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1

Partimento – praktyka czy sztuka?1

100%

Solecka J.

Kwartalnik Młodych Muzykologów UJ

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2019

|

issue 2(41)

23-42

EN

Partimento practice originated in Italy and the most important centre of this art was Naples. In general, partimento is a kind of an abbreviated form of musical notation. It uses the notation of basso continuo: it provides one voice, which in most cases is the bass part supported with figures of b.c. notation. The figures may be neglected if the performer is supposed to follow the so-called rule of the octave. Practicing partimento was a way to master compositional skills: thorough bass, harmony, counterpoint, form, texture, motivic coherence. Practicing this art was rewarded with an unparalleled fluency in improvisation on keyboard instruments. It was the basic method of composition teaching at the famous conservatories in Naples. The conservatories were founded in the 16th century as orphanages but from the 17th century onward they turned into important professional schools of music. The students of the conservatories attained the highest degree of musical knowledge enabling them to pursue great careers as composers and performers (both in the vocal and instrumental realm) in Italy and abroad. Besides Naples the art of partimento was taught in other Italian cities, e.g. Rome and Bologna. Its influence was also seen in other countries, mostly in Germany. Besides being exercises, the partimento notation was also included in pieces of music not necessarily intended for teaching purposes. Bernardo Pasquini (1637–1710) was one of the very first composers to write partimenti; however, he did not use the word “partimento”. His works for one or two keyboards, written as b.c., were called by him for example “basso”, “basso continuo”, “sonata”, “versetto”. An interesting question nowadays is if partimento is an old-fashion method of teaching or an inspiration for artists seeking for individual ways of own expression.

2

ELEMENTE DE NATURĂ FUNCȚIONALĂ ÎN ARTA SPECTACOLULUI DE TEATRU

100%

FLOAREA S.

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

|

2015

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vol. 7

66-90

EN

George Banu has never allowed theoretical research and academic study to quench his emotion. His way of expressing himself was the one of a word and image craftsman. Is George Banu a friend of the theatre directors, from Brook to Zholdak, from Grotowski and Kantor to Warlikowski and Yannis Kokkos or Felix Alexa, from Strehler to Bondy or Castellucci? Is he a theatrologist who avoids the trap of recipes forced upon the art critic? In a subtle and indirect manner, he reminds us that the theatre is not a personal affair but something meant to stir the general interest that creates the bond between the human being and the world and the stars. His critical journeys are a tribute to the universality of the theatre.

3

Текстово-образна універсалія як мовноструюпурний засіб імпровізаційного творення українських народиш дум

100%

БЕПЕНКО Т. П.

Stylistyka

|

2012

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vol. 21

221-236

EN

This article belongs to the area of linguistic stud> ot folklore. The author considers the naturę o f folklore improvisation as integral linę of folksong creativity ffom the position of the linguistic structurization o f the orał text. As a result of the research, a conclusion is drawn on the existence o f constructive elements, which provide complete preservation and an improvisadonal reconstruction o f epic texts, text-shaped universal. Detailed classification of named units, including their exhaustive characteri nic, is also offered.

4

Theater Without a Script-Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States

100%

Szuster M.

Text Matters: A Journal of Literature, Theory and Culture

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2019

|

issue 9

374-392

EN

It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City. Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.

5

Kujutledes kogukondi: traditsioonist ja improvisatsioonist tanapaeva parimustantsus

88%

Kapper S.

