The Extended Mind: Physical Tools to Expand Cognition in the Collegiate Modern Dance Class

2021 ◽  
Vol 21 (3) ◽  
pp. 198-202
Author(s):  
Christi Camper Moore ◽  
David Richard Moore
Keyword(s):  
Extended Mind ◽  
Modern Dance ◽  
Dance Class ◽  
Physical Tools

Situated Dancing: Notes from Three Decades in Contact with Phenomenology

2011 ◽  
Vol 43 (2) ◽  
pp. 5-18 ◽  
Author(s):  
Ann Cooper Albright
Keyword(s):  
Civil Rights ◽  
Geographic Distance ◽  
Modern Dance ◽  
Western Philosophy ◽  
Academic Experience ◽  
Dance Class ◽  
Phenomenology Of Perception ◽  
The Right ◽  
The Way

I began to study philosophy at the same time that I began to study dance, at college in the early 1980s. Both of these choices surprised me at first, as I had originally planned to study politics and become a civil rights lawyer after college. I see now that these two areas of inquiry were routes toward figuring out how to bridge the divides between my academic self and my increasingly explosive physicality. Figuratively as well as literally divided into day and night, my academic experience and the club scene I thrived in were separated by geographic distance and differing class values—a study in the cultural bifurcation produced by the hierarchies of brain and brawn. But these body/mind boundaries were always porous for me, and they became increasingly so as I explored the epistemological origins of the Cartesian split in my survey of Western philosophy course while also taking my first modern dance class. My desire was to become both verbally and physically articulate, and I savored those moments when vague impulses or ideas found the right expressive gesture or crucial wording. By the time I was a senior, I was choreographing a quartet and writing a thesis on Maurice Merleau-Ponty's Phenomenology of Perception (1962). Somewhere along the way, philosophy and dance leaned into one another, beginning a duet that would lead to a life spent thinking and moving.

Modern Dance Class

1978 ◽  
Vol 9 (1) ◽  
pp. 36-37
Author(s):  
Stephen Dunn
Keyword(s):  
Modern Dance ◽  
Dance Class

scholarly journals Oxygen Uptake During Modern Dance Class, Rehearsal, and Performance

2004 ◽  
Vol 18 (3) ◽  
pp. 646-649
Author(s):  
Matthew A. Wyon ◽  
Grant Abt ◽  
Emma Redding ◽  
Andrew Head ◽  
Craig N. C. Sharp
Keyword(s):  
Oxygen Uptake ◽  
Modern Dance ◽  
Dance Class ◽  
And Performance

Feasibility of an Intensive Trial of Modern Dance for Adults with Parkinson Disease

2010 ◽  
Vol 15 (2) ◽  
pp. 65-83 ◽  
Author(s):  
Glenna Batson
Keyword(s):  
Parkinson Disease ◽  
Modern Dance ◽  
Preliminary Evidence ◽  
Average Score ◽  
Future Research ◽  
Timed Up And Go ◽  
Dance Class ◽  
Balance Scale ◽  
Video Recordings ◽  
Feedback Questionnaire

Although preliminary evidence supports the psychophysical benefits of dance for adults with Parkinson disease, guidelines for community-based dance programs await further scrutiny for safety and efficacy. This pilot study was designed to assess the feasibility of an intensive trial of group-delivered modern dance for 11 adults with early-to-middle stage Parkinson’s. The Timed ‘‘Up and Go’’ test and the Fullerton Advanced Balance scale were administered to assess balance safety and re-administered at closure along with a self-reported feedback questionnaire. Video recordings were analyzed for qualitative behavioral change. Pre/posttest comparisons from the Timed ‘‘Up and Go’’ test were not significant, while those from the Fullerton Advanced Balance Scale were significant at the .05 level for the group as a whole (p = .01) with an average score change of +3.1 points. Although qualitative results generally concurred with the social benefits associated with an enjoyable form of expressive exercise, important indicators surfaced bearing on future research and community program designs. These include need for more rigorous stratification of participants and adapting dance class structure to address specific group needs to promote motor learning for sustained functional gains.

scholarly journals Oxygen Uptake During Modern Dance Class, Rehearsal, and Performance

2004 ◽  
Vol 18 (3) ◽  
pp. 646 ◽  
Author(s):  
Matthew A. Wyon ◽  
Grant Abt ◽  
Emma Redding ◽  
Andrew Head ◽  
N. Craig C. Sharp
Keyword(s):  
Oxygen Uptake ◽  
Modern Dance ◽  
Dance Class ◽  
And Performance

Costumes and Choreography from Bodenwieser's Trunk: The Coat as Affective Memory

2019 ◽  
Vol 37 (1) ◽  
pp. 89-110
Author(s):  
Rachel Fensham
Keyword(s):  
Modern Dance ◽  
Human Condition ◽  
Personal Life ◽  
Creative Thought ◽  
Cain And Abel ◽  
Embodied Research ◽  
The Many ◽  
The One ◽  
Material Evidence ◽  
Selection Of

The Viennese modern choreographer Gertrud Bodenwieser's black coat leads to an analysis of her choreography in four main phases – the early European career; the rise of Nazism; war's brutality; and postwar attempts at reconciliation. Utilising archival and embodied research, the article focuses on a selection of Bodenwieser costumes that survived her journey from Vienna, or were remade in Australia, and their role in the dramaturgy of works such as Swinging Bells (1926), The Masks of Lucifer (1936, 1944), Cain and Abel (1940) and The One and the Many (1946). In addition to dance history, costume studies provides a distinctive way to engage with the question of what remains of performance, and what survives of the historical conditions and experience of modern dance-drama. Throughout, Hannah Arendt's book The Human Condition (1958) provides a critical guide to the acts of reconstruction undertaken by Bodenwieser as an émigré choreographer in the practice of her craft, and its ‘materializing reification’ of creative thought. As a study in affective memory, information regarding Bodenwieser's personal life becomes interwoven with the author's response to the material evidence of costumes, oral histories and documents located in various Australian archives. By resurrecting the ‘dead letters’ of this choreography, the article therefore considers how dance costumes offer the trace of an artistic resistance to totalitarianism.

Leslie Burrowes: A Young Dancer in Dresden and London, 1930–34

2010 ◽  
Vol 28 (2) ◽  
pp. 153-178 ◽  
Author(s):  
Larraine Nicholas
Keyword(s):  
Modern Dance ◽  
Small Scale ◽  
Cultural Environment ◽  
Home Studio ◽  
To Receive

Leslie Burrowes (1908–1985) was the first British dancer to receive the full diploma of the Wigman School in Dresden and subsequently became Wigman's official UK representative. The letters she wrote to her benefactor, Dorothy Elmhirst, with the addition of my commentary and annotations, provide a lens through which to view the School as she experienced it. Her return to London brought her into a quite different cultural environment. I argue that she energetically launched her career, performing and teaching in her new style and contesting what she considered to be false charges against modern dance. But it appears that, by the end of this period, she had adjusted her expectations, away from solo theatrical recitals (in the Wigman mode) and more towards the education of children and students, and a small-scale but intense programme centred on her home studio.

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