Dance and the Child International

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Exploring Identities in Dance The 13th Dance
and the Child International Congress
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Exploring Identities in Dance
The 13th Dance and the Child
International Congress,
5th-10th July 2015,
Copenhagen, Denmark
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TWIST & TWIN
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28/05/15 13.47
13th Dance and the Child International Congress
Copenhagen 5th-10th July 2015
Twist & Twin – Exploring Identities in Dance
Program and abstracts
Venues
Dansehallerne (DH)
Pasteursvej 14
1799 København V
Department of Nutrition, Exercise and Sports (NEXS)
University of Copenhagen
Nørre Allé 51
2200 Copenhagen N
Copenhagen Biocenter
University of Copenhagen
Ole Maaløes Vej 5
2200 Copenhagen N
Dansekapellet
Bispebjerg Market 1
2400 Copenhagen NV
3
Contents
Welcome to Copenhagen ......................................................................................................................4
Welcome from the Hosting Institutions ....................................................................................... 5
Welcome to Twist & Twin – Exploring Identities in Dance ..............................................6
Welcome from the Chair of daCi ...................................................................................................... 8
The History of Dance and the Child International ...............................................................9
Twinning as a Congress Approach ............................................................................................... 11
The daCi SpringBoard ............................................................................................................................12
PRESENTATIONS & WORKSHOPS ................................................................................................. 13
Keynotes........................................................................................................................................................... 14
Sunday July 5th 2015 ............................................................................................................................... 19
Opening of the Congress .................................................................................................................... 20
Monday July 6th 2015 ................................................................................................................................21
Tuesday July 7th 2015 .............................................................................................................................. 45
Wednesday July 8th 2015 ...................................................................................................................... 89
Thursday July 9th 2015 ............................................................................................................................ 91
Friday July 10th 2015 ...............................................................................................................................129
Closing Event & Farewell Party.......................................................................................................141
ACTIVITIES................................................................................................................................................... 143
Dance Flavours ........................................................................................................................................ 144
Creative Meeting Points .................................................................................................................... 149
Young People’s Performances........................................................................................................152
Stomp Stomp – daCi Dance 2015 ................................................................................................. 161
Twin Labs.......................................................................................................................................................162
Youth Forums (YF) and Pop-Up Meeting Points............................................................... 163
Professional Evening Performances ......................................................................................... 164
Things to do in Copenhagen .......................................................................................................... 165
Things to do around NEXS ............................................................................................................... 166
Things to do around Dansehallerne ......................................................................................... 168
Practical Info ................................................................................................................................................171
4
Welcome to Copenhagen
As Lord Mayor of Copenhagen it is my pleasure to welcome all of you to our
city. You are taking part in the 13th World Congress of Dance and the Child
International, which is a unique opportunity for children, youngsters and
adults across countries to meet, dance and build relations.
From July 5th to 10th the Dance Halls in Copenhagen - Northern Europe’s
largest Center for modern dance - will together with the Department of
Nutrition, Exercise and Sports (University of Copenhagen) and the Danish
National School of Performing Arts host the event, and you will also be able
to participate in activities in other prominent dance institutions in Copenhagen. This way, you will get an opportunity to get around and feel the atmosphere of our livable city.
Frank Jensen
At the same time, it is your chance to explore the city and its many attractions. Copenhagen is designed for life; from the sustainable solutions and
many bikes, the fantastic food and intelligent infrastructure to the clean water and green parks, the city is firmly focused on the balance between work
and play. And what better season of experiencing Copenhagen than in the
summertime? It is a time of long bright days buzzing with life.
I hope that our city and the dance will provide great memorable experiences and new communities for everyone – enjoy your stay in the City of
Copenhagen!
Frank Jensen
Lord Mayor
City of Copenhagen
5
Welcome from the Hosting Institutions
Dansehallerne is proud to present and be part of the 13th World Congress of
Dance and the Child International in Copenhagen, Denmark.
Dansehallerne is the National Center for Dance & Choreography. One of our
main focus areas is to bring dance as an art form into the daily lives of children and teenagers all over Denmark.
Welcome!
Susanna Cardemil Iversen
Acting CEO
Susanna Cardemil Iversen
It is a great pleasure for the Department of Nutrition, Exercise and Sports,
University of Copenhagen to co-host the 13th World Congress of Dance and
the Child International in Copenhagen. The congress aims to explore issues
that are central to research at the department – to promote health and
well-being through social and physical activities like for example dance. We
welcome the participants to Copenhagen and to the department, and hope
this congress will be successful in bringing both research and our collaborations forward.