Mäetagused

|

2011

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vol. 49

7-34

EN

The aim of this article is to show what is the living dance tradition in Estonia like, by whom and how traditional elements are used in spontaneous amusement dance situations. The main data have been collected by observant participation in 2010 at Viljandi Folk Music Festival where contemporarily arranged folk music was played and the audience was encouraged to dance. Today, traditional dancing is very much influenced by conscious learning through more or less organised, regular or irregular activities like dance clubs, stage folk dance groups, and festival workshops. Professional dance teachers and some musicians, especially interested in traditional dancing have taken an important role in disseminating the dance repertoire as well as performance styles. In dancers’ movement their dance learning past and background reveals. Historically, traditional dancing in its entertainment function has been rather international, but the imagined community of Estonian folk dancers is distinguished by their rather conservative attitude, expressed in quite clear ideas about “our own” and “foreign” elements in dancing while dance club people or active audience do not prefer dances with longer local history. The identity of “folk dancers” seems to be more connected with an ideal culture, based on archival data about Estonians’ dancing (deriving mainly from in the end of 19th century) while the dancing behaviour of “dance club people” could be described as intended culture which is more flexible and open. This way, comparing the dancing of both communities, a reflection of continuous balance seeking of overall Estonian culture can be seen. Nowadays, in most dancing events the improvisation is used but the level of improvisation – conservative, innovative or free – depends on individual values and decisions of dancers as well as the music, companions, place and space. Creative use of older traditions is the domain of small number of devoted enthusiasts. Generally, older traditions are unknown and their limits are not adhered to, because of the very tolerant overall cultural environment

6

CONTINGENCY AND IMPROVISATION IN PERFORMANCE ART FROM THE 1970s TO THE PRESENT

88%

Kaźmierczak M.

Sztuka i Dokumentacja

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2020

|

issue 22

9-16

EN

The first part of the article focuses on how an accident or unexpected event may influence a performance piece. Examples of accidents with creative potential are described. The second part concerns improvisation; it investigates what it means to improvise in performance art and reveals the political potential of improvisation. Even though artists reluctantly admit they improvise or make errors, examples of such cases suggest this is not uncommon and usually involves unexpected audience interaction or occurs when the piece's structure is open. The article is based on artists' statements, performances described in the literature, and those witnessed by the author. The theoretical part is mainly based on articles by Alessandro Bertinetto.

7

Dance Improvisational Cognition

88%

Łucznik K., Loesche F.

Avant

|

2017

|

issue 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.

8

Designing Life after the Storm: Improvisations in Post-Disaster Housing Reconstruction as Socio-Moral Practice

88%

Cajilig P. G.

Avant

|

2017

|

issue 8

EN

If there is any endeavor so demanding of human creativity, it is the remaking of lives and property after disaster. However, post-disaster recovery is considered the greatest failure in disaster management, and within this field, post-disaster housing reconstruction is the most insufficiently investigated practice. Furthermore, studies of disaster management attribute failure to top-down and technocratic approaches that often overlook the agency, capacities, and moral priorities of those directly affected. In contrast, this paper attends to those displaced by disaster as creative and moral agents who manage to carry on with life despite their socio-economic and political vulnerabilities by drawing from theory in anthropology, disaster studies, and cognitive psychology. Through examining how inhabitants of a post-Typhoon Yolanda (Haiyan) resettlement site transform their housing to negotiate multiple and vague rules and regulations, I entangle myself with literature that assumes that the creativity of design lies in the capacity of individuals to improvise according to their values and in response to those of others, within a world that is continually unfolding. I also assume that improvisation is contingent upon processes of cognitive innovation in which social relations operate as indispensable intellectual resources for grasping and mobilizing knowledge that would give inhabitants of resettlement housing the best possible chance of attaining their hopes, dreams, and ambitions. Consequently, I propose that viewing creativity as an improvisational process highlights the agentic potential of design in even the bleakest and most quotidian of settings. My own hope is to extend the possibilities for correspondence between built environment practitioners and those who, because of their subaltern positionalities, tend to be overlooked by the field of post-disaster housing reconstruction and yet must live through the consequences of its practice.

9

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

88%

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

Avant

|

2017

|

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.

10

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

88%

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

Avant

|

2017

|

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.

11

Dance Improvisational Cognition

88%

Łucznik K., Loesche F.

Avant

|

2017

|

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.

12

Designing Life after the Storm: Improvisations in Post-Disaster Housing Reconstruction as Socio-Moral Practice

88%

Cajilig P. G.

