scholarly journals ‘The idea that something new might happen is completely obvious…’: A conversation with Andrew Morrish

2021 ◽  
Vol 4 (1) ◽  
Author(s):  
Anton Krueger ◽  
Andrew Morrish
Keyword(s):  
Dance Education ◽  
Research Fellow ◽  
The Arts

In Andrew Morrish’s 40-year career in the arts he has been a performer, teacher, facilitator, mentor and advocate for a range of practices including improvisation, performance, dance education, dancetherapy and dance research. From 2008 until 2013 he was a Visiting Research Fellow in the Drama Division of Huddersfield University (U.K.) In 2016 he was awarded the Dance Fellowship of the Australia Council for the Arts (2016-2017). He now lives in the far south east corner of Australia where he continues to practice as a performer, teacher, coach and researcher.

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.

Glasser, Sylvia (1940–)

2018 ◽  
Author(s):  
Sarah Davies Cordova
Keyword(s):  
South African ◽  
Cultural Sensitivity ◽  
Modern Dance ◽  
Dance Education ◽  
African Culture ◽  
Outreach Programs ◽  
Achievement Award ◽  
The Arts ◽  
Lifetime Achievement ◽  
Arts And Culture

Over the course of a career that stretches across from the regime of apartheid through the transition and into the establishment of a democratic republic, Sylvia Glasser has contributed significantly to dance and education in South Africa. As "Magogo" or "Mother" to the dancers in her company and training programs, Glasser contested the separatist premises of apartheid and made manifest, without militancy, with bodies in movement, cultures that were banished by apartheid. Glasser received the 1996 FNB Vita Special Achievement Award for her development of a unique, dynamic South African contemporary choreographic practice and dance style and for her company’s ongoing dance education and outreach programs in the communities. She was honored as South African "National Living Human Treasure and Foremost Pioneer" in 2000; garnered the Tunkie Arts and Culture Trust Lifetime Achievement Award in 2005; and earned the National Tribute to Women in the Arts and Culture Sector in 2010 for her contributions to South African modern dance and to society’s fabric. At the forefront of South African modern dance from the late 1970s onwards, Glasser’s explorations of South African rituals, music and dance together with her training in Western modern dance led her to develop a distinct style she calls Afrofusion, which reflects her philosophy of integrity and respectful cultural sensitivity and that blends elements from South African culture with various choreographic structures underpinning Western modern dance.

The Dimensions of Drama: the Case for Cross-Curricular Planning

1987 ◽  
Vol 3 (9) ◽  
pp. 71-81 ◽  
Author(s):  
Jon Nixon
Keyword(s):  
Social Interaction ◽  
Theoretical Model ◽  
Classroom Practice ◽  
Three Dimensional ◽  
Ways Of Knowing ◽  
Vital Role ◽  
Curricular Development ◽  
Research Fellow ◽  
The Arts ◽  
Depth Dimension

In NTQ4 and 5 David Hornbrook offered a two-part analysis of the purposes, practices, and projected future of drama teaching in schools. Discussion continued in NTQ7 and 8, with responses to Hornbrook's suggestions from a number of other practitioners in the area. Among them was Jon Nixon, currently research fellow in the Division of Education at Sheffield University, who now continues the debate with an article in which he provides a broader perspective, presenting a functional rather than theoretical model of classroom practice. This, he suggests, takes a three-dimensional form: drama as social interaction, as discourse, and as a mode of cognition – or what he calls the ‘depth dimension’ which ‘complements our various ways of knowing’. He concludes that drama should not by necessity be consigned to the margins of ‘the arts’, but be recognized for the vital role it can play not only in the whole humanities cirriculum but, crucially, in the cross-curricular development of communication and expressive skills.

scholarly journals Pibid e o fazer docente na formação inicial de educação física e artes

2017 ◽  
Vol 15 (2) ◽  
pp. 87-96
Author(s):  
Camila De Oliveira Rodrigues ◽  
Fernanda De Souza Cardoso
Keyword(s):  
Physical Education ◽  
Teaching Practice ◽  
Dance Education ◽  
Structured Interview ◽  
Teaching Profession ◽  
State University ◽  
Initial Formation ◽  
Descriptive Research ◽  
The Arts ◽  
Qualitative Descriptive

