Soviet choreographers with Egyptian cultural heritage could be interpreted as empirical evidence of the "cultural openness" (i. e., sensitivity and respect for other cultures).
 Finally, the example discussed in the paper shows that the Soviet experience of the institutionalization and professionalization of cultural tradition can be successfully applied in other countries and among peoples belonging to completely` different macrosocial communities. At the same time, it makes possible to preserve important elements of national identity and even local originality in urban milieu of industrial or post-industrial society.

Strategi Pembelajaran Seni Tari Melalui Model Kooperatif Di Sekolah Dasar

There are still many problems faced in learning dance in schools, even though the contribution of dance art education is very significant for building the character of students and the character of the nation. Dance art education can provide space for optimal multi-intelligence development of students. Related to this problem, research was conducted with the aim of describing the process and results of increasing interest in learning the art of dance. The learning model used in this study is a cooperative learning model using audio-visual media in the form of dance videos and LCDs as a means to support practical activities in dancing. The problem in this study is how the process of learning dance through the application of cooperative models using audio-visual media in fifth grade students of SD Negeri Dalem Kotagede. This research is a classroom action research using descriptive research methods and qualitative approaches. This research uses two cycles, where in the first cycle and the second cycle is the application of the cooperative learning model. The results of this study showed an increase in student interest from pre-cycle to cycle II. The conclusion of this study is that learning dance through a cooperative model with audio-visual media indicators of student interest such as indicators of attention, enjoyment, and interest in participating in dance learning has increased.

Descriptive Analysis of Mental and Physical Wellness in Collegiate Dancers.

Understanding the physical and mental health of collegiate dancers is important for developing appropriate screening protocols and treatment interventions. This study aims to provide descriptive data on the overall health, injury burden, and well-being of a group of collegiate dancers, including the interactions between injury, nutrition, and mental health, to provide insight for wellness screening and interventions in collegiate dance programs. Members of the School of Dance at the University of Utah were sent an electronic general health survey. The survey included questions regarding medical history, family history, injuries, diet, sleep quality, symptoms of depression and anxiety, and history of eating disorders. Of the 231 dancers who received the survey, 198 responded (response rate = 85.7%). Fifty 2% of respondents had an active injury. Symptoms of depression and anxiety were common (35.4%), and 37.4% of the dancers were interested in receiving mental health support. Symptoms of depression and anxiety had a significant association with both a history of injury and active injuries (P = .033 and .039, respectively). History of eating disorder was also significantly associated with active injuries (P = .005). The most commonly injured body area was ankle or foot (n = 144, 72.7%), followed by lower leg or shin (n = 76, 38.4%), and knee (n = 61, 30.8%). Over a quarter of the dancers (n = 54, 27.3%) reported having trouble sleeping, and 9.1% reported having a history of eating disorder. This study highlights the important interplay between mental health, sleep, nutrition, and injury. These results show that in a group of collegiate dancers, active injuries and mental health concerns are common, and that there are statistically significant associations between injury, nutrition, and mental health. These data provide insight into factors that affect dancer wellness and help inform future screening and intervention protocols for dance programs.

Online Dance Injury Monitoring: The Efficacy of Weekly Reporting and Respondent Compliance Over a 30-Week Period.

Previous injury survey recall methods often use one-off questionnaires with varying periods of recall. These methods have proven to show injury incidence inaccuracies and limited information on injury etiology. The present study aimed to examine the efficacy of a remote weekly self-report injury incidence and etiology tool. Two online questionnaires were developed based on the "Fit to Dance 2" survey and sent to volunteers. The first questionnaire was sent once and asked for complete injury history information. The second questionnaire was sent to each respondent on a weekly basis and it focused on new injuries and their causes and whether injuries that occurred in previous weeks were still affecting their dancing. The online survey was opened for full-time dance students from September 2020 to July 2021. All weekly data for each respondent were combined with a unique reference code using their account names, students' numbers, and schools' names. The proportion of participants who drop out is defined as the measurement of outcome. A total of 756 respondents engaged in the survey from 16 different Chinese dance schools; the drop-out rate was 70.1%, with student respondents under 18 years old having a slightly lower drop-out rate than adult respondents (69%vs 71%). 33 respondents (4.4%) who completed all 30 weeks survey. These data allow other researchers to examine respondent compliance rates from a weekly survey. A reminder system and teacher engagement could potentially increase the response rate. For frequent completion questionnaires the design needs to be streamlined to increase compliance. It is concluded that the researchers would need to weigh reduced completion rates (<100%) against data efficacy to achieve generalizability.