Avant

|

2017

|

vol. 8

EN

If there is any endeavor so demanding of human creativity, it is the remaking of lives and property after disaster. However, post-disaster recovery is considered the greatest failure in disaster management, and within this field, post-disaster housing reconstruction is the most insufficiently investigated practice. Furthermore, studies of disaster management attribute failure to top-down and technocratic approaches that often overlook the agency, capacities, and moral priorities of those directly affected. In contrast, this paper attends to those displaced by disaster as creative and moral agents who manage to carry on with life despite their socio-economic and political vulnerabilities by drawing from theory in anthropology, disaster studies, and cognitive psychology. Through examining how inhabitants of a post-Typhoon Yolanda (Haiyan) resettlement site transform their housing to negotiate multiple and vague rules and regulations, I entangle myself with literature that assumes that the creativity of design lies in the capacity of individuals to improvise according to their values and in response to those of others, within a world that is continually unfolding. I also assume that improvisation is contingent upon processes of cognitive innovation in which social relations operate as indispensable intellectual resources for grasping and mobilizing knowledge that would give inhabitants of resettlement housing the best possible chance of attaining their hopes, dreams, and ambitions. Consequently, I propose that viewing creativity as an improvisational process highlights the agentic potential of design in even the bleakest and most quotidian of settings. My own hope is to extend the possibilities for correspondence between built environment practitioners and those who, because of their subaltern positionalities, tend to be overlooked by the field of post-disaster housing reconstruction and yet must live through the consequences of its practice.

13

Creative Drama in Support Therapies for Children with Learning Disorders

88%

Kollárová D.

Acta Technologica Dubnicae

|

2013

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vol. 3

|

issue 1

73-85

EN

The paper familiarizes the reader with the output of the project titled Support Therapies for Children with Learning Disorders which we implemented at an elementary school. It describes the individual therapy types which were used and which can, to certain extent, help the pupils with special educational needs. The paper focuses on our experiences with the use of creative drama elements and drama therapy with 5th - 9th grade pupils. It presents the acquired qualitative data which show the reader the specifics of the educational process and public presentation of pupils with learning and behaviour disorders.

14

Collective Improvisations: Amiri Baraka and the Articulation of Blackness Across Socio-Cultural Movements

75%

Peterson II V.

Eidos. A Journal for Philosophy of Culture

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2023

|

vol. 7

|

issue 1

6-25

EN

In 1966, Leroi Jones, soon to be Amiri Baraka, outlined a program to reorient the philosophical underpinnings of Black study. Modes of inhabiting and thereby constructing the domains in which one participates were revealed as a function of one’s mode of expression. Jones/Baraka proposed that blackness was expressed by the operation of a collective improvisation. How can improvisation, traditionally conceived as an individual activity, be a collective process? Taking our cue from articulation theory and the request that it be formalized by Stuart Hall, we explore what may superficially seem counter-intuitive but is able to be modeled by way of an explanation of its generative syntactic structure. In so doing, puzzles associated with identity theory, intersubjectivity, and modalities of expression are revealed as not as intractable as they are assumed to be, especially within the discipline of Black studies.

15

Positive Impact of Drama Therapy Workshops on Development of Social Skills

75%

Stefańska A.

Kultura i Edukacja

|

2015

|

issue 2(108)

80-94

EN

Nowadays, there is a growing need for reflection on the role of drama therapy workshops because of an immense interest in art therapy in general in social or psycho-pedagogical work aimed to support the development of social abilities, in particular communications skills. Therapeutic aspects of art are connected with its impact on psyche, and thus the intensification of specific cognitive, emotional and motivational processes. This paper emphasises personal growth of the participant in relation with a group. In workshop activities, especially during improvisation, the ability to undertake and strengthen positive relations is developing. Reorganization and integration of participants’ attitudes, resulting in better interpersonal relationships, are shown to occur during drama therapy workshops. New attitudes or acquired skills may become for many of them an encouragement to further explorations, an indication of a framework for increased engagement in social interactions.

16

Deotyma – Norwid’s “Tenth Muse”

75%

Krysowski O.

Studia Norwidiana

|

2020

|

vol. 38 English Version

5-20

EN

This article attempts to recreate the image of Jadwiga Łuszczewska from the literary works and letters by Cyprian Norwid. The young improviser sparked controversy not only among the critics, but also among the Warsaw socialites in Romantic period. Norwid, however, considered her personality as original, modern and capable of refreshing Polish poetry. In his poems he describes her as “the tenth Muse” and compares her to Sappho, who was called exactly the same name by Plato in recognition of her poetic talent. Moreover, he depicts her in an idealized manner, like a contemporary sibyl who advises the nation on how to proceed in a tragic historical period. Norwid’s enthusiasm waned at the beginning of the 1860s when it became clear that the poetic works by Deotyma were becoming repetitive, constantly revisiting the same motives, ideas and aesthetic means, unable to go beyond the horizon defined at the onset of her career. He realized that behind the female figure he himself ennobled – as comforter, Samaritan, visionary, and statuesque Muse – there is a human being, imperfect and, in some aspects trivial, affected or even philistine.

