Search results - CEJSH

1

СУЧАСНИЙ СТАН ХОРЕОГРАФІЧНОЇ ОСВІТИ В НІМЕЧЧИНІ

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Ткаченко І.

Педагогічні науки: теорія, історія, інноваційні технології

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2015

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issue 10(54)

367-374

EN

The article reveals the current state of choreographic education in Germany. The purpose of this publication is to highlight the modern state of dance education in Germany. On the basis of analysis of researches of the native and foreign scientists the peculiarities of formation of higher choreographic schools of Germany are discussed in the article; the specificity of the higher choreographic schools in the country and basic training programs are revealed; the elite ballet schools of Germany are highlighted. Dance education in Germany is represented by universities and ballet schools. To the higher education institutions refer: School of dance named after Gret Palucci in Dresden, University of music and theatre in Munich, the State ballet school and school of the artistry in the Berlin, Higher school of music and theatre in Munich, the State ballet school and school of the artistry in Berlin, State higher school of music and performing arts in Mannheim, the Higher school of dramatic arts named after Ernst Busch in Berlin, Justus Liebig University Giessen, Higher school of music and dance in Cologne and the Folkwang University in Essen. The specific of higher choreographic education institutions lies in the creative combination of modern dance, improvisation and classic dance, where the latter is leading. Great attention is paid to additional disciplines: rhythm, fundamentals of music theory, psychology, and anatomy, history of dance and music. Modern higher choreographic education in Germany is represented by several degree programs: Bachelor of Arts programme majoring in “Stage dance”, bachelor’s program on specialty “Pedagogy of dance”, master program on the specialty “Choreography”, master program on the specialty “Pedagogy of dance”. Among elite ballet schools in Germany the most popular is John Cranko Ballet school at the state theatre of Wurttemberg and the Ballet school of John Neumeier at the Hamburg state Opera. The subject for further research will be a comparative analysis of peculiarities of development of higher choreographic education in other German-speaking countries and highlighting the positive conceptual ideas that can be used to develop strategic directions of reforms in the field of art education in Ukraine.

2

Contemporary dance theatre in neurocognitive perspective – Granhøj Dans case

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Ciesielski T.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2016

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vol. 19

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issue 2

76-90

EN

The article 'Contemporary Dance Theatre in Neurocognitive Perspective – Granhøj Dans Case' concerns the description and interpretation of contemporary dance techniques using the example of the method created by Nancy Spanier (USA) and developed by Palle Granhøj (Denmark). The precise description of the performance's creation is presented from the perspective of a dancer taking part in a Granhøj Dans production. The neurocogitive context is then used to prove the director's statement, that the method 'allows the dancers to be more human, less dancers', thus creating a specific 'humanistic' effect in the aesthetics of the performance, which, as it is argued, exists in contemporary dance in general. Therefore, the obstruction technique serves as a valid example for applying cognitive sciences and neurosciences in the field of dance studies.

3

Energy expenditure and nutrition status of ballet, jazz and contemporary dance students

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Rossiou D., Papadopoulou S., Pagkalos I., Kokkinopoulou A., Petridis D., Hassapidou M.

Progress in Health Sciences

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2017

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vol. 7(1)

31-38

EN

Purpose: To evaluate of the energy expenditure in 3 types of dance classes (ballet, Jazz, and contemporary), as well as of the daily energy balance depending on dance type. Materials and methods: 40 females attending dance classes with a median age of 21.0 (19.0-25.0) and 10 males with a median age of 27.0 (20.0-28.0) participated in this study. The energy cost of each dance class was measured using the BodyMedia SenseWear Sensor and total daily energy expenditure was evaluated using a 3-day recording of physical activity. The dietary intake was evaluated with a 3-day food diary recording. Statistical analysis was performed using the SPSS software. Results: Median energy expenditure varied from 306 (277-328) Kcals/class for contemporary dance to 327 (290-355) Kcals/class for ballet and 369 (333-394) Kcals/class for jazz for females with significant differences between contemporary and jazz classes. For males, energy expenditure was 508 (447-589) Kcals/class and 564 (538-593) Kcals/class for ballet and jazz classes, respectively. Females had lower values for all anthropometric measurements, energy intake, macronutrient intakes, and energy expenditure, compared with males. The anthropometric characteristics did not differ between dance types. Both female and male dance students were in a negative energy balance. Conclusions: The use of sensors such as BodyMedia SenseWear together with keeping daily diaries make measurement of physical activity in dancing reliable and accurate. Exercise expenditure differs across types of dance in females but not in males. Both sexes had inadequate energy and carbohydrate intakes.

