European and Global North perspectives have historically dominated the fields of dance, education, and human research, ignoring, erasing, oppressing, and exoticizing the Latinx dancing body. A lack of visibility prevents Latinx students from envisioning themselves in these predominantly non-Latinx spaces, creating barriers to their success in dance and education. While Latinx dance organizations exist dedicated to celebrating and visibilizing Latinx identity and cultural practices in k-12 dance programs, a gap regarding these practices exists in dance education scholarship. Ballet Hispánico provides a premiere example of such an organization through its Community Arts Partnership program (CAP), which focuses on what I propose can be described as culturally responsive-sustaining dance pedagogy (CRSDP). My proposed CRSDP draws on scholarship from culturally responsive therapy for Latinx populations, Latina/Chicana feminism, and progressive pedagogies to prescribe a dance teaching practice centering on Latinx students’ heritage and local cultural practices while aiming toward decolonization and humanization through the study of non-dominant dance forms. This case study explores the lifelong experiences of teaching artists who worked in the CAP programs to provide a concrete example of CRSDP, privileging participants’ stories and pressing against dominant Eurocentric and Global North perspectives in research. Teaching artists’ ancestral lineages represented Afro Caribbean, Indigenous, and Latinx Peoples. Research methods included individual interviews, classroom observations, follow-up pláticas, and an asynchronous embodied testimonio project. Pláticas and embodied testimonios were culturally sensitive and specific methods countering dominant perspectives in research that disconnect from the Latinx experience. Findings are presented in a magical realism novela and include a short, embedded dance video, making them more accessible to a general population within a format grounded in the Latinx dance experience. Earlier and subsequent chapters are unconventionally labeled foreword, preface, process, and epilogue to privilege the novela and participant stories. The novela shares experiences along CAP teaching artists’ lifelong journeys as dancers and educators that have led to their commitments to teaching within a CRSDP framework. Emerging from the novela, I argue that (a) decolonizing and humanizing dance pedagogy for Latinx students should incorporate universal themes and shared sociopolitical histories while recognizing the intersectionality of diverse Latinx identities, and (b) that research conducted within Latinx communities should incorporate culturally sensitive and specific methods.

No description available.

The purpose of this study was to identify disparities in the delivery of standards based dance education in the K-12 learning environment in the state of Florida and to give specific attention to curricular choices and instructional design. A mixed-methods approach was used and included a survey of K-12 dance educators in Florida as well as interviews with leaders in dance and arts education in the state. This inquiry identified common areas where curriculum choice and instructional design meet the barriers of time, space, place, learner population, expected educational outcomes, and teacher preparation. Each of these areas suggested specific limitations singularly, but when considered together, the effectiveness of K-12 dance programs appeared compromised by disparity and difficult to assess. By centralizing the focus of this inquiry on the realities of the learning environment in K-12 dance education in the state of Florida, the results of this study identified disparities in one state that may inform future research in the broader field of dance education. A set of Core Dance Education Values has been recommended as a guideline to better unify dance teaching goals in light of the research and in support of developing best practices for sustainable K-12 dance programming. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

This thesis examines the emerging intercultural dialogues around disability, performance dance and children in the multicultural context of KwaZulu-Natal. It focuses on creative dance (or modem educational dance), as it has emerged in KwaZulu-Natal schools post-1994. The intervention of the arts and a holistic approach to education is examined by appropriating Rudolf Laban (1948), Smith-Autard (1992) and other guiding principles for dance education. The thesis presents an analysis of how creative dance has come to influence notions of contemporary performance dance. This has provided a framework to argue in favour of dance making by untrained (sic) dance teachers and children with and without disabilities. The period under investigation post-1994 coincided with fundamental transformations within the South African cultural landscape, including the following: restructuring of performing arts council, the merging of former separate education departments and the strengthening of disability consciousness within human rights culture. These topics are briefly discussed. The transformation of the arts at The Playhouse Company in KwaZulu-Natal contributed to changes within dance development programmes. These dance development works addressed previously marginalized communities, including the disabled. The potential shifts to mainstream notions of performance dance by children with disabilities have provided an opportunity to theorise the practice of dance in special education and its relation to performance dance in the multicultural KwaZulu-Natal setting. Chapter one begins by firstly problematising disability, which it argues is an occurrence constructed by medical, social, political, historical, cultural and gender identities. Chapter one goes onto explore the changing concepts of dance for children with disabilities by offering a critique of existing notions of performance dance for children with disabilities. Distinctions between social dance. performance dance, dance therapy and educational dance are clarified and the practice of children's dance is contextualised. Chapter two argues that 'disability' within a context of multiculturalism in South Africa could be seen as a culture in and of itself. It does this by accessing the critical writings of Schechner (1991), Pavis (1992), Brustein (1991) and others. Definitions of 'culture' are problematised and the debates: high art vs culture, fusion, multi-, intra-, and inter-culturalism in the South African context are explored. Chapter three looks at three specific dance projects, which emanated from The Playhouse Company. The case studies explore how children between the ages of 8 - 18, who are defined as disabled, have engaged with dance and have had little or no interaction with the performing arts particularly as performers. It critiques and evaluates these projects in order to make conclusions around the following: the need for training of dancers and choreographers with disabilities and to underscore the role of the media in the disabled's plea for access to the performing arts. The idea of integrated 'enablers'(children and adults) with disabled children in the same performance dance work was innovative. Such inclusion and re-dress, as also expressed by The White Paper 6 on Special Education are supported by this thesis. Many children and their teachers have, through these creative movement and dance projects, begun to challenge notions of disability and of performance dance within the 'mainstream' performing dance environment as they emerge as potential artists in their own space. The thesis concludes by offering suggestions for how dance by those defined as 'disabled' is understood, critiqued and reported by reviewers and researchers of dance. It is hoped that these suggestions would strengthen the wider acceptance of notions of dance that emerge from a range of previously marginalised groups. / Thesis (M.A.)-University of Natal, Durban, 2001.