The Many Masks of Andy Zhou by Jack Cheng

Reviewed by: The Many Masks of Andy Zhou by Jack Cheng Danica Ronquillo Cheng, Jack The Many Masks of Andy Zhou; written and illus. by Jack Cheng. Dial, 2023 [320p] Trade ed. ISBN 9780525553823 $17.99 E-book ed. ISBN 9780525553847 $10.99 Reviewed from digital galleys R Gr. 5-8 Sixth-grader Andy Zhou tends to go with the flow, which means he’s mostly unfazed when his grandparents arrive from Shanghai to live with his family in Detroit for six months, giving them his room and bed with little fuss. Unfortunately, that tendency also means his best friend Cindy walks all over him, and now she’s convinced him to lie to his parents about joining a school dance group he’s not terribly interested in. Anxiety soon overtakes Andy’s usual easy demeanor, and then he’s totally thrown off balance when his bully from science class, Jameel, suddenly wants to befriend him. Torn by juggling so many responsibilities and identities, Andy tries to cope by focusing on drawing, something that feels uniquely special to him. Inspired by personal experiences immigrating from Shanghai to America, Cheng crafts a poignant novel that follows Andy’s first months of middle school, when [End Page 323] he faces microaggressions in his community and difficulty navigating friendships. Bridges appear as a motif throughout the novel, especially as friendships progress, take detours, or crumble; there’s an aching poignancy in Andy’s observation of a demolished pedestrian bridge: “All that’s left are the twisty ends of rusted metal bars, sticking out where it used to be.” Andy and Jameel bond over pop culture and anime, and their relationship gives nuance to Jameel, presenting him as a kid who is good at heart and has his personal hardships. This moving novel about self-discovery will resonate with kids navigating the shifting waters of middle school. End matter includes an author’s note and mental health resources. Copyright © 2023 The Board of Trustees of the University of Illinois

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

Breathing Back the History of German Modern Dance through the Horror Film Genre in Luca Guadagnino's Suspiria (2018)

Director Luca Guadagnino's film Suspiria (2018) depicts the dancer Susie Bannion joining a dance academy secretly run by a coven of witches in Berlin during the German Autumn of 1977. This article analyzes how Mary Wigman's Hexentanz II, contemporary dance, and horror film practices inform Susie's neo-expressionist movement form, which is also steeped in the discourse surrounding the RAF (Red Army Faction), the West German far-left militant organization, and fascism. I argue that “historical breathing”—breaths and sighs—takes on a sensorial mode by surveying the past and current situation of the dance school. By inhaling, Susie embodies the dance Volk (1948) and can feel its vexed choreographic history—its occult origins and Ausdruckstanz practices. Furthermore, her dance futilely attempts to comes to terms with the Nazi past but inevitably replicates the violence of the RAF.

Does resilience predict self-efficacy and motivation in dancers?

