scholarly journals Future designs of tertiary dance education: Scanning the field for decolonizing potentials in a major change project at the Department for Dance Pedagogy at Stockholm University of the Arts

2021 ◽  
Vol 5 (4) ◽  
pp. 62-78
Author(s):  
Tone Pernille Østern ◽  
Camilla Reppen ◽  
Katarina Lion ◽  
Katarina Lundmark ◽  
Elisabet Sjöstedt Edelholm
Keyword(s):  
Perspective Taking ◽  
Design Thinking ◽  
Dance Education ◽  
Large Change ◽  
Major Change ◽  
Development Project ◽  
Collective Learning ◽  
Multiple Perspective ◽  
Dance Pedagogy ◽  
The Arts

This performative hybrid research and development project contributes knowledge about the decolonizing potentials and challenges that are articulated through an initial scanning of the dance pedagogical field as part of a large change project in tertiary dance education at the Department for Dance Pedagogy at Stockholm University of the Arts in Sweden. To do this scanning in a way that would promote collective learning, multiple perspective taking and creativity, we utilised design thinking. In total, 140 scan cards collected through the project were analysed. Both students and staff and other people in different parts of the world within the dance educational field created the scan cards. As a result, we suggest that the scanning of the field has pushed ourselves, the rest of the staff, students, and others into a process of collective learning, multiple perspective taking, and creativity, in which clear decolonizing potentials, as well as challenges to change are expressed.

Why Is Safe Science Good Science?

2018 ◽  
Author(s):  
Camilla Kao ◽  
Che-I Kao ◽  
Russell Furr
Keyword(s):  
Decision Making ◽  
Design Thinking ◽  
Good Science ◽  
Safety Issues ◽  
Safety Requirements ◽  
The Arts ◽  
Hands On ◽  
Obvious Benefit ◽  
New Ideas

In science, safety can seem unfashionable. Satisfying safety requirements can slow the pace of research, make it cumbersome, or cost significant amounts of money. The logic of rules can seem unclear. Compliance can feel like a negative incentive. So besides the obvious benefit that safety keeps one safe, why do some scientists preach "safe science is good science"? Understanding the principles that underlie this maxim might help to create a strong positive incentive to incorporate safety into the pursuit of groundbreaking science.<div><br></div><div>This essay explains how safety can enhance the quality of an experiment and promote innovation in one's research. Being safe induces a researcher to have <b>greater control</b> over an experiment, which reduces the <b>uncertainty</b> that characterizes the experiment. Less uncertainty increases both <b>safety</b> and the <b>quality</b> of the experiment, the latter including <b>statistical quality</b> (reproducibility, sensitivity, etc.) and <b>countless other properties</b> (yield, purity, cost, etc.). Like prototyping in design thinking and working under the constraint of creative limitation in the arts, <b>considering safety issues</b> is a hands-on activity that involves <b>decision-making</b>. Making decisions leads to new ideas, which spawns <b>innovation</b>.</div>

scholarly journals Trust and Witnessing: Lessons for Dance Education / Professional Development in Community

2015 ◽  
Vol 9 (1) ◽  
pp. 249-265
Author(s):  
Miriam Torzillo
Keyword(s):  
Primary Schools ◽  
Dance Education ◽  
Summer Institute ◽  
Embodied Experience ◽  
Community Based ◽  
Dance Company ◽  
The Arts ◽  
Education Professional Development ◽  
Arts Curriculum ◽  
Rare Opportunity

Dance education is rarely taught in Australian primary schools. A National Arts curriculum was published online in 2014, and ready for implementation the following year. Therefore schools and teachers will be looking for models and frameworks that will help them implement the arts, including dance. The author experienced the work of the community-based dance company Dance Exchange during a summer institute in 2013. For a teacher of dance in a relatively isolated regional town, taking part in the summer institute was a rare opportunity to nourish creative inspiration and a reminder of the importance of the collaborative creative process and the embodied experience within Dance Education.

Glasser, Sylvia (1940–)

2018 ◽  
Author(s):  
Sarah Davies Cordova
Keyword(s):  
South African ◽  
Cultural Sensitivity ◽  
Modern Dance ◽  
Dance Education ◽  
African Culture ◽  
Outreach Programs ◽  
Achievement Award ◽  
The Arts ◽  
Lifetime Achievement ◽  
Arts And Culture

Over the course of a career that stretches across from the regime of apartheid through the transition and into the establishment of a democratic republic, Sylvia Glasser has contributed significantly to dance and education in South Africa. As "Magogo" or "Mother" to the dancers in her company and training programs, Glasser contested the separatist premises of apartheid and made manifest, without militancy, with bodies in movement, cultures that were banished by apartheid. Glasser received the 1996 FNB Vita Special Achievement Award for her development of a unique, dynamic South African contemporary choreographic practice and dance style and for her company’s ongoing dance education and outreach programs in the communities. She was honored as South African "National Living Human Treasure and Foremost Pioneer" in 2000; garnered the Tunkie Arts and Culture Trust Lifetime Achievement Award in 2005; and earned the National Tribute to Women in the Arts and Culture Sector in 2010 for her contributions to South African modern dance and to society’s fabric. At the forefront of South African modern dance from the late 1970s onwards, Glasser’s explorations of South African rituals, music and dance together with her training in Western modern dance led her to develop a distinct style she calls Afrofusion, which reflects her philosophy of integrity and respectful cultural sensitivity and that blends elements from South African culture with various choreographic structures underpinning Western modern dance.