This study monitored the conceptualisation, implementation and evaluation of criterion-referenced assessment for Modern Dance by two teachers specifically chosen because they represented the two most usual stances in current teaching i.e. one valuing dance as part of a wider, more general education, the other as a performance art. The Review of Literature investigated the derivation of these differences and identified the kinds of assessment criteria which would be relevant in each context. It then questioned both the timing of the application of the criteria and the benefits and limitations inherent in using a pre-active or re-active model. Lastly it examined the philosophy of criterion-referenced assessment and thereafter formulated the main hypothesis, i. e. "That criterion-referenced assessment is an appropriate and realistic method for Modern Dance in schools". Both the main and sub-hypotheses were tested by the use of Case Study/Collaborative Action research. In this chosen method of investigation the teachers' actions were the primary focus of study while the researcher played a supportive but ancillary role. The study has three sections. The first describes the process experienced by the teachers as they identified their criteria for assessment and put their new strategy into action. It shows the problems which arose and the steps which were taken to resolve them. It gives exemplars of the assessment instruments which were designed and evaluates their use. It highlights the differences in the two approaches to dance and the different competencies required by the teachers if their criterion-referenced strategy was adequately and validly to reflect the important features of their course. In the second section the focus moves from the teachers to the pupils. Given that the pupils have participated in different programmes of dance, the study investigates what criteria the pupils spontaneously use and what criteria they can be taught to use. It does this through the introduction of self-assessment in each course. In this way the pupils' observations and movement analyses were made explicit and through discussion, completing specially prepared leaflets and using video, they were recorded and compared. And finally, the research findings were circulated to a larger number of teachers to find to what extent their concerns and problems had been anticipated by the first two and to discover if they, without extensive support, could also mount a criterion-referenced assessment strategy with an acceptable amount of effort and within a realistic period of time. And given that they could, the final question concerned the evaluations of all those participants i.e. teachers, parents and pupils. Would this extended group similarly endorse the strategy and strengthen the claim that criterion-referenced assessment was a valid and beneficial way of assessing Modern Dance in Schools?

This arts-based narrative research was an inquiry into how embodied dialogic spaces can provide access to dance learning reflections by students after graduating from a pre-professional dance program (DanceWorks, Berlin, and Palucca University, Dresden in Germany, and Duncan Center, Prague in the Czech Republic). Dialogic spaces, a term used by few contemporary scholars, were examined as vital spaces of openness and inclusiveness in learning. Data was collected through different modalities (textual, visual, and embodied), included surveys with alternative assessment tools, interviews, and somatic dance narratives (SDN), personal dance solos, for ‘inner’ listening and embodied exchanges between the researcher and participants. The SDNs served as vital data reporting and reflected the embodied version of all data collected within a dialogic space between the researcher and the individual participants with an Interpretive Phenomenological Analysis (IPA) approach. The phenomenon of former students’ reflection on their dance learning and the research design within a dialogic space equally informed the researcher’s perspective and interpretive reporting of this study. This research argued for the need for dialogic spaces—for non-judgmental spaces prioritizing ontological over instrumental learning, not only during an education but also for identifying lifelong learning skills after an education has been completed. It aimed to explore the transformative possibilities of dialogic spaces and their impact on individual growth.

Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 532-554) and discography (leaves 555-557). / Also available by subscription via World Wide Web / 2 v. (xix, 557 leaves, bound) music 29 cm

This qualitative arts-based narrative inquiry explored and analyzed the experiences of five Black women dance educators who teach with micro-interventions of care, love, and mentorship toward racial uplift in Black youth. This inquiry’s data collection included participants’ journal entries, sent weekly via email; one-on-one, semi-structured interviews with the women; and roundtable sista’ circles convened within community dialogues. Participants were prompted to share stories of their lived experiences as community members, artists, educators, and scholars. The collected data was analyzed using thematic and narrative methods, beginning with deductive coding and continuing with chunked comparisons of the women’s narratives. This study’s findings revealed that the women’s narratives as educators, persons, and community leaders, centered Blackness, care and love for themselves and their community, and Afrofuturity extant in their dance education practices. The narratives themselves revealed anecdotes of community, artistry, spirituality, culture, and healing, told and retold in the form of storytelling and poetry. This study sheds light on the unique experiences and perspectives of Black women dance educators, highlighting the importance of their contributions to the field. This study also proposes future considerations for research and practice in unearthing more stories of dance education as a micro-intervention of care, love, and mentorship toward racial uplift in Black youth. The inquiry and its results hold ramifications for and suggest a new vision for Black youth as well as educators that is a joyful Afrofuturistic dance education praxis rooted in peace, love, harmony, and #JOY.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-09-17T17:46:09Z No. of bitstreams: 1 doutorado_tese_DEFINITIVA_PARA_IMPRESSAO.pdf: 17118891 bytes, checksum: 16106a13c84726dc0dd25b5ce9456694 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-09-17T20:15:47Z (GMT) No. of bitstreams: 1 doutorado_tese_DEFINITIVA_PARA_IMPRESSAO.pdf: 17118891 bytes, checksum: 16106a13c84726dc0dd25b5ce9456694 (MD5) / Made available in DSpace on 2018-09-17T20:15:47Z (GMT). No. of bitstreams: 1 doutorado_tese_DEFINITIVA_PARA_IMPRESSAO.pdf: 17118891 bytes, checksum: 16106a13c84726dc0dd25b5ce9456694 (MD5) / A presente tese investiga o processo de desenvolvimento da consciência corporal na criança que dança e intitula-se “O corpo lúdico no ensino-aprendizagem da dança”. As questões que nortearam a pesquisa foram: o que é atividade lúdica como vivência corporal e estética? Que efeito a experiência do lúdico na dança produz em relação ao conhecimento do próprio corpo? Partiu-se da hipótese de que a experiência lúdico-corporal é primordial na construção de um processo metodológico, para o ensino da dança, que favorece a consciência corporal. Esta pesquisa fundamenta-se no conceito de complexidade, elaborado por Morin (2002), compreendendo o corpo como simultaneamente uno e múltiplo e na ludicidade, abordada por Luckesi (2000) como fenômeno do interno e do integral, que está na base da educação de corpo integrado. A pesquisa de campo foi realizada em classe de Preparatório do Curso Experimental de Formação para Bailarinos, da Escola de Teatro e Dança da Universidade Federal do Pará (ETDUFPA) e envolveu nove crianças de sete a nove anos que participaram de um curso experimental. Como procedimento metodológico de pesquisa privilegiou-se o enfoque etnográfico, numa abordagem de pesquisa-ação. Foi aplicada a técnica de entrevista e, como instrumentos, o questionário, o diário de classe e storyboard. Os dados foram tratados qualitativamente, procedendo-se a análise dos resultados à luz de referencial teórico. Concluiu-se que o processo ludicidade, ou jogo/dança num trabalho de consciência através do movimento é significativo na preparação do corpo lúdico, tanto na infância, quanto na adolescência ou idade adulta. / The present thesis investigates the development process of the corporeal conscience in children who dance and is titled “The Ludic Body at the Teach-and-Learn of the Dance”. The questions that guided this research were: what’s ludic activity as corporeal experience and aesthetics? What effect the ludic experience at the dance produces about the corporeal knowledge? It parted from the hypothesis that the ludic corporeal experience is a basal in the construction of a methodological process, for the teaching of the dance, which encourages the corporeal conscience. This research is based on the concept of complexity, elaborated by Morin(2002), understanding the body as simultaneously one and multiple and on the ludicity, approached by Luckesi (2002) as phenomenon of the intern and the integral, that is on the basis of the integrated body education. The field Research was developed in the preparatory class of the experimental course of ballet dancers, of the School of Dance and Theater of Pará’s Federal University (ETDUFPA) and involved nine kids aged seven to nine years that participated of an experimental course. As methodological procedure for researching, the ethnographical emphasis was privileged, in a research-action approach. It applied an interview technique and, as tools, the quiz, the gradebook and the storyboard. The data were treated qualitatively, proceeding to the analysis of the results based on the theoretical reference. It concluded that the ludicity process or dance\playing in a conscience work through the movement is significant in the preparation of the ludic body, be it in childhood, adolescence or in adult age. / Questa tesi indaga il processo di sviluppo della coscienza corporale nel bambino che danza e si intitola “Il corpo ludico nell’insegnamento-apprendimento della danza”. Le domande che hanno guidato la ricerca sono: cos’è l’attività ludica come vissuto corporale e estetico? Che effetto produce l’esperienza del ludico nella danza nel processo di conoscimento del proprio corpo? Siamo partiti dall’ipotesi che l’esperienza ludico-corporale é primordiale nell’insegnamento della danza, favorendo la coscienza corporale. Questa ricerca si fondamenta nel concetto di complessità elaborato da Morin (2002) que interpreta il corpo come, contemporaneamente, uno e multiplo e nella ludicidade, abbordata da Luckesi (2000) quale fenomeno dell’interno e dell’integrale, che è alla base dell’educazione del corpo integrato. La ricerca di campo è stata effettuata nelle Aule Preparatorie del Corso Sperimentale per Ballerini della Scuola di Teatro e Danza dell’Università Federale del Pará (ETDUFPA) alle quali hanno partecipato nove banbini con età compresa tra sette e nove anni. Quale procedimento metodologico de ricerca abbiamo privilegiato l’approccio etnografico in una prospettiva di ricerca-azione. È stata applicata la tecnica dell’intervista e, come strumenti, il questionario, il registro di classe e lo storyboard. I dati sono stati trattati qualitativamente, avanzando nell’analisi dei risultati sulla base della referenza teorica. Abbiamo concluso che il processo di ludicità, o gioco/danza, in un contesto de presa di coscienza per mezzo del movimento, é significativo nella preparazione del corpo ludico, sia nell’infanzia quanto nell’adolescenza e nell’età adulta.