Arne Astrup
Head of department
Department of Nutrition, Exercise and Sports
Arne Astrup
The Danish National School of Performing Arts has been pleased to be a
partner in this international event. We consider it a priority to work in collaboration with other cultural institutions to promote dance and the arts, especially in an international setting where the young artists of tomorrow will be
present. We welcome all the participants and wish them an enjoyable and
enriching experience at the daCi Congress 2015.
The Danish National School of Performing Arts is an artistic institution of
higher education under the Ministry of Culture Denmark with departments
in Aarhus, Fredericia, Odense, Copenhagen and Odsherred.
Mads Thygesen
The Danish National School of Performing Arts
Mads Thygesen
6
Welcome to Twist & Twin – Exploring Identities in Dance
It is with great pleasure that we can welcome you to the 13th World Congress
of Dance and the Child International in Copenhagen.
During this congress approximately 700 participants from 21 countries will
come together to dance, create, explore, share, present, perform and discuss across age levels and professions. While dancing, talking and listening
we will hopefully come to know new people and understand both ourselves
and those from other places and cultures a little more. This hope is symbolized in the logo we have designed for the congress which also expresses
both the theme and the method of the congress. Let us explain!
Susanne Frederiksen, Dansehallerne, Congress Manager
In 2013 we hosted the interim meeting of the daCi Advisory Board which was
focused on the planning of this congress. This was when we saw a beautiful
piece of New Zealand jade jewellery called Pikorua – a figure eight with a
triple twist which to the Māori people means friendship and growth. The
carving depicts two shoots growing together; the joining together of two
people, peoples, two cultures for eternity, and even though they experience
highs and lows of life they remain bonded by friendship and loyalty for life.
In the Nordic countries our ancestors also crafted jewelry and some of it has
a lot in common with the Māori symbols. So we asked a graphic designer
to draw a figure of the triple eight made up of two human bodies but with a
Nordic ‘touch’. The logo is thus made up of two human figures who are intertwined and together make up something new in the space between them.
It is the visualization of a twinning process! And it is also a twisted figure –
‘twist’ is a dance movement, but for this congress it also refers to new ways
of presenting research and teaching approaches (presentations ‘with a
twist’ like for example ‘interactive papers’).
Charlotte Svendler Nielsen, University of Copenhagen, Program Chair
Throughout the congress you as participants will be involved in processes
of ‘twinning’, which implicate two or more partners coming together about
a common issue. This is not only sharing ideas, but creating new knowledge
together. Twinning as a method can be encompassed and expressed in multiple ways, for example culturally, methodologically, pedagogically, across
age groups, and between professions, institutions and communities. Twinning creates new possibilities for collaboration between people, new friend-
7
ships, new dance experiences and for developing understanding about each
other, our identities and cultures. Twinning processes can be virtual, or in
the same space and can take place over a longer time – some have already
started, some will be developed during the congress, and some will hopefully
continue even after the congress.
The theme to be explored at this congress through ‘twisting’ and ‘twinning’
is identity in dance as it is experienced in formal, non-formal and informal
settings of education. Dance is as both a practical area and a research area
experiencing rapid growth. Dance is part of four recognized artistic areas
within arts education, which is acknowledged as a key area within UNESCO’s 21st Century Skills. Dance education in particular puts an emphasis on
the role of the body in artistic processes, and the body in current research
in educational studies, psychology and neurophysiology is highlighted as
being the ‘place’ where experiences, cognition and identity processes are
grounded. A person’s identity is multi-faceted and believed to be constantly
developing in intertwinement with embodied and cultural experiences, social relations and the various situations that the human being experiences.
During the congress we will further explore the following questions: How can
we comprehend and describe identity in the 21st Century? What kinds of
identity are experienced and expressed in dance practice of young people
around the world today? What role does dance play for young people to
define and perceive their own and others’ identities? How do professionals
working with dance and young people comprehend and articulate their own
professional identity?
Anna Katrine Korning, Dansehallerne, Chair of Young People’s
Program
As the organizers we are also twinning at an institutional level as we have
come together as representatives of a research institution, an arts educational institution and a cultural institution all working within the area of
dance education to make this event possible. We are now pleased to present a program with a great variety of activities, a program which would not
have been possible without your reactions to our call and wishes to join us
as presenters and participants.
Welcome from the congress coordinators!