4

Powrót tańczącego ciała na irlandzką scenę w kontekście „niepokornych lat dziewięćdziesiątych”

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Ojrzyńska K., Uniwersytet Łódzki Z. D. i. D. L. A., Dr Katarzyna Ojrzyńska jest asystentem w Zakładzie Dramatu i Dawnej Literatury Angielskiej UŁ. W swojej pracy naukowej zajmuje się przede wszystkim dramatem współczesnym. Jej zainteresowania badawcze oscylują również wokół kultury i literatury Irlandii s. n. n. o. s. p. z. c. w. l., k.ojrzynska@sens.net.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2014

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vol. 24

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issue 2

EN

Prompted by the swift economic growth and the equally rapid decline of the authority of the local Catholic Church, the 1990s witnessed a significant change in the Irish attitude towards national culture and morality. One of the fields which best illustrates these transformations is dance, whose new face can be seen as symbolically representing the Irish transition from a country still bearing the stigma of de Valera’s ethical and cultural policies to a more liberal and open-minded European nation. The 1990s are the times of abolishing the taboos imposed years earlier on the Irish body perceived as an object of distrust that needs to be kept under constant surveillance to serve the nationalist cause as an epitome of proper moral conduct. With this in mind, the paper aims to discuss both the nature of the most crucial aspects of the revolution in the Irish dance in the 1990s and the effect this has exerted on the condition of the Irish stage. This will provide substantial background for the discussion of selected recent works of such playwrights as Brian Friel, Vincent Woods or Tom Kilroy, which make extensive use of dance, showing their contribution to challenging the literary, word-based character ofIrish drama and theatre.

5

The contribution of dance on children's health

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Kourkouta L., Rarra A., Mavroeidi A., Prodromidis K.

Progress in Health Sciences

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2014

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vol. 4

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issue 1

229-232

XX

Introduction: Dance is a kind of art therapy involving the psychotherapeutic use of expressive movement through which children can engage creatively in the process of personal development. Purpose: To highlight the contribution of dance to children psychophysical development and their self-expression of personality. Materials and methods: The research method consisted of reviewing articles addressing dance's role in children's psychophysical development and self-expression of personality found mostly via Medline, the Hellenic Academic Libraries Link and Google Scholar. A search of classic scientific literature and studies in libraries was also conducted. All articles had to be written in either Greek or English and refer to dance. Results: Dance is a treatment procedure commonly used at schools as an educational means. It is an important effective tool for children who suffer from emotional disorders and learning disabilities and aims to increase children's self-esteem, emotional expression, and ability to complete tasks relaxation, social interaction and coherence of the group in which they participate. Dance also helps children both to manage emotions that impede learning and to improve their adaptability in school. Conclusions: Dance develops children's the expressive ability and help them to express themselves not only verbally but also bodily.

6

Taniec Spinozy?

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Klimczyk W.

Estetyka i Krytyka

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2016

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issue 1(40)

23-42

EN

The philosophy of Baruch Spinoza is often (for example in Roger Scruton’s popular introduction or in Ernst Cassirer) looked at as an apotheosis of stillness. One can of course find also other interpretations, for example the one proposed recently by Agata Bielik-Robson in reference to the classic commentary to Spinoza’s oeuvre by Gilles Deleuze, which can be called vitalistic. Yet no one so far has attempted to look at the works of great seventeenth-century rationalist from the perspective of dance. This article is aimed at doing just that – proving that Spinoza’s works, especially Ethics, can be interpreted as philosophical dance, because of the author’s sensitivity to organized, but also lively movement. In this context a striking resemblance between Spinoza’s most famous portrait and Jan Steen’s Dancing Couple (1663) is noticed and analysed in the article. Although the two masters living in United Provinces in the middle of XVII century are not known to have been acquainted, a certain dance spirit common to both is worth reconstructing, if only to prove wrong the stereotype that puritan Dutch society of the era was insensitive to the beauty of movement of the human body.

7

Formalne i pozaformalne obszary zawodowej edukacji tanecznej w Polsce

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Zadłużny M.

Dyskursy Młodych Andragogów / Adult Education Discourses

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2012

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vol. 13

73-89

EN

The text shows different fields and possibilities of professional dance training in Poland – one of the few European countries, where only recently dance and choreography training at academic level has been introduced. The aim of the article is to draw attention to the possible reasons of this fact, and also to present some other forms of training that had formed as the result of the earlier lack of possible formal training. Moreover, the paper points out some possible dangers that the free educational market brings to the dancing field and possible repercussions of this condition. The author identifies formal needs necessary to introduce ‘dance’ at universities, defines minimum personnel and training standards, and differentiates between dance, chorography and dance pedagogy. Next, the article contains a synthesis of a historical outline of how the dance education was formed in Poland before and after the Second World War. The author also examines the formation of Polish academic tradition in the dancing field, and presents some selected offers of professional dance education in Poland that include dance and choreography trainings. Lastly, there is an analysis of a contemporary dance training model in Poland, along with the outline of trends, dangers and contemporary contexts of the development of dance education.