Objective: This cross-sectional study investigated the association among resilience, self-efficacy and motivation in 135 dancers from Theatre Guaíra School of Dance (21,5% men, 26,6±14,3; 78,5% women 17,3 ± 9,7 years old). Methods: The instruments used included the Resilience Scale (RS), The General Self-Efficacy Scale (GSE), and the Sport Motivation Scale II (SMS-II). Data analysis was carried out by using Pearson Correlation Coefficient (PCC) and Multiple Regression (p&lt;.05). Results: As results resilience was positively associated with self-efficacy (r=.32), controlled motivation regulations (r=.18 and 21) and autonomous motivation regulations (rrange=.26 to 36), and negatively associated with amotivation (r=-.18). The Regression analysis found that resilience positively influenced the participants in the sense of achieving self-efficacy (R2=.10; p&lt;.001; β=.32, p&lt;.001), motivation regulation (r2range=.03 to .10; p&lt;.05), controlled motivation (external regulation, β=.18, p&lt;.05, and introjected regulation, β=.21, p&lt;.05), autonomous motivation (intrinsic regulation, β=.31, p&lt;.001, integrated regulation, β=.26, p&lt;.001, and identified regulation, β=.36, p&lt;.001), and amotivation (β=-.18, p&lt;.05). Conclusion: Ultimately, it was concluded that resilience seems to play a protective role against amotivation, in addition to promoting both controlled and autonomous motivation, and self-efficacy in dancers. Keywords: Ballet. Performance. Psychology. Dancers.

Dance-related musculoskeletal injury leading to forced time-loss in elite pre professional dancers – a retrospective study

ABSTRACT Young ballet dancers place themselves at risk of injury on a daily basis, often pushing their training beyond limits, ultimately leading to pain and injury. When signs and symptoms of injury are ignored, functional ability and overall health may be seriously compromised and absence from dance practice may forcibly take place. Objectives Describe the epidemiology of dance-related musculoskeletal injury leading to forced time-loss in elite pre-professional dancers and provide descriptive data on the prevalence concerning diagnoses, location, and injury type, stratified by gender and skill level. Methods Retrospective cohort, over a 3-year period on a full‐time pre-professional Portuguese dance school featuring 70 both gender students with a mean age of 14.87 years. A total of 110 injuries were analyzed. Non‐parametric statistics were used. Results The most prevalent diagnosis leading to forced time-loss in female dancers were Medial Tibial Stress Syndrome (MTSS), 14.29%, and Posterior Ankle Impingement Syndrome (PAIS), 7.14%, whereas in male dancers these were Hallux Sprain, 17.50%, and Lumbar Spine Joint Injuries, 7.50%. Differences were found in injuries’ anatomical location between genders and in Incidence Proportion and Clinical Incidence between skill levels. 72.20% of the chronic injuries and 50.00% of the acute injuries occurred in Level III students. Conclusions With respect to forced time-loss injuries, male dancers were found to sustain more acute traumatic injuries and female dancers overuse, respectively, sprains and MTSS and PAIS. Identifying which injuries are most likely to lead to forced time-loss may be useful for helping health-care professionals in clinical decision-making and in developing more effective injury prevention and management strategies.

Passion, Visions, Trance: Using Laban Technique to Train Actors in the Performance Non-Ordinary Psychophysical States in German Expressionist Drama