Submitted by Glauber de Assunção Moreira (glauber.moreira@ufba.br) on 2018-09-25T19:57:37Z No. of bitstreams: 1 DISSERTAÇÃO BALÉ ISABELLE.pdf: 3681697 bytes, checksum: 6d0c38e9e815710b5f44e3ef474621de (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-10-01T16:04:50Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO BALÉ ISABELLE.pdf: 3681697 bytes, checksum: 6d0c38e9e815710b5f44e3ef474621de (MD5) / Made available in DSpace on 2018-10-01T16:04:50Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO BALÉ ISABELLE.pdf: 3681697 bytes, checksum: 6d0c38e9e815710b5f44e3ef474621de (MD5) / Esta pesquisa tem como objetivo apresentar as contribuições do trabalho de Flávio Sampaio na formação dos alunos do Curso de Licenciatura em Dança, da Universidade Federal de Alagoas, a partir das orientações do Projeto Pedagógico do Curso - PPC. Trata-se de uma pesquisa qualitativa, exploratória, com observação participativa e análise de discurso. Pensar o ensino do balé sobre bases somáticas e numa perspectiva contemporânea é imprescindível para atender as orientações pedagógicas contidas no PPC. Desenvolvendo uma metodologia de aula que reconfigura alguns conceitos estabelecidos pela tradição do balé, Flávio Sampaio passa ser a principal referência para o estudo do ensino dessa técnica no referido curso. Apoiamo-nos, na obra de Boaventura de Souza Santos, Epistemologias do Sul (2010), que defende uma construção de conhecimentos menos colonizados pelo Norte Global e de novas epistemologias a partir do Sul Global, através de uma ecologia de saberes. O trabalho de Sampaio é entendido aqui como base para um balé ‘do Sul’ e que deve ser reconhecido pela Academia. Afirmamos, ainda, que sua maneira de ensinar o balé pode ser definida como contemporânea, nos moldes do pensamento de Agamben (2009). Os depoimentos dos alunos trazem à tona discursos de corpos que experimentaram a prática e corroboram, assim, para a construção de uma possível reconfiguração do ensino do balé na Universidade. / This current research aims at presenting this dance author’s work contributions in the formation of students in the above stated course, from the PPC orientations. It is an exploratory qualitative research, with participative observation and discourse analysis. Thinking the ballet teaching on the somatic bases and under a contemporary perspective is essential in order to meet the pedagogical guidelines according to the Course Pedagogical Project – PPC, of the Federal University of Alagoas Dance Graduation Degree. By developing a class methodology that reconfigures some concepts stated by the ballet tradition, Flávio Sampaio becomes the main reference for the study of such technique in the mentioned course. We have been supported by Boaventura de Souza Santos’s works, Epistemologies from the South (2010), which defends a knowledge construction less colonized by the Global North and new epistemologies from the Global South through an ecological knowledge. Sampaio’s work is here understood as the basis for a ‘Southern’ ballet and that must be recognized by the Academy. We also state that the way of teaching ballet may be defined as contemporary according to Agamben’s thoughts (2009). The students’ testimonials bring up body discourses that experienced the practice and thus endorsing the construction of a possible reconfiguration of the ballet teaching at the University.