O presente estudo teve como objetivo verificar as possibilidades e contribuições para o processo de formação inicial em Educação Física Licenciatura e Artes, advindas da implantação do PIBID (Programa Institucional de Bolsas de Iniciação à Docência), sob a perspectiva dos integrantes do Subprojeto Dança-Educação, bem como apontar problemas e desafios da formação através da prática docente e discutir sobre o ensino da dança, seus sentidos e possibilidades na escola. Trata-se de uma pesquisa descritiva qualitativa, tendo como participantes da pesquisa 09 (nove) acadêmicos da Universidade Estadual de Montes Claros, com 04 (quatro) componentes pertencentes ao curso de Educação Física e 05 (cinco) deles pertencentes ao curso de Artes. O instrumento de pesquisa utilizado foi uma entrevista semiestruturada, constituída de 07 (sete) questões discursivas, construídas a partir do objetivo proposto. A análise dos dados foi feita através da análise de conteúdo que se constitui como uma das técnicas de organização e análise dos dados na pesquisa qualitativa. Concluiu-se que, após a inserção do PIBID na universidade, os acadêmicos dos cursos de Educação Física e Artes reformularam suas posturas e teorias do fazer docente, por meio das experiências vivenciadas no cotidiano escolar, repensando se realmente querem trabalhar com a docência e se estão preparados, de acordo com a formação obtida na faculdade, para enfrentar os desafios do exercício profissional.ABSTRACT. PIBID and the teaching profession in the initial formation of physical education and arts. This study aimed to examine the possibilities and contributions to the initial formation process in Physical Education Degree and Arts, coming from the implementation of PIBID (Institutional Program initiation grants the Teaching) from the pespective of members of the Subproject Dance-education, as well as point out problems and challenges of training through teaching practice and discuss the teaching of dance, his senses and possibilities in the school. It is a qualitative descriptive research , with 09 (nine) scholars from the State University of Montes Claros, with 04 (four) components belonging to the Physical Education course and 05 (five) of them belonging to the Arts course. The survey instrument used was a semi-structured interview consisting of seven essay questions, constructed from the proposed objective. The analysis of the data was made through the content analysis that constitutes as one of the techniques of organization and analysis of the data in the qualitative research. It was concluded that, after the insertion of the PIBID in the univesity, the academics of the Physical Education and Arts courses reformulated their postures and theories of the teacher making, through the experiences lived in the school routine, rethinking if they really want to work with the teaching and if Are prepared, according to the training obtained in the college, to face the challenges of the professional exercise.

Competition in Sport, Music, and Dance

2004 ◽  
Vol 19 (4) ◽  
pp. 160-166
Author(s):  
Bonnie E Robson
Keyword(s):  
Music Education ◽  
Trait Anxiety ◽  
State Anxiety ◽  
Dance Education ◽  
Self Esteem ◽  
Sports Psychology ◽  
High Achievement ◽  
Innate Behavior ◽  
Specific Research ◽  
The Arts

This paper reviews the literature in sports psychology that may be relevant in the study of competition in music and dance education, giving the reader a basis for comparison of the arts literature. Opinions vary on whether competition is good or bad for the developing child. Some believe that competitiveness is innate behavior and that competition is a motivation for high achievement. Others believe that competition detracts from performance as the increased stress and anxiety lead to a decrease in focus and, perhaps, to a decrease in self-esteem, especially for individuals with an ego orientation (a focus on comparison with others) as opposed to a mastery orientation (focus on improvement of one’s own skills). The instruments used to measure the temperamental characteristics related to competition are discussed, including the Competitive Trait Anxiety Inventory and the Competitive State Anxiety Inventory. The paper then discusses the specific research that has been done on competition in music education and in dance education. Further research is needed to determine how much competition is healthy and whether the work in sports psychology can be adapted to research in the arts.

scholarly journals Future designs of tertiary dance education: Scanning the field for decolonizing potentials in a major change project at the Department for Dance Pedagogy at Stockholm University of the Arts

2021 ◽  
Vol 5 (4) ◽  
pp. 62-78
Author(s):  
Tone Pernille Østern ◽  
Camilla Reppen ◽  
Katarina Lion ◽  
Katarina Lundmark ◽  
Elisabet Sjöstedt Edelholm
Keyword(s):  
Perspective Taking ◽  
Design Thinking ◽  
Dance Education ◽  
Large Change ◽  
Major Change ◽  
Development Project ◽  
Collective Learning ◽  
Multiple Perspective ◽  
Dance Pedagogy ◽  
The Arts

This performative hybrid research and development project contributes knowledge about the decolonizing potentials and challenges that are articulated through an initial scanning of the dance pedagogical field as part of a large change project in tertiary dance education at the Department for Dance Pedagogy at Stockholm University of the Arts in Sweden. To do this scanning in a way that would promote collective learning, multiple perspective taking and creativity, we utilised design thinking. In total, 140 scan cards collected through the project were analysed. Both students and staff and other people in different parts of the world within the dance educational field created the scan cards. As a result, we suggest that the scanning of the field has pushed ourselves, the rest of the staff, students, and others into a process of collective learning, multiple perspective taking, and creativity, in which clear decolonizing potentials, as well as challenges to change are expressed.

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