Passion, Visions, Trance:Using Laban Technique to Train Actors in the Performance Non-Ordinary Psychophysical States in German Expressionist Drama Gerald Large (bio) In Washington State, where I teach acting at the community college level, high school juniors and seniors can take community college classes for credit (a program called Running Start). Thus, my acting classes are populated mostly by sixteen- to twenty-year-olds. Occasionally a returning veteran will give the class a try, as do students of a certain age. Rarely do I have a theatre major. This demographic is liberating in that I needn't worry about training hopeful professional actors. I can explore a broad palette of training methodologies. I can play. But "play" in the context of an acting class must be meaningful for the students. Play needs to touch them deeply. Surprisingly, I found that a movement from a century ago and a continent away provides a promising playground for my students: German Expressionism. The explosive, transcendent, and socially forward-looking plays by August Stramm, Georg Kaiser, Oskar Kokoschka, and many others give us characters who frequently move from a quotidian existence to non-ordinary states of mind. Characters in these plays don't just have objectives of a mundane nature. They are absolutely manic in their passionate desire to transform both self and society. They have visions. They sit in trancestates as if suspended in time. When I casually asked my students if they'd be interested in exploring the performance of non-ordinary states of mind—specifically, heightened passion, the act of having a vision, and trance states—the response was a resounding "Yes!" This was followed by the obvious question: "How do we do that?" How indeed? I've never taught "expressionist" acting, and my experience with the plays of this movement are not as a director but as an enthusiastic reader who takes copious notes. Digging around in the back of my filing cabinet, I found a file labeled "GE." There I find pages of notes of Stramm's Sancta Susanna (1911), Ernst Toller's Transfiguration (1919), and other plays of the genre. Then I found what I was hoping I'd kept: notes on the dancers, choreographers, and the schools of dance of the German Expressionist movement, including Mary Wigman, Rudolf Bode, Dorothee Günther, the Bauhaus experiments, Rudolf Laban…. This is when I have my "aha!" moment. I'm neither a dancer nor choreographer, but my lifelong interest in both modernism and modern dance has put me in touch with Laban many times. Rudolf Laban (1879-1958) was both a prolific choreographer and dance theorist, whose writings include a seemingly inexhaustible supply of dance categories, theories, and instructions. I knew Laban technique had what I needed to help student-actors explore the performance of non-ordinary states of mind. In this essay, I relate the lessons I found useful in teaching an introductory acting class on the performance of non-ordinary states of mind as found in German Expressionist plays. Specific techniques I explore are Flow, Effort Elements, Motion Factors, and the Passion, Vision, and Spell/Trance [End Page 29] Drives. Additionally, I use scenes from Reinhard Sorge's The Beggar (1912) as the touchstone from which to explore the performance of heightened passion, experiencing a vision, and the trance state. _______ After two weeks of introductory theatre games and improvisations, I sit with the class and introduce them to German Expressionism. I briefly talk through several plays, screen short clips from silent Expressionist films, and show them paintings from the movement. Then we dive deep into Sorge's play The Beggar (which students have previously read).1 Textual analysis is completed by students divided into small groups. They work through several basic questions on character relationships, then they list scenes where they think characters are in a high state of passion, experiencing a vision or hallucinations, or are in a trance. When the groups have completed their task, we reassemble and go through each question. In general, students are perplexed by many of the play's disconnected scenes, by the sudden appearance of angels, and by the abrupt shifts from prose to verse. I welcome the confusion...

중학교 무용 문화예술교육 경험가치가 수업만족과 지속의도에 미치는 영향

중학교 무용 문화예술교육 경험가치가 수업만족과 지속의도에 미치는 영향

Dance Learning Model Using Stories in Elementary Schools

Dance learning in elementary schools is starting to be neglected, there are even schools that don't teach dance, especially in the form of practice. This is because the teacher has difficulty choosing a dance learning model that is systematic and easy to use. The purpose of this study was to analyses the validity, practicality and effectiveness of the TAGUNTA learning model (Dance using Stories) in Elementary Schools. This research is a type of development research (Research and Development). Following the product development steps proposed by Borg &amp; Gall. Research data collection techniques and instruments in the form of qualitative and quantitative data consisting of preliminary study data, validity test, practicality test and product effectiveness test. To see the feasibility of the model, validity tests were carried out by four experts, practicality tests by teachers and students and effectiveness tests through student learning outcomes tests. The results of this study indicate that the TAGUNTA Learning Model in Elementary Schools that the researchers developed has been tested to be able to overcome the problems of learning dance in elementary schools. The feasibility of the TAGUNTA learning model is evidenced by the results of the validity test with an overall average score in the very valid category, a practicality test with an overall average score in the practical category, and an effectiveness test with an overall average score in the category very effective. Thus, it can be concluded that the TAGUNTA Learning Model that the researchers developed is valid, practical, effective, and appropriate for use in teaching dance in elementary schools.

