Dance Improvisation as Experimental Inquiry

2021 ◽  
pp. 475-487
Author(s):  
Eric Mullis
Keyword(s):  
Dance Improvisation

Learning Embodied Sound-Motion Mappings: Evaluating AI-Generated Dance Improvisation

2021 ◽  
Author(s):  
Benedikte Wallace ◽  
Charles P. Martin ◽  
Jim Tørresen ◽  
Kristian Nymoen
Keyword(s):  
Dance Improvisation ◽  
Sound Motion

PROFESSIONALISM IN TEACHING CHOREOGRAPHY AND DANCE IMPROVISATION TO DANCERS

2019 ◽  
pp. 49-55
Author(s):  
M.R. Chernaya ◽  
A.G. Manukyan ◽  
P.S. Yevdokimov-Yesenskiy
Keyword(s):  
Dance Improvisation

Dance Imagery for Technique and Performance

2014 ◽  
Author(s):  
Eric Franklin
Keyword(s):  
Deep Understanding ◽  
The Body ◽  
Artistic Expression ◽  
Contemporary Dance ◽  
Improve Technique ◽  
Dance Class ◽  
Dance Improvisation ◽  
Dance Imagery ◽  
And Performance ◽  
Dance Educators

Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: • Two chapters include background, history, theory, and uses of imagery. • 294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. • 133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer’s steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin’s Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin’s method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin’s method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.

scholarly journals Spirituality and Concept of ’Child’ in Kokas Pedagogy for Children with Special Educational Needs

2020 ◽  
Vol 2 (1) ◽  
pp. 11-16
Author(s):  
Csilla Imola Székely
Keyword(s):  
Music Education ◽  
Personality Development ◽  
The United States ◽  
Short Film ◽  
Special Educational Needs ◽  
Relationship With God ◽  
Disadvantaged Children ◽  
Reform Pedagogy ◽  
Dance Improvisation ◽  
Objective Representation

Klára Kokas was a music teacher and music psychologist (1929-2010). Her method is based on music, motion and manual arts, therefore it can be defined as a form of reform pedagogy, otherwise it is called complex art pedagogy. The main elements and characteristics of Klára Kokas’s pedagogy were revolutionary new ideas in the fields of personality development, and music education – compared to the practices of reform pedagogy trends in the 20th century Europe and the United States (Pukánszky-Németh, 1996). The main elements of this concept are music, dance improvisation, motion, imaginative stories, visual arts, painting and drawing. However, its most important component is the very specific and intimate relation, which connected her to children. This distinctive feature of the Kokas-method is hard to teach. Klára Kokas approached to people with problems, suffering and disabilities, especially to marginalized and disadvantaged children with utmost empathy. She struggled to develop the social-cognition skills and affectionate behavior of the handicapped children through her own invented musical method.Her writings reflected her relationship with God, namely the presence of Him which can be felt behind the scenes. His name was mostly unspoken, yet when she named Him, it was to reveal that God was always in her mind, like in her words and musical activities too.The goal of this paper is to search and frame that text corpus, which can outline the spirituality of Klára Kokas with the aim of drawing up her relationship with God and children – according to her publications, writings, essays, books, short-film compilations, movie archives and interviews (Kokas, 1992; 1999; 2002; 2007; 2012; 2013). The contours of her spirituality from her teachings, manuscripts and publications couldn’t be attributed to any religious denomination. Also, to be presented are her notions about youth and teenage spirit and a unique relation with the world, her own students, the talents, the music and the holiness: the spirituality of Klára Kokas. The importance of beliefs and moral convictions in the art of education will be outlined.A single paragraph of about 150-200 words maximum. For research articles, abstracts should give a complete overview of the work. We encourage authors to use the following style of abstracts: background, methods, results and conclusion. The abstract should give an objective representation of the article.

scholarly journals Ulikhet som impuls for nye oppdagelser i dans: Å tøye både muskler og meninger gjennom mangfold i Danselaboratoriet

2014 ◽  
Vol 3 (2) ◽  
Author(s):  
Tone Pernille Østern ◽  
Elen Øyen
Keyword(s):  
Meaning Making ◽  
Dance Improvisation

I denne artikkelen har forfatterne fokus på hvordan ulikhet mellom mennesker kan fungere som en impuls som bidrar til meningsskaping, nye oppdagelser og transformasjon i improvisasjon i dans. Artikkelen tar utgangspunkt i Østerns avhandling ”Meaning-making in the Dance Laboratory. Exploring dance improvisation with differently bodied dancers” (2009). I artikkelen vever forfatterne sammen sine ulike stemmer. Tone Pernille Østerns perspektiv er som initiativtaker og tidligere koreograf-dansepedagog i Danselaboratoriet, mens Elen Øyens perspektiv er som danser i den samme gruppen. Øyen er danser og rullestolbruker. Hovedkonklusjonen i artikkelen er at gjennom å forstå ulikhet som en verdi og impuls til å møtes og skape i improvisasjon i dans, så kan deltakerne i gruppen gjennomgå kraftfulle transformative endringsprosesser når det gjelder synet på ”den andre”. Dette har en betydning som går langt ut over det konkrete, kunstneriske undervisningsrommet. ”Den andre” forstås i artikkelen som en konstruksjon som både muliggjør adskillelse og utestenging fra et fellesskap, men også som en mulighet til å forstå at ”den andre” ikke nødvendigvis er, eller skal være, som meg.

Mapping Indeterminacy and Chance through Movement Notation: A Study on Dance Improvisation

Leonardo ◽  
2018 ◽  
Vol 51 (3) ◽  
pp. 282-283
Author(s):  
Kai-Han Chung ◽  
June-Hao Hou
Keyword(s):  
Movement Analysis ◽  
Laban Movement Analysis ◽  
Notation System ◽  
Dance Improvisation ◽  
Movement Notation ◽  
Dance Notation ◽  
Depth Interviews ◽  
Limb Exercise ◽  
Insight Into ◽  
External Environments

A dance notation system is usually regarded as a representation tool rather than a creative tool. This paper uses the indeterminacy approach as a creativity method to assist body-based limb exercise and development. The movement notation system is constructed based on the effort action from Laban Movement Analysis. In-depth interviews provide a comprehensive insight into the choreographer’s perspective. The findings show that the notation system and body-based improvisation training are not mutually exclusive. Therefore, the use of a notation system gives dancers a better understanding of how movements interact with various stimuli, in relation to internal and external environments.

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