8

Efficiency and Effectiveness of Marketing Communication Tools on the Dance Schools Market Based on the Example of the Elita Dance Center in Kraków

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Kudełko K.

Przedsiębiorczość - Edukacja

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2017

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vol. 13. Uwarunkowania rozwoju przedsiębiorczości

216-227

EN

In recent years sport and physical activities in any form, including dance, are becoming more and more popular. As a result, there are many dance schools on the market. To stay on the market and acquire customers, dance schools use a variety of marketing communication tools. The aim of this article is to analyse the efficiency and effectiveness of marketing communication instruments applied by one of Kraków dance schools – the Elita Dance Center. The methods implemented in this paper included case study, quantitative analysis of the data and interview. The data used in this article include the data on the activities of the dance school Elita Dance Center, as well as the results of research conducted by interview among the customers of this school. The Elita Dance Center is an efficient company. With each season it acquires more and more customers. However, the activities of marketing communication are not very productive. Promotion costs are increasing faster than the number of clients and income from the dance classes.

9

Art in a World of Change: A Vision for Global Aesthetics

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Shapiro S. B.

Journal of Gender and Power

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2015

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vol. 3

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issue 1

67-88

EN

This article focuses on art, the aesthetic, and the body as a medium for self and social change in developing some thoughts on this issue of globalization and dance. The article explores how art, and specifically dance, can be a vehicle for aesthetic activism that emphasizes the importance of social justice and compassionate community. Drawing on critical and feminist pedagogies the author links pedagogy and aesthetic activism to social integration and cohesion, a sense of belonging and interdependence, and a sense of shared consciousness. The choreographic process described centers on the body as a site for self and social awareness and a critical understanding of the context of women’s lives. The aesthetic here is understood as that domain in which dominant meanings are disclosed and possibilities for social change can be imagined and realized. The author describes a community dance process in Cape Town South Africa in which notions of embodied knowledge and critical understanding come together to create a dance performance. This pedagogy suggests ways in which meaning and purpose within a changing global context can be grounded in an ethics of social justice, human rights and inclusive community.

10

88%

Łucznik K., Jackson A., Sakuta A., Siarava E.

Avant

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2017

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issue 8

EN

How do we share embodied knowledge? How do we understand the world through our bodies? How can we effectively interpret and communicate somatic experiences to a wider audience? These questions emerged during a collaborative research project Let’s Improv It (August 2016, Plymouth University), which set out to explore how kinaesthetic empathy and multisensory perception help us to understand our own actions, intentions and emotions, as well as those of others. We additionally questioned the role and perception of physical and emotional touch within embodied knowledge. After a five-day practice-led investigation, a 20-minute improvised somatic movement score was developed with the aim of providing a novel experience of touch and movement. The authors collectively delivered the score and reflected on the outcomes of this experience over the course of a year (2016–2017). In this paper, we explore how our research project expanded the boundaries of the conventional concepts of knowledge and cognition. We see such participatory sessions, in which movement and embodied experience freely unfold in time and space, as a ‘laboratory’ in which we examine the underlying mechanisms of collaboration. We reflect on how such an experience can be seen as a creative process, or as an emergent, collaborative artwork. The participants are both the creators and, simultaneously, the audience of our improvised experience. The experience provided a non-judgmental context for physical engagement and observation, which is an outcome that will be introduced alongside participants’ feedback. Overall, the project revealed that shared embodied knowledge is highly appreciated, particularly among those without previous experience with embodied enquiry or movement research.

16

Rozruchy badawczo-artystyczne w sztukach performatywnych: zbliżenie na taniec, ruch i choreografię

88%

Reznik Z., Brelińska-Garsztka P., Małkowicz-Daszkowska Z.

Didaskalia. Gazeta Teatralna

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2021

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issue 165

123-160

EN

The article addresses the issue of artistic research in the field of performing arts with a particular emphasis on movement, dance, and choreographic practices, set in the Polish context. The authors aim to identify and describe examples of artistic-research processes in the field defined above; to explore the specificity of AR practices and the contexts in which they are realised; to share tools, methods, and knowledge about them at the level of AR practices themselves and studies on AR. The paper is divided into 5 parts: 1) a definition of artistic research; 2) an auto-choreo-ethnographic reflection; 3) a spider-map of AR practices; 4) an in-depth analysis of three research-artistic processes (I: Przyszłość Materii (The Future of Matter) by Magdalena Ptasznik; II: Badanie/Produkcja (Research/Production) curated by Maria Stokłosa; III: a continuum of practices by Ania Nowak); 5) “interlacing” – a cross-sectional reflection. The structure of the narrative is based on two orders: a) a textual order – the main axis of the article; b) a graphic-mapping order – a complementary collection of visual-textual materials presented on the Research Catalogue platform.

