1,720,965 research outputs found
Gender Asymmetry and Circus Education
No full textThis paper discusses asymmetrical gender treatment in circus schools where graduates obtain both an academic diploma and the competencies to begin a professional career in circus arts. The relatively recent global rise of professionalizing circus schools has both reflected and created the evolving landscape of contemporary circus performance. While students attend professionalizing circus schools to develop an artistic vocabulary, they also learn career management and become socialized into the norms of the circus industry. This paper summarizes the rise of professionalizing circus schools and explores key critiques levied at circus educational systems through the lens of gender equality. I then expand the scope of investigation to consider, from the perspective of circus schools, what factors might predicate gender disparity in circus education. In conclusion, I explore what actions can be taken by circus schools, circus students, and the circus community to favour gender parity
Chapter 3 Instructions on How to Research with Circus : Or, How Circus Research Rebels against Circus and Research at Stockholm University of the Arts
No full textWhy might a circus artist decide to use their circus practice as a research method? Why might a researcher choose circus practices to develop a new understanding of theoretical texts? Against which codes do artistic circus researchers rebel in order to pursue circus research through the practice of circus? What risks are encountered when circus arts become research, and research feeds circus practice? How, finally, does one come to be so inspired by circus practice, and by demanding questions, that one chooses to pursue artistic research with circus? Some answers to these questions can be found in the circus programs at Sweden’s Stockholm University of the Arts. More answers may be found with you, dear reader, if you also choose to embark upon this research path.</p
Book Review: Erika Hasebe-Ludt & Carl Leggo (Eds). Canadian Curriculum Studies: A Métissage of Inspiration/Imagination/Interconnection. Toronto: Canadian Scholars (2018). 319 pp. $54.95 (paperback). (ISBN 978-1-77338-055-1)
No full textA Theory of Applied Circus Creativity and its Development Within a Bachelor of Circus Arts Programme in Sweden.
No full textThis research investigates whether, and how, students in a circus bachelor programme learned creativity during their studies, and how they use creativity in their profession. Twelve participants were interviewed, representing six different cohorts from the University of Dance and Circus (DOCH) in Stockholm, Sweden between 2008-2018 (now Stockholm University of the Arts). Constructivist grounded theory methodology (CGT) guided the analytical process of uncovering themes described by participants. Narrative vignettes were used to represent the experiences recounted by multiple participants influencing the apprenticeship of creativity and creative methods. Curriculum theory was used as a lens to understand the relationships between programmed content and the lived experiences which created the learning environment wherein these participants developed the knowledge to enter the circus field. With consideration of the individualized pressures of the realities of contemporary circus creation and performance, creativity is here theorized within a Western cultural perspective, where creative contributions are often seen through the lens of social innovation. Three themes emerged from the analysis. In “learning creativity,” participants describe learning an iterative method of the creative process with regard to the performance of their circus discipline. “Creative identity” collects definitions and beliefs about creativity. The “creative practices” theme includes participant descriptions of using the creative process in their profession to navigate challenges beyond disciplinary work, and when approaching problem identification and problem solving during the COVID pandemic. Together, these themes demonstrate that apprenticeship of domain-specific creative practices provides a methodological foundation for domain general creative approaches. I name this method of using domain-specific approaches to domain-general professional challenges in circus “applied circus creativity.” These findings have implications for circus education, and other arts programs, which aim to preparing professional artist
Gender Asymmetry and Circus Education
No full textThis paper discusses asymmetrical gender treatment in circus schools where graduates obtain both an academic diploma and the competencies to begin a professional career in circus arts. The relatively recent global rise of professionalizing circus schools has both reflected and created the evolving landscape of contemporary circus performance. While students attend professionalizing circus schools to develop an artistic vocabulary, they also learn career management and become socialized into the norms of the circus industry. This paper summarizes the rise of professionalizing circus schools and explores key critiques levied at circus educational systems through the lens of gender equality. I then expand the scope of investigation to consider, from the perspective of circus schools, what factors might predicate gender disparity in circus education. In conclusion, I explore what actions can be taken by circus schools, circus students, and the circus community to favour gender parity
Circus Education In Québec: Balancing Academic And Kinaesthetic Learning Objectives Through an Artistic Lens
Full text linkWith this research, I investigate the coexistence of academic and kinaesthetic curricular goals in post-secondary circus education in Quebec, Canada, specifically exploring how students, circus instructors, academic teachers and administrators value curricular elements within the context of their perceptions of their institution’s program objectives. The interdisciplinarity of circus studies invites analysis through methodologies and theories borrowed from other disciplines. From Sport Psychology I draw on models for assessing the kinaesthetic technical knowledge related to preparing an athletic body for elite performance (Bloom & Sosniak, 1985). The field of Curriculum Studies offers a lens through which to understand both the curricular models of each school and to assess the academic motivation of the students. The theoretical frameworks of hidden, null, implicit and explicit curricula provide a strong platform for investigating how circus schools communicate institutional values of subjects, student behaviour and career preparation (Apple & King, 1983; Eisner, 2002). In both post-secondary Quebec professionalizing circus programs, discussion groups of students, circus instructors, academic teachers and administrators were asked to define their institution’s program objectives and reflect upon the curricular content in light of those objectives. After reflection and analysis, it is apparent that the Quebec post-secondary circus education community has a common understanding of the learning objectives surrounding physical, artistic and vocational content, but disparate understandings of how academic content relates to the program objectives
A Theory of Applied Circus Creativity and its Development Within a Bachelor of Circus Arts Programme in Sweden.
No full textThis research investigates whether, and how, students in a circus bachelor programme learned creativity during their studies, and how they use creativity in their profession. Twelve participants were interviewed, representing six different cohorts from the University of Dance and Circus (DOCH) in Stockholm, Sweden between 2008-2018 (now Stockholm University of the Arts). Constructivist grounded theory methodology (CGT) guided the analytical process of uncovering themes described by participants. Narrative vignettes were used to represent the experiences recounted by multiple participants influencing the apprenticeship of creativity and creative methods. Curriculum theory was used as a lens to understand the relationships between programmed content and the lived experiences which created the learning environment wherein these participants developed the knowledge to enter the circus field. With consideration of the individualized pressures of the realities of contemporary circus creation and performance, creativity is here theorized within a Western cultural perspective, where creative contributions are often seen through the lens of social innovation. Three themes emerged from the analysis. In “learning creativity,” participants describe learning an iterative method of the creative process with regard to the performance of their circus discipline. “Creative identity” collects definitions and beliefs about creativity. The “creative practices” theme includes participant descriptions of using the creative process in their profession to navigate challenges beyond disciplinary work, and when approaching problem identification and problem solving during the COVID pandemic. Together, these themes demonstrate that apprenticeship of domain-specific creative practices provides a methodological foundation for domain general creative approaches. I name this method of using domain-specific approaches to domain-general professional challenges in circus “applied circus creativity.” These findings have implications for circus education, and other arts programs, which aim to preparing professional artist
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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