scholarly journals Costume as a somatic tool in dance education: A provocation

2020 ◽  
Vol 12 (2) ◽  
pp. 255-265
Author(s):  
Lorraine Smith
Keyword(s):  
Dance Education ◽  
Dance Training ◽  
Definition Of

Somatic dance practice is a much needed accompaniment to any dance training, with many benefits to the students. However, breaking through to a sceptical novice student can be a challenge. And for those who fall willingly into the practice, becoming overly internalized and disconnected to the external can be equally problematic. In response to these issues, the author advocates that costume could be the answer. This visual essay will reflect on the absence of costume in dance education and examine its somatic nature through the analysis of relevant performance works. Evidencing costume’s haptic nature and impact on the performing body, its comparison with somatic dance practice principles will be discussed. Finally, the author suggests a definition of the somatic nature of costume and its recommendation as a tool to support the teaching of somatic practice in dance education.

scholarly journals La danza en el ámbito de educativo (Dance in the Educational Context)

Retos ◽  
2015 ◽  
pp. 42-45
Author(s):  
Gregorio Vicente Nicolás ◽  
Nuria Ureña Ortín ◽  
Manuel Gómez López ◽  
Jesús Carrillo Vigueras
Keyword(s):  
Teacher Training ◽  
Gender Discrimination ◽  
Emotional Development ◽  
Dance Education ◽  
Educational Context ◽  
Human Beings ◽  
Education Movement ◽  
And Gender ◽  
Definition Of

El presente trabajo ofrece una visión general del fenómeno de la danza en el ámbito de la educación. En un primer momento se realiza una exposición de los diferentes componentes o aspectos del ser humano sobre los que la danza incide de forma más evidente. Posteriormente se presenta una revisión de las definiciones propuestas por diferentes autores que consideramos más relevantes y se incluye una definición propia del concepto. También se destacan las aportaciones de la danza a la educación desde el punto de vista social, físico, intelectual y afectivo y se señalan los mayores problemas que esta disciplina ha tenido para ser incluida como una materia más: falta de formación del profesorado, falta de recursos y espacios adecuados y discriminación de género. Finalmente, se concluye con una reflexión sobre las formas de danzas más adecuadas en el ámbito educativo.Palabra clave: danza, baile, educación, movimiento, expresión corporal.Abstract: This paper provides an overview of the phenomenon of dance in the field of education. At first, it is made a presentation of the different components or aspects of human beings on that dance impacts in a more obvious way. Subsequently, we present a review of the definitions proposed by different authors that we consider most relevant and it is included a personal definition of the concept. It also highlights the contributions of dance to education in terms of social, physical, intellectual and emotional development and identifies the major problems that this discipline has had to be included as a subject: lack of teacher training, lack of adequate space and resources and gender discrimination. Finally, it concludes with a reflection on the most appropriate forms of dance in the educational context.Key words: dance, education, movement, corporal expressión.

Navigating African Identities, Otherness, and the “Wild Untamed Body” in Dance Training and Pedagogy in South Africa: A Case Study of Flatfoot Dance Company's Dance “Development” Programmes

2009 ◽  
Vol 41 (S1) ◽  
pp. 293-299
Author(s):  
Lliane Loots
Keyword(s):  
South Africa ◽  
Life Skills ◽  
Dance Education ◽  
Skills Training ◽  
Dance Pedagogy ◽  
Dance Training ◽  
Performance Career ◽  
Training Methodologies ◽  
Contemporary Context

This paper offers an interrogation of dance training methodologies used as a basis for dance education, training, and pedagogy by Flatfoot Dance as it operates in the African contemporary context of South Africa. Focus is placed on interrogating the dance education work, which uses dance as a methodology for life skills training around health, HIV/AIDS, and sexuality, and the more focused training of young dancers for a performance career. All of this is navigated in the postcolonial context of looking for a dance pedagogy that speaks to the context of the South rather than appropriating a very problematic “globalised” process of defining dance training and pedagogy.

Expanding the Canon: South Asian Dance Training in British Universities

2009 ◽  
Vol 41 (S1) ◽  
pp. 188-193
Author(s):  
Stacey Prickett
Keyword(s):  
South Asian ◽  
Dance Education ◽  
Technical Training ◽  
Contemporary Dance ◽  
Dance Training ◽  
Aesthetic Understanding

An increasing emphasis on multicultural and contextual studies approaches to dance education is evident in curriculum developments, with South Asian dance attaining a stronger presence in courses at British universities. This paper considers a range of aesthetic and pedagogic issues about how South Asian dance technique is situated in dance courses in relation to its position as a contextual subject. To what extent does technical training inform a contextual and aesthetic understanding? How do classical forms sit alongside training in contemporary dance and choreography?

scholarly journals Folk Dance in China: The Dance Pioneer Dai Ailian, 1916–2006

2016 ◽  
Vol 2016 ◽  
pp. 62-71
Author(s):  
Eva Shan Chou
Keyword(s):  
Chinese Culture ◽  
Southwest China ◽  
Folk Dance ◽  
Important Work ◽  
Dance Training ◽  
Urban Elite ◽  
Definition Of ◽  
Great Energy ◽  
And Training

The founding of anthropological studies to China in the 1920s introduced the cultures of the countryside and its villages to the urban elite and helped to create a more complex definition of Chinese culture. The ability to study, collect, and reproduce dance specifically, as opposed to religious ceremonies or music, truly began only with the arrival of a dedicated pioneer who had an unusual range of skills and training to bring to the task. This was the remarkable Dai Ailian (1916–2006). She was born of Chinese ancestry in Trinidad and received dance training in England from 1931–1937 when both ballet and modern were just being explored in that country. Both chance and purpose brought about her first important work in folk dance when she arrived in China in 1940, during the anti-Japanese War. The unoccupied parts of southwest China were rich with the dance of minority peoples, and she set to work learning and propagating with great energy. This paper examines Dai's work in folk dance at this time and sets it against the trajectory of folk as it developed in the next seventy years.