17

Let’s Improv It: The Embodied Investigation of Social Collaboration

88%

Łucznik K., Jackson A., Sakuta A., Siarava E.

Avant

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2017

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vol. 8

EN

How do we share embodied knowledge? How do we understand the world through our bodies? How can we effectively interpret and communicate somatic experiences to a wider audience? These questions emerged during a collaborative research project Let’s Improv It (August 2016, Plymouth University), which set out to explore how kinaesthetic empathy and multisensory perception help us to understand our own actions, intentions and emotions, as well as those of others. We additionally questioned the role and perception of physical and emotional touch within embodied knowledge. After a five-day practice-led investigation, a 20-minute improvised somatic movement score was developed with the aim of providing a novel experience of touch and movement. The authors collectively delivered the score and reflected on the outcomes of this experience over the course of a year (2016–2017). In this paper, we explore how our research project expanded the boundaries of the conventional concepts of knowledge and cognition. We see such participatory sessions, in which movement and embodied experience freely unfold in time and space, as a ‘laboratory’ in which we examine the underlying mechanisms of collaboration. We reflect on how such an experience can be seen as a creative process, or as an emergent, collaborative artwork. The participants are both the creators and, simultaneously, the audience of our improvised experience. The experience provided a non-judgmental context for physical engagement and observation, which is an outcome that will be introduced alongside participants’ feedback. Overall, the project revealed that shared embodied knowledge is highly appreciated, particularly among those without previous experience with embodied enquiry or movement research.

18

Dance Improvisational Cognition

88%

Łucznik K., Loesche F.

Avant

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2017

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vol. 8

EN

Research into group creativity with its dynamic, interpersonal, and multi-perspective character poses many challenges, among others, how to collect data and capture its shared nature. In this paper, we discuss the creative process of an ensemble in dance improvisation as an example of vivid and collaborative creative practice. To identify aspects of improvisational dance cognition, we designed and applied a videostimulated recall approach to capturing the multiple perspectives of the shared creative process. We tested the method during an improvisational session with dancers, showing how the recordings of dancers' thought narratives and internal states might be used for studying group creativity. Finally, we presented an audiovisual installation Between Minds and Bodies that aimed to recreate the dancers’ experience and offered immersion into the creative process by accessing individual dancer’s thought processes in the improvised performance while watching the dance improvisation.

19

LE GENRE SUR LA SCENE : INCONTOURNABLE SIGNE?

88%

BLOUIN C.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2014

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vol. 6

135-153

EN

A commonplace in performance arts wants that putting a man and woman together on stage inexorably brings spectators to see a couple relationship between them. Most of the time, in theater, and inevitably in dance, body is the central significant material of the show. This leads us to question the area of freedom that creators can find through gender restrictions presumed by the convention enunciated earlier. How are they playing with the body to significate beyond feminin and masculin? Through the examples of Théâtre du Trillium‘s Fucking Carl and Collectif Nous sommesici‘sChanging Room, we will approach the way of transvestism, strategy as old as theater itself, and withCompagnieKadidi‘sSamediDétente, we will examine the exploitation of both genders bodily qualities within the same performer, inside the same show. Gender on stage, prison or liberating constraint?

20

„Ciało to mój największy nauczyciel”. Interakcje z własnym ciałem w pracy tancerza

88%

Byczkowska D.

Przegląd Socjologii Jakościowej

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2012

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vol. 8

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issue 2

112-127

EN

The aim of this article is to present a specific interaction between a dancer and his/her body. Such a relationship usually emerges in later stages of dancers’ careers, and is accompanied by a small number of formal rules and standards present within a certain dance community. Therefore, it rather occurs among dancers of artistic than of sport genres of dance. Dancer’s relationship with the body is created in the process of negotiating and getting to know one’s body reactions to one’s activities. The body is treated by a dancer as an actor who makes own decisions, and who is sometimes not letting the dancer to fulfill his/ her intentions, for example, these connected with social norms in certain social groups. In order to show and to compare how diverse one’s interactions with one’s body might be, I will also discuss an issue of relation with one’s own body in the autotherapeutic process. Presentation of both these problems also demonstrates two different ways of communicating with one’s own body. This article presents outcomes of a qualitative research on social construction of embodiment, which was conducted with the use of Grounded Theory Methodology and qualitative research techniques, such as: unstructured interviews, video and photo elicited interviews, analysis of visual data, analytic autoethnography, participant and non-participant observation and desk research.

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