17

RHYTHMIC MUSIC PEDAGOGY: A SCANDINAVIAN APPROACH TO MUSIC EDUCATION

75%

Hauge T. B.

Signum Temporis

|

2012

|

vol. 5

|

issue 1

4-22

EN

Rhythmic music pedagogy is a relatively new Scandinavian approach to classroom music education that offers a variety of methods and strategies for teaching and learning music, especially within the performance of improvised and rhythmic music. This article is based on two earlier projects published in Norwegian, in which the concept of rytmisk musikkpedagogikk (or “rhythmic music pedagogy”) as well as its applications and implications were thoroughly described. This research confirms that rhythmic music pedagogy may be an effective strategy for learning music in general, but most especially for learning skills associated with ensemble musicianship and playing by ear. In a multicultural and fluid society in which there are tendencies toward passivity and fragmentation, it may be more important than ever to maintain the idea of music as a collaborative creative process that extends across borders; in this context, rhythmic music pedagogy can play a central role in children’s social development. As a social medium, ensemble playing requires the participant to decentralize socially, since the perspectives of the other participants are necessary for a successful performance. The activity’s general potential for re-structuring social settings and moving boundaries in a positive way should not be underestimated.

18

Le jazz fut-il la première forme du surréalisme ? – la poésie du jazz selon Robert Goffin

71%

Kukuryk A.

Academic Journal of Modern Philology

|

2023

|

issue 20

261-272

EN

This article is an attempt to parallel literature and jazz music, which, according to the Belgian poet Robert Goffi created new trends at the beginning of the 20th century. Touched by the cosmopolitanism of Blaise Cendrars, the simultaneous poetry of Guillaume Apollinaire, the author tries to synthesize a new spirit in a new poetry in syncopated rhythm. He sees musical improvisation as an element that can shape creative writing in various aspects, from narrative to structure, reflecting the surrealist-inspired need to create outside the traditional ontological framework. According to him, jazz not only illustrates the quest for independence in the artistic and social spheres, but is also a means to reach the unconscious.

19

Performatività e improvvisazione: l’artista Teresa Bandettini Landucci

63%

Winter S.

Italica Wratislaviensia

|

2019

|

issue 10.2

161–174

EN

Teresa Bandettini Landucci (1763–1837) was a dancer, poet, and above all amongst the most acclaimed composers of extemporaneous verse in the late 18 th century. Yet her legacy is all but forgotten, her name virtually unmentioned in histories of literature. Such an omission is a result of the general dismissal of female writing in literary history; but, in the case of Bandettini, it is all the more pronounced because she was an improviser. The aim of this study is to show that, firstly, in the 18 th century, the profession of improvisation was one of the few cultural fields in which women could attain celebrity; and secondly, that the Western emphasis on the written word over orality, on printed documents over ephemeral performances, has meant that improvisation as a performative art has received little recognition or cultural legitimacy. The art of improvisation experienced a golden age in the second half of the 18 th century. This depended upon an expression of enthusiasm within an impromptu performance, characterised by physical presence, the staging of the self, and the involvement of the public. The immediacy of the performance and the authenticity of the artist were decisive elements of this type of performance, though they were rarely recognised within a culture of literacy. Moreover, the transcription and publication of improvised poems could never communicate the nature of these performances and their cultural impact, in part because the oral nature of these texts was considered to be subordinate to meditated poetry. The marginalisation of Bandettini in literary history can therefore be ascribed to the dismissal of categories such as performance, orality, and ephemerality.