초·중학교 무용 문화예술교육 경험가치가 교육만족 및 행동의도에 미치는 영향

Objectives The purpose of this study is to analyze the effects of experience values on educational satisfaction and behavioral intentions of students who have experience in Primary and middle school dance culture and arts class.&#x0D; Methods A survey was conducted on a total of 440 primary and middle school students participating in the dance culture and arts class in Gwangju Metropolitan City. The data were processed through exploratory factor analysis, Cronbach's α, correlation analysis, and multiple regression analysis.&#x0D; Results First, It was found that educational value and aesthetic value factors of primary and middle school dance culture and arts education experience values affected class satisfaction, and aesthetic value factors affected environmental satisfaction. Second, The educational value and aesthetic value factors of the experience value of primary and middle school dance culture and arts class were found to affect the intention to continue, and the educational value, emotional value, and aesthetic value factors all affected the recommendation intention. Third, It was found that all sub-factors of primary and middle school dance culture and arts class education satisfaction affect the intention to continue and the intention to recommend.&#x0D; Conclusions Future dance culture and art class will develop educational contents to diversify activities to see, feel, and appreciate, as well as to perform dance, and strengthen instructor class to equip them with the qualifications and capabilities as a dance education expert and educational service provider.

Musicking: Culturally Informed Performance Practices University of Oregon School of Music and Dance, 19–24 April 2022

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Shrinking the Size of the State with One Choreography Collaboration at a Time!

Since 2016, New Jersey dance educators have requested more opportunities to collaborate beyond professional development workshops hosted by Dance New Jersey (DNJ) resulting in a question: How can DNJ support more collaboration among its members? While exploring ideas and imagining possibilities, the executive director at the time, Cristina Marte, discovered Video Collaboratory, a web-based, private application designed for group collaboration around video documents. With this tangible option, she constructed a pilot program enlisting two high school dance programs from different parts of the state to engage in the process of dance making, sharing, and communicating through a virtual platform. The intent of the collaboration during the student feedback process was to provide students with additional support from distant “choreography pals” to enhance the creative experience. The successes of the project revealed the advantages of unforeseen collaborations, the possibilities in technology, and the enhancement in the creative feedback process.

Dança na Escola... Para Quê?

ABSTRACT The essay is a defense for the presence of dance in the curriculum of elementary and secondary education. Why should we have dance in schools? Dance in schools… What for? Based on the work developed over the years by the authors, which involved searching for articles, participating in lectures, writings, among other strategies, this text points to eight points of argument that can be unfolded and gathered in other configurations. As a conclusion, the importance of dance in elementary and secondary education is highlighted, as, in addition to legislation, it enables students to develop knowledge about their own bodies, instigating their creative capacity and expanding their historical and cultural horizons.

СОХРАНЕНИЕ И РАЗВИТИЕ ШКОЛЫ КЛАССИЧЕСКОГО ТАНЦА В ТВОРЧЕСТВЕ Н.А. ЕРМАКОВОЙ

Subject of the article: the choreographic heritage of the Saratov region is the preservation and development of the school of classical dance. Object of the article: choreographic art and its special role in the development of a creative personality. The purpose of the project: to update information about the methods and forms of plastic work of teachers in children's choreographic groups in order to preserve the traditions of the Russian school of classical dance. The article considers the method of teaching classical dance by N.A. Ermakova ("Children's Art School No. 1 named after P.A. Frolov", Engels). She developed an adapted educational author's program "Smart Rhythm", which includes a gradual transition from basic rhythmic movements to mastering the initial, initial elements of classical dance. Thanks to creative imagination, dance classes for younger students turn into an "exciting journey" into the world of classical dance. The author comes to the conclusion that it is necessary to include new methods, forms of organization of teaching in choreography lessons into the general traditional system of teaching classical dance. The scientific novelty of the study lies in identifying the features and forms of teaching classical dance for the purpose of creative and professional development of the individual, as well as transferring the cultural heritage of our time, internal motives and values through dance. Scope of the results: this experience, which has become a unique practice for the formation of a special type of thinking and creative activity, stimulates and opens up opportunities and abilities for search, research and experimental activities in the field of choreography.