Reconnecting Dance and Physical Education through Dance Science

This article traces the development of dance as an academic discipline from its infancy in physical education programs to its present state, noting the significance of the burgeoning field of dance science and how it is a catalyst for the reconnecting of dance to physical education. The academic discipline of dance originated in the early 20th century in American academe, particularly in women’s physical education programs. By the 1920s, dance emerged as a discrete discipline with Margaret H’Doubler’s founding of the first baccalaureate degree in dance at the University of Wisconsin. By the 1960s, the academic discipline of dance had shifted from its original mission of movement education for everyone to focus more on professional dance training for highly skilled performers. This philosophical shift saw many dance programs move from homes in physical education to the fine arts. During this time, dance also saw an increasing disciplinary emphasis on choreographic and performance projects, a trend still evident today. Dance science began to develop as an academic field in the early 1980s, and shortly after publications and conferences in the area were born. The professional association the International Association for Dance Medicine and Science was founded in 1990. With dance science’s emergence, dance and physical education began to realign, albeit often in departments of kinesiology. Today, with the development of dance science as a burgeoning field, dance and kinesiology are coming full circle, rejoining through their historical roots.

Returning to the Body: Somatic Sensing in Multi-Person Virtual Reality Technology

This article uses a dance-somatic standpoint to explore the complexities of body-technology relations across the virtuality and corporeality of bodies and environments using multi-person Virtual Reality technology (VR). Immersion into a virtual environment (VE) using VR can lead to a sense of presence, of ‘being there’. Dancers move attending to a field of sensation which is felt and tactile, undertaking somatic and sensory practices to de-centre vision so to foreground and thus activate non-visual and somatic senses. From this dancerly standpoint, entering into a VE brings into play the immediate effect of a perceptual tension or ‘gap’ between the visual, virtual environment and the physical, felt environment. Technologists and artists engaging with VR typically find ways to cover-over this perception gap in order to create a reality that is fluidly and synchronously experienced by the participant. This article introduces and discusses two participatory performance projects Figuring (2018) and Soma (2020) which challenge this approach. Drawing on participant responses to Figuring, and the creative development of Soma, the article presents and discusses six themes which unpack and challenge normative notions and expectations around VR technology and how bodies sensorially engage with the technology; and discusses an ‘ethics of care’ which calls for somatic activation and participatory agency in human encounters with technology. Throughout, the article offers a commentary on the tensions between a thematic research approach and an intuitive, practice-led approach in the analysis of participant testimonies and in the creative processes of performance-making. 

Level of Financial Performance of Selected Construction Companies in South Africa

Purpose—There is no consensus on the indicators that assess a construction company’s financial performance projects undertaken. There is also a dearth of concepts on the financial performance indicators for construction companies in South Africa and indeed, the wider continent of Africa. This paper proposes novel financial performance indicators for assessing construction organizations and tests these on selected construction companies in the South African construction industry. Design/methodology/approach—This research employed a pragmatic approach. Contractors with financial credibility and capacity of ≥R 40 million, annual turnover of ≥R 20 million, and available capital of ≥R 40 million were purposively selected for this study. Parameters such as total revenue, direct cost of work, total indirect cost and total income were elicited from the sample contractors to assess their financial performance. The assessment was undertaken using formulas that were formulated based on the descriptions provided under the research methodology. Further analysis was conducted using post hoc Tukey’s honest significant difference (HSD). Findings—The study finds that construction companies with a strong structure, multiple areas of specialization, creative and efficient staff members, and access to funding, have a greater chance of experiencing higher: income; positive leverage; positive liquidity; and positive cash flow. Moreover, companies with specialization in civil engineering construction and project management skills experienced higher positive liquidity and profitability. Originality/value—This research is unique through its investigation and formulation of indicators for assessing the financial performance of construction companies. This research is consequently representing the first attempt to analyze financial data using the approaches prescribed and adopted.

