Dance Education in Philadelphia Public Schools: A Study of an Outreach Program Offered by a Professional Dance Company

2021 ◽  
Author(s):  
Stephanie Gargano
Keyword(s):  
Public Schools ◽  
Dance Education ◽  
Outreach Program ◽  
Dance Company ◽  
Professional Dance

Approaches to Dance (1): Influences

2010 ◽  
Vol 28 (1) ◽  
pp. 1-5
Author(s):  
Mark Franko
Keyword(s):  
Graduate Education ◽  
Interdisciplinary Approach ◽  
Theory And Practice ◽  
Columbia University ◽  
Dance Company ◽  
Professional Dance

This is an autobiographical account of the intellectual and artistic influences on the work of Mark Franko. It touches on his professional dance career with the Paul Sanasardo Dance Company and his choreographic career with his own company NovAntiqua, his graduate education at Columbia University, and the development of an interdisciplinary approach to theory and practice that blends the activities of the dance scholar with those of the dancer-choreographer.

A Body of Accents

2018 ◽  
Vol 9 (1) ◽  
pp. 44-51
Author(s):  
Ami Skånberg Dahlstedt
Keyword(s):  
Performing Arts ◽  
Dance Education ◽  
Cultural Exchange ◽  
Foreign Accent ◽  
Contemporary Dance ◽  
Cultural Roots ◽  
Professional Dance ◽  
Year 2000 ◽  
Exchange Programmes ◽  
Nihon Buyo

Abstract Dance practice is often hidden inside dance studios, where it is not available for dialogue or interdisciplinary critique. In this paper, I will look closer at one of the accents that my body has held since the year 2000. To Swedish dance academies, it is perhaps the most foreign accent I have in my dance practice. It has not been implemented as ‘professional dance’ in Western dance studios. This foreign accent is called Nihon Buyō, Japanese dance, also known as Kabuki dance. Nihon Buyō, Nō or Kabuki are local performing arts practices for professional performers in Japan. A few foreigners are familiar with these practices thanks to cultural exchange programmes, such as the yearly Traditional Theatre Training at Kyoto Art Centre. There is no religious spell cast over the technique or a contract written that it must be kept secret or that it must not leave the Japanese studio or the Japanese stage. I will compare how dance is being transmitted in the studio in Kyoto with my own vocational dance education of many years ago. Are there similarities to how the female dancer’s body is constructed? Might there be unmarked cultural roots and invisible originators of the movements we are doing today in contemporary dance?

”To allow oneself to dance….”

2010 ◽  
Vol 1 (1) ◽  
pp. 30-44
Author(s):  
Gunn Engelsrud
Keyword(s):  
Dance Education ◽  
Contemporary Dance ◽  
Relational Experiences ◽  
Professional Dance ◽  
In The Beginning ◽  
Individual Training

Abstract The purpose of the article is to illuminate the experiences of young dancers working with their own individual training in a context of contemporary dance education. Through a three-year programme, the students have kept logbooks and developed material based on the question: What were the essential experiences of individual training today? From having a focus on training strength, mobility, resilience, stamina and balance in the beginning, they often reoriented their training so as to give themselves the space to relate to and create confidence that their own subjective and relational experiences have validity in a professional dance context. As young, prospective professionals they learn gradually that what they experience is “not wrong”, but an expression of “where they are”. Their experiences contribute to the questioning of “narrow” definitions which a number of dance researchers also do today.

scholarly journals Trust and Witnessing: Lessons for Dance Education / Professional Development in Community

2015 ◽  
Vol 9 (1) ◽  
pp. 249-265
Author(s):  
Miriam Torzillo
Keyword(s):  
Primary Schools ◽  
Dance Education ◽  
Summer Institute ◽  
Embodied Experience ◽  
Community Based ◽  
Dance Company ◽  
The Arts ◽  
Education Professional Development ◽  
Arts Curriculum ◽  
Rare Opportunity

Dance education is rarely taught in Australian primary schools. A National Arts curriculum was published online in 2014, and ready for implementation the following year. Therefore schools and teachers will be looking for models and frameworks that will help them implement the arts, including dance. The author experienced the work of the community-based dance company Dance Exchange during a summer institute in 2013. For a teacher of dance in a relatively isolated regional town, taking part in the summer institute was a rare opportunity to nourish creative inspiration and a reminder of the importance of the collaborative creative process and the embodied experience within Dance Education.

Work and Injuries in Dancers: Survey of a Professional Dance Company in Brazil

2006 ◽  
Vol 21 (1) ◽  
pp. 29-33
Author(s):  
Melina Scialom ◽  
Aguinaldo Gonçalves ◽  
Carlos Roberto Padovani
Keyword(s):  
Medical Care ◽  
Quantitative Data ◽  
Daily Life ◽  
Contemporary Dance ◽  
Cross Sectional ◽  
Qualitative And Quantitative ◽  
Dance Company ◽  
Physical Injuries ◽  
Classical Technique ◽  
Professional Dance

This study examined the daily life and most important physical injuries suffered and reported by the dancers of a professional (contemporary) dance company in São Paulo, Brazil. Through an observational, cross-sectional, retrospective procedure using a questionnaire that collected qualitative and quantitative data, we were able to gather information on 30 dancers who collaborated with the survey. We determined that the injuries considered as most important by dancers were those that prevented dance activity during some months. These injuries occurred mainly during rehearsals (which is the activity occupying the most time on the schedule). Articular injuries were the most frequent and mainly involved the knee and ankle. They were related to classical technique, in which most of the company’s artists started their dance careers. Medical care usually was sought within 1 day, and the prescribed treatment resolved the problem, but the injury cause was not identified in all cases.

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