IT

Teresa Bandettini (1763–1837) è stata una ballerina e poetessa e soprattutto un’improvvisatrice tra i più acclamati poeti estemporanei alla fine del Settecento. Della gloria di quest’epoca, nella memoria culturale odierna non resta alcuna traccia, e il nome della poetessa improvvisatrice è quasi sparito dalle storie letterarie. A spiegare questa degenerazione del prestigio si può certamente addurre l’inadeguata rappresentazione della scrittura femminile nella memoria storica in generale, ma nel caso specifico di Teresa Bandettini sono due aspetti strettamente collegati tra di loro che hanno portato all’emarginazione dell’artista: essere donna ed essere improvvisatrice. Scopo della presente indagine è di mostrare che da un lato, nel Settecento, il mestiere dell’improvvisazione è uno dei pochi campi culturali nei quali anche le donne possono raggiungere celebrità e notorietà, mentre dall’altro l’improvvisazione come arte performativa non è mai entrata nella memoria culturale occidentale, fondata sulla priorità dello scritto sull’oralità, su documenti stampati e non su fenomeni effimeri, tra cui tutte le varietà di performances. L’improvvisazione, che visse la sua età aurea nella seconda metà del Settecento in rapporto con il concetto dell’entusiasmo è una performance estemporanea caratterizzata dalla presenza fisica, dalla messa in scena del proprio io e dal coinvolgimento del pubblico. L’immediatezza dell’esibizione e l’autenticità dell’artista sono elementi decisivi in questo tipo di prestazione, e tuttavia poco rilevanti per una cultura dello scritto e del duraturo. L’eventuale trascrizione e pubblicazione delle poesie improvvisate non riescono a rimediare alla situazione, perché il carattere orale dei testi è percepito come fenomeno subalterno rispetto alla poesia meditata. L’emarginazione nella storia letteraria della a suo tempo famosissima improvvisatrice Teresa Bandettini può dunque essere ricondotta alla scarsa valorizzazione delle categorie del performativo, dell’orale e dell’effimero.

20

Somatyczne, muzyczne i auguryjskie konteksty retoryki

63%

Nawarecki A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

|

2017

|

vol. 5

87-100

PL

Somatic, musical and augural contexts of rhetoric Rhetoric is considering from the way of performance (gr. hipokrizis, lat. actio), called by the Cicero “the body language”. There will be a point of departure in all kinds of somatic obstacles that limit the orator, and also the voices of the background that make oration harder. Among the natural voices there is a specific case of animal sounds, in particular birds’ melodies which were intensively listened by ancient augurs and poets. There is also returning question of birds singing and human voice, especially in the age of ecology and the new media, and in context of cinema music and literature. From the perspective of the zoophilology a very special case is the voice of marsh warbler that can be associated with jazz improvisation and the sampling. In the conclusion author reveals the rhetoric community between different discourses that were inspired by the art of improvisation – the free jazz (Coleman), deconstruction (Derrida) and birds language (marsh warbler).

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Partimento – praktyka czy sztuka?1

ELEMENTE DE NATURĂ FUNCȚIONALĂ ÎN ARTA SPECTACOLULUI DE TEATRU

Текстово-образна універсалія як мовноструюпурний засіб імпровізаційного творення українських народиш дум

Theater Without a Script-Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States

Kujutledes kogukondi: traditsioonist ja improvisatsioonist tanapaeva parimustantsus

CONTINGENCY AND IMPROVISATION IN PERFORMANCE ART FROM THE 1970s TO THE PRESENT

Dance Improvisational Cognition

Designing Life after the Storm: Improvisations in Post-Disaster Housing Reconstruction as Socio-Moral Practice

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

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

Dance Improvisational Cognition

Designing Life after the Storm: Improvisations in Post-Disaster Housing Reconstruction as Socio-Moral Practice

Creative Drama in Support Therapies for Children with Learning Disorders

Collective Improvisations: Amiri Baraka and the Articulation of Blackness Across Socio-Cultural Movements

Positive Impact of Drama Therapy Workshops on Development of Social Skills

Deotyma – Norwid’s “Tenth Muse”

RHYTHMIC MUSIC PEDAGOGY: A SCANDINAVIAN APPROACH TO MUSIC EDUCATION

Le jazz fut-il la première forme du surréalisme ? – la poésie du jazz selon Robert Goffin

Performatività e improvvisazione: l’artista Teresa Bandettini Landucci

Somatyczne, muzyczne i auguryjskie konteksty retoryki