Standing strong: Pedagogical approaches to affirming identity in dance

In 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

The Roles of the Dance Education Institute and the Ngayogyakarta Hadiningrat Palace in the Inheritance Process of YOGYAKARTA Classical Dance Style

This study aims to examine the roles of the Ngayogyakarta Palace, formal educational institutions, and non-formal educational institutions in the inheritance of the classical court dance of Yogyakarta or Tari Klasik Gaya Yogyakarta (TKGY). The method employed was a qualitative method through interviews and observations with a number of informants from dance institutions in Yogyakarta. Based on the interviews, a number of independent and collaborative roles among the three types of institutions under study can be identified. These roles were then placed in a theoretical framework related to the inheritance of the classical court dance of Yogyakarta (TKGY) that justifies the reasons why it can be well-inherited in the Special Region of Yogyakarta. Based on this effort, it was found that each institution took a place in the attempt to support the inheritance layers (core, practical, philosophical, and developmental) causing the absence of problems in the existence of the classical court dance of Yogyakarta in the Special Region of Yogyakarta. These findings then can be used as the best practice for the inheritance efforts for classical dances in other places in the Indonesian Archipelago

Mangkunegaran Dance Style in the Custom and Tradition of Pura Mangkunegaran

Mangkunagaran dance style is regarded as a cultural identity that is highly upheld by Mangkunagaran's society. In the organization that lives in Mangkunagaran, the sustainability of Mangkunagaran dance style is protected by the special art institution namely Langen Praja, under a bigger organization in Mangkunagaran namely Reksa Budaya. The existence of Mangkunagaran dance style is in fact related to the custom and tradition in Pura Mangkunagaran. The aim of this research is to find out how Mangkunagaran dance style is and what kind of roles that Mangkunagaran dance style has that may influence the custom and tradition in Pura Mangkunagaran. Methods used in this research is qualitative. Techniques of data collection used were observation, interview, and documentation study and the data validity technique implemented was data triangulation. Meanwhile, the data was analysed by using text analysis towards the Mangkunagaran dance style and the context analysis towards the role of Mangkunagaran dance in the custom and tradition had by Pura Mangkunagaran

Sustaining dance education in New Zealand: Some issues facing pre-service, primary teacher educators

In 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

ダンスの授業に対する印象と学習意欲の変容：Ｉ大学の授業を事例にして

In this study, we investigated the impression and the motivation that the students had for dance or dance class, taking the class of dance in the university as a case. In survey 1, we investigated the impressions of dance or dance classes three times and explored changes in the classroom using five methods. By experiencing dance classes, I was able to reduce my poor sense of dance and make dance fun, but I didn’t get rid of the anxiety of dance coaching. In survey 2, we asked for an answer describing the image to dance class. In the first description, the “Anxiety of class practice” stood out, but by experiencing dance classes, the reality of anxiety became clear, and “child and student relations anxiety” emerged. The third statement confirmed that the students themselves could change the image of the dance class by having fun. In survey 3, we asked for a descriptive answer to what we expect from the class. As a result, it became clear that the students came to seek difficult technology toward the end of the class. This survey in order to remove the “difficult” consciousness of the students from the dance class and to motivate them to learn, students must be able to acquire basic skills from the first class several times, and allow them to“ dance”. It has become clear that students need to transform the image of the“ difficult dance” they envision

“I wanted to be Darcey Bussell”: Motivations and expectations of female dance teachers

Dance, analogous to professional sport, constitutes an interesting occupation in that there are relatively few vocations in which the athleticism of the body is inextricably linked to the ability to perform and teach. Dance-teachers could pursue teaching as a career as a way to remain involved in the physicality of dance to maintain a sense of self as a dancer. Dance-teachers make up a large proportion of the professional dance world in the United Kingdom and yet little is known about their role, training, continuing professional development and motivations to engage in a dance-teaching career. To address this lacuna, research was undertaken with ten female dance-teachers (24 to 71 years). Thematic analysis was used to analyse the data, from which two key themes emerged as salient: (i) staying in dance; (ii) dance teaching as a career: challenges and skills. Pursuing a career in dance-teaching was viewed as a way to maintain a sense of self as a dancer. Participants who had been dance-performers appeared to view teaching as a natural career progression. The complex skills required of a dance-teacher were highlighted and participants positioned dance-teaching as a highly specialist career

