The Emerging Critical Pedagogies of Dance Educators in an Urban STEAM After-School Program for Black Girls

The preparation of urban educators has gained widespread attention across education policy, research, and practice. As US urban cities have become more diverse, the teacher workforce has not kept up, and the racial/ethnic demographics of students and teachers are disproportionately incongruent. In order to eradicate an education landscape that perpetuates white, middle-class ways of knowing and being, often at the expense of the cultural practices and cultural wealth of historically marginalized students of color, urban teacher education must be centered toward justice and rooted in critical pedagogies. The literature, albeit bleak, reveals that these perspectives must also be applied to urban dance education. Dance education programs have been significantly eliminated from urban schools over time, and although dance has historical roots in African and African diasporic cultures, dance education continues to be Eurocentric. This phenomenological case study examines the emerging critical pedagogies of undergraduate dance majors and minors who served as dance teachers in an urban Science, Technology, Engineering, Arts, and Mathematics (STEAM) after-school program for 7-12-year-old Black girls. Findings reveal that (a) navigating race, place, and space; (b) mentorship and practice; and (c) critical reflection and self-efficacy were critical components of the urban dance educators’ emerging critical pedagogies. Implications for urban dance education and the broader field of urban education are provided.

NEW FEATURES OF ARTISTIC LANGUAGE OF CLASSICAL DANCE IN 20-30 OF XX CENTURY AS CHOREOGRAPHERS’ SEARCH RESULTS

The peculiarities of the new artistic techniques in the Ukrainian ballet theater in 20-30’s of XX century have been analyzed under the influence of the historical, the socio-political, and the psychological changes in the society. It also has been emphasized on the creativity of the generation of choreographers-innovators and experimenters (M. Foregger, K. Goleizovski, A. Balanchivadze, V. Verhovynets).Key words: artistic and aesthetic canons, urban dance, Ukrainian ballet performance, classical heritage, choreographer’s style. Аналізуються особливості розгортання процесів новітніх художніх прийомів в українському балетному театрі в 20-30 років ХХ століття під впливом історичних, соціально-політичних, психологічних змін у тогочасному суспільстві. Акцентується зразки творчості нової генерації балетмейстерів-новаторів й експериментаторів, зокрема М. Фореггера, К. Голейзовського, А. Баланчивадзе, В. Верховинця. Виявлено нові форми художньої інтерпретації балетних вистав.Ключові слова: художньо-естетичні канони, урбаністичний танець, українська балетна вистава, класична спадщина, балетмейстерський стиль.

From çingene Accompanist to Instrumental Soloist

Alongside state discourses of canonical Turkish music, local commercial recording companies relied on the innovative skills of Romani instrumentalists who could generate a variety of urban dance tunes for the burgeoning record market. By conferring the prestige of nightclub music on these instrumental compositions, these new Romani instrumental stars opened up a musical space for hearing negative “çingene” identity as prestigious “Roman.” Biographies of artists Haydar Tatlıyay, Şükrü Tunar, Kadri Şençalar, and Mustafa Kandıralı focus on their mediation of community-based music-making with nightclub and state radio styles. This chapter presents musical analysis of the link between keriz and the structuring of oyun havası in the first mass-produced recorded presentation of the social term, “Roman” by Yılmaz Şanlıel and Nazif Girgin. By introducing the group name “Roman” and “Romen” as a musical label for keriz-based instrumental dance music, these artists founded a genre and stylistic space for incremental revisions of social self-representation.

In the Moment

Many individuals, including some dance scholars, think that traditional dance genres are reified choreographic forms that are like physical objects, handed down unchanged and unchanging through time like heirlooms. Traditional dance genres do change through their history. In fact, many traditional genres contain a great deal of improvisation, which promotes change within the genre. Some dance genres, such as tango and Iranian solo urban dance, consist almost entirely of improvised movement. This essay describes and analyzes several dance genres and the ways in which improvisation informs them. The essay also details the characteristics of improvisation in general, and then use several genres of dance as examples of how dancers improvise within them.

Entrevista com Christian Mio Loclair

<p class="p1">Resumo:</p><p class="p2">Essa entrevista busca compreender as conexões estabelecidas pelo dançarino, coreógrafo e engenheiro de computação CHRISTIAN MIO LOCLAIR entre essas áreas de conhecimento nas quais se especializou com distinção. Considerando duas características marcantes do entrevistado, a saber, ele é campeão de vários festivais de dança urbana e também um exímio programador, interessa saber como ele percebe esse entrelaçamento entre movimento e código no espaço da dança contemporânea, espaço ao qual encaminhou sua produção artística. A entrevista pretende compreender um pouco do processo criativo da artista, bem como suas próprias sensações como dançarino e programador. Diferente da grande maioria dos projetos nessa área, ele é autor e usuário do sistema interativo, ele cria o código computacional para interagir com seu próprio corpo buscando novas estéticas. Essa entrevista pretende falar desse corpo-híbrido da era digital.</p><p class="p3"><span class="s1">Palavras-chave:<span class="Apple-converted-space"> </span></span>Dança urbana. Arte mídia. Sistemas interativos. Processo criativo.</p><p class="p3"> </p><p>INTERVIEW WITH CHRISTIAN MIO LOCLAIR</p><p class="p1"><em>Abstract:</em></p><p class="p5"><em>This interview seeks to understand the connections established by the dancer, choreographer and computer engineer CHRISTIAN MIO LOCLAIR among those areas of knowledge in which he specializes with distinction. Considering two outstanding characteristics of the interviewer, namely, he is champion of several urban dance festivals and an excellent programmer, it is interesting to know how he perceives this entanglement between movement and code in the space of contemporary dance, space to which he directed his artistic production. The interview aims to understand a little of the creative process of the artist, as well as their own feelings as a dancer and programmer. Unlike most existing projects in this area, he is the author and the user of the interactive system, he creates the computational code to interact with his own body seeking new aesthetics. This interview intends to speak of this hybrid-body of the digital age.</em></p><p class="p3"><span class="s1"><em>Keywords:<span class="Apple-converted-space"> </span></em></span><em>Urban dance. Media arts. Interactivity systems. Creative process.</em></p>

A Rhizomatic Revolution?

The Internet and the representation and dissemination of videos posted on YouTube has greatly impacted the evolution of screendance, especially as related to popular dance—dance broadly recognized as performed by the “populace” in codified forms such as hip hop, in fads like the Macarena, or styles unique to individuals. Such videos reflect how issues of social justice and equity are addressed in the new digital environment. This chapter discusses two case studies, Where the Hell is Matt? and The Legion of Extraordinary Dancers (LXD), which illuminate how YouTube has successfully provided a platform for exposure to certain marginalized citizens and movement forms like urban dance. But tensions exist and questions abound in relation to their innovative aesthetics, rhizomatic spread, and democratizing and social justice potentials. Can everyday users of YouTube foster a more egalitarian society, especially as capitalist for-profit forces and commercial impulses exert more pressures on the Internet? The response to these questions remains complex and incomplete.