From universalism to the universatility. Bauhaus triad: subject, suit, dance

The relevance. The ХХ century universalism became the platform of the Bauhaus experiment. Author of different art forms took part in it. Today, universalism is transformed into universality. Over the course of a hundred years, the author’s thinking system has changed. The composition of the stage work was decided by using household stuff. Household object becomes worthy of the stage space and overlaps the person. The author of the ХХI century regains the right to be the main in interaction with the subject. This is the paradigm shift of the century. The purpose of the study. Analysis of the transformation of the idea of universality of movement and subject-suit from “Triadical Ballet” and O. Schlemmer’s theatre workshop to modern experimental performance projects. Art analysis of the interaction of movement and subject in the stage space of O. Schlemmer, G. Bohner and contemporary authors. The methodology: historical and comparative analysis. The result of the study was the analysis of the the author-creator’s thinking system of plastic modern work. The topicality of the study is the analysis of “Bauhaus tanzt II” (2018). Authors: M. Shurkal (Ukraine), A. Possarnig, P. Dominici (Austria). The practical significance. The experience discussed in the article proves that without the past there is no future. We analyze the change of consciousness of the author-creator, which was visualized in the change of the technique of staged activity. We make a visual change of the way the subject is used on the stage as a scenery or prop, and as an acting character. The conclusions. The mechanism of possible interaction of the object, costume, dance in the space of creative experiment gave universality to the Bauhaus triad. We see the value of the transformation of the “Triadic Ballet” of the ХХ century in changing the author’s thinking system. At the beginning of the ХХ century, the author’s focus is on the suit object, which should be moved. Аt the beginning of the ХХI century the author’s focus is on the interaction of the human performer and the object-suit by exploring the possibility of variety and amplitude of the movement.

Way Beyond Art

On the private and independent art scene, the male and female artist and curator addressing socio-political issues are recurring presences, explained by the art historian Beti Zerovc through the spreading of curating accompanied by a politicized discourse on how art and its institutions can contribute to building a better, more democratic, more egalitarian and freer world1. In this article, I will focus on male and female artists who address sensitive issues in society either to make them visible or to offer possible alternatives, using performance as a means of artistic expression due to its immaterial character and specific immediacy it implies. I propose a brief account of the history of performance in the field of visual arts, to review the role given to art in a close relationship with society, in a transversal and close relationship with the viewer, in a relationship with artistic institutions which is often critical. Finally, I will present a series of artistic projects carried out in the past ten years in Romania, to explore the dynamics of art - society - artist - spectator - institution and to identify the sensitive issues involved and the forms, values, lifestyles that art performance projects that I propose.

Complicating leadership: choral conducting training through movement theatre practice

Conductors are typically presumed to possess the physical, interpretative control in choral performance. Questioning that presumption, this article explores how student conductors might be encouraged to engage physically with the musical sound – and sounding bodies – of a choir. It argues that singers’ vocal performance directly and fruitfully impacts on a conductor’s gestural leadership. Borrowing techniques from established physical/movement-based performance and theatre, it explores how conductors might act as the embodied nexus of the poietic and esthesic dimensions of interpretation (Nattiez, 1990), thus collaboratively constructing a performance. To frame the discussion, a conceptualisation of the overlap between body and voice is set out. This conceptualisation emerged during the development of vocal-physical performance projects (2015-16) and was subsequently developed into a broader philosophical orientation. Focusing on issues of embodiment and empathy, this orientation is enlisted to re-examine choral conducting training practices. The influence of these explorations on Daniel Galbreath’s choral conducting teaching is outlined. Additional action-research with theatre practitioner and teacher Gavin Thatcher is then detailed to demonstrate further developments and disruptions to Galbreath’s practice. As a result, a conducting training practice emerges from these practical enquiries that exploits performers’ mutual, direct physical contact via sound.

Evaluating motivational characteristics in vocational music education within the perspective of self-determination theory

This article examines the influence of vocational music education workshops on the learning motivation of popular and jazz music students in a self-determination theory’s (SDT) framework. SDT illustrates that satisfying people’s universal psychological needs has a significant influence on well-being and learning. Psychological needs will become satisfied when the learner autonomously influences the choices and decisions of his or her learning. The learner feels then competent to act in the learning environment and receive the experiences related to it. The present article is based on a qualitative research project that examined 62 Finnish conservatory popular and jazz music students who participated in 11 music performance workshops with professional musicians in 2003–2011. The research data consists of (a) workshop plans and learning goals written by the students before the workshops and (b) reflective essays of experiences after the workshops. The data was analysed using theory-oriented content analyses. The students were responsible for the planning and implementation of music performances with professional musicians. Commitment to challenging performance projects with professional musicians motivated the students to try their best to develop their musicianship.