On design thinking, business, the arts, STEM …

interactions ◽  
2010 ◽  
Vol 17 (2) ◽  
pp. 80 ◽  
Author(s):  
Jon Kolko ◽  
Richard Anderson
Keyword(s):  
Design Thinking ◽  
The Arts

From design thinking to design knowing: An educational perspective

2019 ◽  
Vol 18 (2) ◽  
pp. 187-200
Author(s):  
Harah Chon ◽  
Joselyn Sim
Keyword(s):  
Interior Design ◽  
Collaborative Design ◽  
Design Education ◽  
Design Research ◽  
Design Thinking ◽  
Procedural Knowledge ◽  
Knowledge Generation ◽  
The Arts ◽  
Innovative Methodology ◽  
Design Activities

The process of design explicates the procedural knowledge of design activities, shifting theoretical conceptions across practical dimensions. Design thinking, as a creative and innovative methodology, has been established as a designerly process for non-designers to address complex problems. This article reviews the implications of introducing the design thinking methodology as a pedagogical approach in design education at LASALLE College of the Arts in Singapore, generating new knowledge to inform the research spaces of design practice and theory. Using the design thinking methodology as a sound framework to facilitate risk-taking decisions in design research and practice, students from the design specialisms of Design Communication, Product Design and Interior Design were inducted into an interdisciplinary project. The perspectives and insights arising from the collaborative, design thinking methodology are extracted, analysed and adapted to form a framework to illustrate the non-linear, circular structures of knowledge generation from theory (designerly knowing) to practice (design thinking) and research (design knowing).

scholarly journals From Radicals to Community Builders: Reframing the Roles of Women through Design Thinking

2021 ◽  
Vol 19 (2) ◽  
pp. 27-39
Author(s):  
Patricia Huion ◽  
Handan Sayer ◽  
Raquel Pinto-Bello Gomez
Keyword(s):  
Critical Reflection ◽  
Design Thinking ◽  
Change Agents ◽  
Personal Factors ◽  
Horizon 2020 ◽  
Community Project ◽  
The Arts ◽  
Grass Root ◽  
Gender Specific ◽  
Blind Spots

In this paper, we problematise the concept of radicalisation, more in particular female radicalisation. First, we define radicalisation, differentiate between the types of radicalisation, and how it is enabled through both societal and personal factors and discuss gender-specific drivers through a literature review. Next, we discuss our methodology combining wicked problems and design thinking.This methodology allows us to tap into the tacit knowledge of the grass-root change agents organising arts-based activities to prevent female radicalisation. It facilitates uncovering and working with blind spots within the arts-based activities and the training sessions held within the “CommUnity Project” (Horizon 2020, n. 871056). In our final critical reflection, we discuss the urgency of working with these unknown female radicalised roles as these societal blind spots enable radicalism.

scholarly journals From Design Thinking to Art Thinking with an Open Innovation Perspective—A Case Study of How Art Thinking Rescued a Cultural Institution in Dublin

2018 ◽  
Vol 4 (4) ◽  
pp. 57 ◽  
Author(s):  
Peter Robbins
Keyword(s):  
Design Thinking ◽  
Single Case ◽  
Deep Understanding ◽  
Innovation Process ◽  
Optimal Position ◽  
Innovation Activities ◽  
The Arts ◽  
Current Scenario ◽  
New Perspective

This article uses a contemporary and revelatory case study to explore the relationship between three conversations in the innovation literature: Design Thinking, creativity in strategy, and the emerging area of Art Thinking. Businesses are increasingly operating in a VUCA environment where they need to design better experiences for their customers and better outcomes for their firm and the Arts are no exception. Innovation, or more correctly, growth through innovation, is a top priority for business and although there is no single, unifying blueprint for success at innovation, Design Thinking is the process that is receiving most attention and getting most traction. We review the literature on Design Thinking, showing how it teaches businesses to think with the creativity and intuition of a designer to show a deep understanding of, and have empathy with, the user. However, Design Thinking has limitations. By placing the consumer at the very heart of the innovation process, Design Thinking can often lead to more incremental, rather than radical, ideas. Now there is a new perspective emerging, Art Thinking, in which the objective is not to design a journey from the current scenario, A, to an improved position, A+. Art Thinking requires the creation of an optimal position B, and spends more time in the open-ended problem space, staking out possibilities and looking for uncontested space. This paper offers a single case study of a national arts organisation in Dublin facing an existential crisis, which used an Art Thinking approach successfully to give a much-needed shot in the arm to its commercial innovation activities.

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