Somaesthetics and Dance

Dance is proposed as the most representative of somaesthetic arts in Thinking Through the Body: Essays in Somaesthetics and other writings of Richard Shusterman. Shuster- man offers a useful, but incomplete approach to somaesthetics of dance. In the examples provided, dance appears as subordinate to another art form (theater or photography) or as a means to achieving bodily excellence. Missing, for example, are accounts of the role of dance as an independent art form, how somaesthetics would address differences in varying approaches to dance, and attention to the viewer’s somaesthetic dance experience. Three strategies for developing new directions for dance somaesthetics are offered here: identify a fuller range of applications of somaesthetics to dance as an independent art form (e.g. Martha Graham); develop somaesthetics for a wider range of theatre dance (e.g. ballet, modern and experimental dance); and relate somaesthetics to more general features of dance (content, form, expression, style, kinesthetics) necessary for understanding the roles of the choreographer/dancer and the viewer

FUNGSI TARI SANGHYANG JANGER MABORBOR DI DESA YANGAPI BANGLI

Abstract : This thesis analyzes the folk trance dance of Sanghyang Janger Maborbor in the Yangapi village, Bangli regency. In line with the development of local community, the dance that originally performed only for certain occasions is now performed for entertainment including tourists’ consumption. Viewed from the form, the Sanghyang Janger Maborbor Dance is structured by opening, entrance, pejangeran dance section, and conclusion. The uniqueness of the ShangHyang Janger Maborbor dance that distinguishes it from the common janger dance lies in the employment of bonfire and trance. Seen from the function, this dance has as ritual function, social function, economic function, and esthetic function. The ritual function of SangHyang Janger Maborbor dance is related to the religious ceremony at Masceti Temple and other temples surrouding the Yangapi village. The social function of this dance can be seen in the cultural activities, economic and social decorum. Aesthetically, the dance reflects the artistic maturity of the local perfoming arts and artist. Seen from the meaning and significance, this dance has a religious significance, solidarity, and creativity

American Tap Dance History and Proposed Preservation

The first form of dance conceived in the United States, tap dance, thrived throughout the era of vaudeville and the movie musical. Today’s society often overlooks tap dance beyond basic or beginner dance education; the history of the art from is even more so neglected. Within these pages, I will address the question of how the history of tap dance can be honored and preserved for generations to come. I feel so grateful to have had a tap mentor that valued the history of tap just as much as the technique and steps. Others in my field may not have been so lucky. This is ultimately a major hinderance in our ability as dance educators to future students. Developing a system of tap dance training accompanied by history as well as sparking the interest of audiences new and old is the best way to further tap technique and performance. Thanks to popular television programs such as World of Dance and So You Think You Can Dance, dance, in general, has seen a major resurgence in modern culture. Registration in dance schools, participation in dance conventions, and attendance in dance related performances is steadily on the rise with no sign of slowing down. In light of this, there has not been a better time to examine the way in which dance history is taught and conveyed; we must take advantage of the peaked interest and utilize all resources at hand. Tap dance, in particular, has seen its own small portion of this widespread dance resurgence especially due to the return of the movie musical - La La Land and The Greatest Showman. With the demand of dance on an upswing, inadequate, lackluster dance education is a serious concern. Dance teachers need to make sure the knowledge they are imparting on students is both historically accurate and progressive. In order to best educate myself and develop a viable solution, I have done extensive historical research through credible texts. I have read various books suggested to me by my own tap mentor and other tap professionals. I have also be read through various biographies and autobiographies. Now having obtained as much knowledge as possible regarding the history of tap dance, I efficiently developed a method in which preservation can take place within the teaching of technique. Tap dance, being one of the only forms of dance originating in the United States, deserves to be sustained and honored properly and to the highest degree

Dance-the-music : an educational platform for the modeling, recognition and audiovisual monitoring of dance steps using spatiotemporal motion templates

In this article, a computational platform is presented, entitled “Dance-the-Music”, that can be used in a dance educational context to explore and learn the basics of dance steps. By introducing a method based on spatiotemporal motion templates, the platform facilitates to train basic step models from sequentially repeated dance figures performed by a dance teacher. Movements are captured with an optical motion capture system. The teachers’ models can be visualized from a first-person perspective to instruct students how to perform the specific dance steps in the correct manner. Moreover, recognition algorithms-based on a template matching method can determine the quality of a student’s performance in real time by means of multimodal monitoring techniques. The results of an evaluation study suggest that the Dance-the-Music is effective in helping dance students to master the basics of dance figures