1,916,276 research outputs found
Sustaining dance education in New Zealand: Some issues facing pre-service, primary teacher educators
No full textIn the area of Dance Education particularly in a primary education context there are several publications on how to teach dance from a variety of philosophical standpoints (Stinson, 1997; Gough, 1999; Autard-Smith, 2002; Cone and Cone, 2005; McCutchen, 2006). Recent research into dance pedagogy analysed the concepts and approaches to creativity by three specialist dance teachers within a primary context in the United Kingdom (Chappell, 2007). Several dance researchers in New Zealand (Bolwell, 1998; Hong, 2000; Renner, 2006; Buck, 2007) have focused on Dance Education within a primary school context from the following angles: developing dance literacy, primary teachers’ voices in relation to teaching dance, approaches to curriculum dance, analysis of children’s reflections to live dance performance, and dance and interdisciplinary arts. However the issue of sustainable dance education for pre-service primary educators has not been examined. This paper explores some of the challenges facing dance educators working with pre-service primary teachers in the New Zealand context and reports on a particular cohort of student viewpoints
Dance and disability: Embracing difference, tensions and complexities
No full textIn this paper I am particularly interested in unpacking the notion that dancers with a visible disability are both marginalised and hyper-visible. I refer to selected dance examples available on YouTube and consider these in relation to Whatley’s (2007) presumption of difference indicators in support of my aim to expand research into the area of dance and disability. Viewing these dance examples provided a ‘bouncing off’ point from which to unpack how these performances are perceived and made meaningful by their audiences. Drawing from discussion tasks set at several different conferences in response to viewing these dance examples, I share initial findings and consider issues that arose in embracing difference, tensions and complexities
Standing strong: Pedagogical approaches to affirming identity in dance
No full textIn this paper, I reflect on research undertaken with third year University students in dance. To contextualise my research, I begin by providing a brief introduction to my specific approach to feminist and phenomenological research in dance, outlining an epistemological strategy of embodied ways of knowing. Discussion of narrative methodologies follows, leading into an autoethnographic narrative based on the research with students. Rich material drawn from students’ assessments, my class plans and teacher’s recollections are woven together in the form of an autoethnographic narrative. This narrative allows me to feature the students as characters and to highlight their specific experiences of masculinity and femininity, cultural difference and embodiment within their varied dance knowledges. Reflecting through and on the narrative, I derive key pedagogical approaches from my own teaching and learning experiences. I conclude by suggesting that pedagogical approaches involving embodied ways of knowing may potentially support students to affirm their identity through dance
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Documentary of rehearsals, conversations, performances
No full textDocumentary filmed in various locations including dance studio, The University of Texas at Austin. Dance company: American Deaf Dance Company. A.c.t.v. tape.Documentary filmed in various locations including dance studio, The University of Texas at Austin.Theatre and Danc
ANY AGE, ANY BODY, ANY DANCE
No full textThis book shares some of the ideas and practice developed during Cecilia Macfarlane's career in dance in the hope that it will inspire and inform dancers of all ages and experiences to discover their own dancing journeys. Written by Ruth Pethybridge and Cecilia Macfarlen whose exploration together as dancers, teachers and writers has been a dancing journey in itself. Chris Benstead’s music and Roly Carline’s illustrations are integral to the book, offering the reader another perspective to enhance the imagination alongside the text to further the dance.
We haven’t written a book only for technique, only for creativity or choreography or only for a particular age group. Throughout Cecilia's intergenerational practice all these aspects have become increasingly connected, and out of this has come ‘Any Age, Any Body, Any Dance’
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Electric Mask #3: A computer-generated cyber-human dance
No full textAnimation sequences for Electric Mask #3: A computer-generated cyber-human dance. Concept, choreography, and computer animation by Yacov Sharir and Anita Pantin. See full record (link below) for more details.Animation sequences for Electric Mask #3: A computer-generated cyber-human dance.Theatre and Danc
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Automated Body Event (edited tape)
No full textPerformance at Brockett Theatre, UT-Austin. Choreography and concept: Yacov Sharir. Dance Company: Sharir Dance Company and Dance Repertory Theatre. Dancers: Yacov Sharir, Dance Repertory Theatre studentsPerformance at Brockett Theatre, UT-Austin.Theatre and Danc
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Master Class
No full textMaster Class at Gallaudet's Model Secondary School for the Deaf, Washington, DC. Dance company: American Deaf Dance Company.File contains music but no spoken word.File contains no spoken word.Master Class at Gallaudet's Model Secondary School for the Deaf, Washington, DC.Theatre and Danc
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Lecture/Demonstration
No full textLecture/demonstration at Arkansas School for the Deaf, Little Rock, AR. Dance company: American Deaf Dance Company.Lecture/demonstration at Arkansas School for the Deaf, Little Rock, AR.Theatre and Danc
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Mark Morris Repertoire: Dido and Aeneas (excerpts): Fear No Danger, Oft She Visits, Triumphing Dance
No full textPerformance at B. Iden Payne Theatre, UT-Austin. Choreography: Kristen Frankiewicz (People in Places); Yacov Sharir (Twining); Mark Morris (repertoire excerpts). Dance Company: Dance Repertory Theatre.Performance at B. Iden Payne Theatre, UT-Austin.Theatre and Danc
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