Fluctuating emotions and motivation: Five stages of the rehearsal and performance process

Participating in large-scale musical performances as part of a secondary school ensemble can be exhilarating. Although students experience such events differently, emotional state is not uniform throughout the process. Developing musicians may put themselves under pressure to perform well and once the event is over, the feelings of anxiety and anticipation are replaced by relief, euphoria or in some cases, melancholy. These emotional reactions can impact the desire to attend subsequent rehearsals and performance projects. Three student members of a school choir reflected on their emotional state from the early part of the rehearsal process to the post-event period. Semi-structured interviews were conducted, transcribed and thematically analysed. Findings address the five phases of the performance process: early rehearsals, later rehearsals, the performance, immediately after the event, and the aftermath. Recommendations for secondary school music ensemble conductors encourage lifelong learning of adolescent ensemble musicians through understanding fluctuating emotions connected with performance.

Pemanfaatan Google Classroom dalam Penilaian Autentik Studi Kasus SD Negeri Sidomulyo 05 Silo Kabupaten Jember

Penelitian ini bertujuan untuk mendeskripsikan pemanfaatan Google Classroom dalam penilaian autentik di kelas VI SD Negeri Sidomulyo 05 Silo Kabupaten Jember. Adapun fokus penelitian ini adalah bagaimana pemanfaatan Google Classroom dalam penilaian autentik di kelas VI SD Negeri Sidomulyo 05 Silo Kabupaten Jember yang dibagi menjadi sub focus sebagai berikut: 1) Membuka Google Classroom 3) Pelaksanaan Penilaian menggunakan Google Classroom, 3) Kendala yang dihadapi dalam pemanfaatan google Classroom. Pendekatan dalam penelitian ini adalah penelitian kualitatif, dengan metode deskriptif. Sedangkan yang menjadi obyek penelitian adalah SD Negeri Sidomulyo 05 Silo Kabupaten Jember. Adapun teknik pengumpulan datanya menggunakan teknik observasi, wawancara, dan dokumentasi dengan analisis data menggunakan prosedur analisis data kualitatif yang terdiri dari: kondensasi data, penyajian data, dan penyimpulan/verifikasi. Hasil penelitian menunjukkan bahwa penilaian autentik pembelajaran tematik Bahasa Indonesia dan IPA dapat menggunakan Google Classroom. Penilaian meliputi penilaian sikap dengan observasi dan penilaian antara teman, penilaian pengetahuan menggunakan tes tulis, lisan dan penugasan serta penilaian ketrampilan dengan melakukan penilaian terhadap kinerja, proyek, produk, fortofolio dan ketrampilan diskusi. Kendalanya antara lain siswa kesulitan dalam mengaplikasikan google classroom karena belum terbiasa dan orang tua siswa harus diberi pemahaman terlebih dahulu.Using of Google Classroom in Authentic AssessmentCase Study at SD Sidomulyo 05 Silo, JemberABSTRACTThis study aims to describe the use of Google Classroom in authentic assessment in class VI of Sidomulyo 05 Silo Public Elementary School, Jember Regency. The focus of this research is how the use of Google Classroom in authentic assessment in class VI SD Negeri Sidomulyo 05 Silo, Jember Regency which is divided into sub-focus as follows: 1) Opening Google Classroom 3) Implementation of Assessment using Google Classroom, 3) Constraints faced in utilization Google Classroom. The approach in this research is qualitative research, with descriptive methods. In comparison, the object of research is Sidomulyo Public Elementary School 05 Silo, Jember Regency. The data collection techniques using observation, interviews, and documentation techniques with data analysis using qualitative data analysis procedures are consisting of: data condensation, data presentation, and conclusion/verification. The results showed that the authentic assessment of Indonesian thematic learning and science could use Google Classroom. Assessment includes attitude assessment by observation and assessment between friends, assessment of knowledge using written, oral, and assignment tests as well as an assessment of skills by evaluating performance, projects, products, portfolio, and discussion skills. The obstacles include the difficulty of students in applying Google classroom because they are not familiar, and the parents of students are given an understanding first.