Toward a Definition of Dance Education

2000 ◽  
Vol 77 (1) ◽  
pp. 27-32 ◽  
Author(s):  
Susan R. Koff
Keyword(s):  
Dance Education ◽  
Definition Of

Robinson, Jacqueline (1922–2000)

2018 ◽  
Author(s):  
Sanja Andus L’Hotellier
Keyword(s):  
Art History ◽  
Modern Dance ◽  
Dance Education ◽  
Specific Technique ◽  
Classic Work ◽  
Dance Training ◽  
Mary Wigman

A Franco-British dancer, teacher, choreographer and historian, Jacqueline Robinson is one of the key figures of modern dance in France. Born in London, educated in music, art history, and dance with Erina Brady and Mary Wigman, Robinson founded L’Atelier de la Danse in Paris in 1955. One of the first schools to offer modern dance training, the Atelier soon became a hub for international artists. A prolific choreographer who created more than 200 works, Robinson was particularly important for the development of dance education in France structured around choreographic composition, improvisation, and music studies rather than a specific technique. She directed several companies – L’Ensemble de l’Atelier de la Danse, Le Thyrse, and Le Zodiaque – and trained some of today’s most accomplished choreographers and dancers. The translator of writings by Doris Humphrey, John Martin, and Mary Wigman, Robinson was the author of L’Aventure de la danse moderne 1920–1970 (Modern Dance in France, 1920–1970: An Adventure, 1990), a groundbreaking, now classic work of French dance scholarship. Head of the Fédération française de la danse from 1978–1982, she became a Chevalier of the Order of Arts and Letters in 1999 for her outstanding contributions to the field of dance.

The Pedagogic Significance of Modern Dance Training on the Twenty-First-Century Dancing Body, with Reference to Doris Humphrey's Dance Technique and Movement Philosophy

2009 ◽  
Vol 41 (S1) ◽  
pp. 47-53
Author(s):  
Lesley Main
Keyword(s):  
Modern Dance ◽  
Dance Education ◽  
Education And Training ◽  
First Century ◽  
Dance Training ◽  
Twenty First Century ◽  
And Training

A primary issue for dance education and training is ensuring that the “trained body” is equipped for the range of activity today's dance practitioner will encounter. Modern dance techniques offer a breadth of knowledge on numerous and inter-related levels, encompassing the physical, physiological, artistic, historical, musical, and analytical. This paper will consider the relevance and benefits that “traditional” modern dance training can have on today's dancer. Issues addressed will include what our students are using technique for; what a codified dance technique can offer; and the progression to a “trained body” and how this can be achieved.

Introductory paper

1966 ◽  
Vol 24 ◽  
pp. 3-5
Author(s):  
W. W. Morgan
Keyword(s):  
Line Intensity ◽  
Classification Scheme ◽  
Two Dimensional ◽  
Spectral Classification ◽  
Dimensional Array ◽  
Rr Lyrae ◽  
Metallic Line ◽  
Introductory Paper ◽  
Parameter Varying ◽  
Definition Of

1. The definition of “normal” stars in spectral classification changes with time; at the time of the publication of theYerkes Spectral Atlasthe term “normal” was applied to stars whose spectra could be fitted smoothly into a two-dimensional array. Thus, at that time, weak-lined spectra (RR Lyrae and HD 140283) would have been considered peculiar. At the present time we would tend to classify such spectra as “normal”—in a more complicated classification scheme which would have a parameter varying with metallic-line intensity within a specific spectral subdivision.

2.2. Working Group 2: Conceptual Definitions of Reference Coordinate Systems for Earth Dynamics

1975 ◽  
Vol 26 ◽  
pp. 21-26
Keyword(s):  
Coordinate System ◽  
Working Group ◽  
General Character ◽  
Coordinate Systems ◽  
Reference Coordinate System ◽  
Group 2 ◽  
Definition Of ◽  
Earth Dynamics

An ideal definition of a reference coordinate system should meet the following general requirements:1. It should be as conceptually simple as possible, so its philosophy is well understood by the users.2. It should imply as few physical assumptions as possible. Wherever they are necessary, such assumptions should be of a very general character and, in particular, they should not be dependent upon astronomical and geophysical detailed theories.3. It should suggest a materialization that is dynamically stable and is accessible to observations with the required accuracy.

Symbiotic Stars at Optical, Infrared and Radio Wavelengths

1979 ◽  
Vol 46 ◽  
pp. 125-149 ◽  
Author(s):  
David A. Allen
Keyword(s):  
Temperature Regime ◽  
Type Star ◽  
Stellar Systems ◽  
Symbiotic Stars ◽  
Lower Excitation ◽  
Definition Of ◽  
Original Type

No paper of this nature should begin without a definition of symbiotic stars. It was Paul Merrill who, borrowing on his botanical background, coined the termsymbioticto describe apparently single stellar systems which combine the TiO absorption of M giants (temperature regime ≲ 3500 K) with He II emission (temperature regime ≳ 100,000 K). He and Milton Humason had in 1932 first drawn attention to three such stars: AX Per, CI Cyg and RW Hya. At the conclusion of the Mount Wilson Ha emission survey nearly a dozen had been identified, and Z And had become their type star. The numbers slowly grew, as much because the definition widened to include lower-excitation specimens as because new examples of the original type were found. In 1970 Wackerling listed 30; this was the last compendium of symbiotic stars published.

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