Sheila de Val, Danish National
School of Performing Arts, Chair of
Workshops & Lecture Sharings
8
Welcome from the Chair of daCi
On behalf of the international organization, Dance and the Child International (daCi), I welcome you to the 13th World Congress of Dance and the
Child International ”Twist & Twin –Exploring identities in Dance”, hosted by
Dansehallerne, Department of Nutrition, Exercise and Sports, the University
of Copenhagen and the Danish National School of Performing Arts, Copenhagen, Denmark. I, like others before me, still remember attending my
first international conference on dance and the child in Alberta, Canada
in 1978. Dance and the Child International grew out of this inaugural event
and during my involvement with daCi I have attended 9 of the 11 eleven
conferences that have been held triennially since 1982 in many different
countries around the world. Two of these conferences have been held in the
neighbouring countries of Sweden (1982) and Finland (1997) so it is wonderful to return to this part of the world to experience yet another inspirational
experience.
Adrienne Sansom
Dance and the Child International provides a unique opportunity for many
people from the community of dance, children, youth and adults, to advocate and provide dance experiences for all young people on both a national
as well as international level. DaCi believes in the right of all young people
to dance and to experience other people’s dance and the cultural heritage
embedded within those experiences. Dance is one of the ways children
and young people make sense of their world through the processes of performing, creating and viewing dance. I hope that your participation in this
congress will be enjoyable and inspiring. Your continued involvement with
Dance and the Child International helps us to sustain the vision daCi has for
children, young people and dance. Thank you to the people of Denmark for
hosting this congress. Have a fantastic congress!
Nga mihi nui
Adrienne Sansom, PhD
Chair, Dance and the Child International
9
The History of Dance and the Child International
Dance and the Child International (daCi) is a non-profit
association with the aim of promoting the growth and
development of dance for children and young people on
an international basis. The association was founded in
1978 at an international conference held at the University of Alberta, Edmonton, Canada. The conference was
initiated by Dr. Joyce Boorman and titled “Dance and
the Child.” The idea of the conference was supported
and promoted by the National Dance Committee of
the Canadian National Association of Health, Physical
Education and Recreation. As a result of this successful
conference Dance and the Child International (daCi) as
an association was born.
In 1979 the President of the Conseil International de la
Danse (CID), UNESCO invited daCi to join. In 1980 daCi
became a fully constituted branch of the CID organization.
DaCi strives to promote all that can benefit dance and
the child and young people, irrespective of race, colour,
sex, religion, national or social origin. The right of every
child and young person to dance and the preservation
of the cultural heritage of all forms of dance for children
and young people are recognized. In creating opportunities for children and young people to experience
dance as performers, creators, and spectators their
views and interests are of primary importance. The inclusion of dance in general education and community
programs and the research into all aspects of dance for
children and young people are encouraged.
Members of daCi are linked through their national
representative from each country, who comprise the
Advisory Board; from this the Executive Committee is
elected. It is the role of the Advisory Board and Executive Committee to oversee the general organization and
procedures of the association and to maintain communication at the international level. In many countries
National Chapters, with their own committee and procedures, have been formed. As such they plan their own
programs and communication with national members.
International Conferences
A further aim of daCi is to organize a conference at
least every three years for children, young people, educators, artists, and researchers to come together to
share and collaborate about the opportunities and
needs of children and young people in dance. This special work of daCi promotes an international network,
which facilitates the development of dance for children
and young people throughout the world. Since the first
conference in Edmonton in 1978, conferences have been
held in Stockholm, Sweden (1982) Children and Youth
Dancing; Auckland, New Zealand (1985) The New Zealand Experience; London, United Kingdom (1988) Young
People Dancing: An International Perspective; Salt Lake
City, Utah, USA (1991) Roots and Wings; Sydney, Australia
(1994) Kindle the Fire; Kuopio, Finland (1997) The Call of
the Forest and Lakes; Regina, Saskatchewan, Canada
(2000) Extensions and Extremities: Points of Departure;
Salvador, Brazil (2003) Breaking Boundaries: Dance,
Bodies and Multiculturalism; The Hague, Netherlands
(2006) Colouring Senses; Kingston, Jamaica (2009) Cultures Flex: Unearthing Expressions of the Dancing Child;
and Taipei, Taiwan in affiliation with World Dance Alliance (WDA) (2012) Global Dance Summit, Dance, Young
People and Change. Now Copenhagen, Denmark joins
this illustrious list as hosts of the 13th World Congress
of Dance and the Child International Twist & Twin – Exploring Identities in Dance.
Membership Information
International membership includes the liaison with
UNESCO through representation to the Conseil International de la Danse (CID) and World Dance Alliance
(WDA); the opportunity to attend and participate in
conferences held every three years; the biannual daCi
Newsletter, which provides news about other members
and their activities and international resource material;
the access to papers and reports of previous conferences (including the daCi Dance Reader); and links with
members of the international dance network through
avenues such as the daCi Facebook page. Membership
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is open to those individuals and organizations that recognize the right of every child and young person (0–18)
to dance, and who agree with the following objectives of
Dance and the Child International:
•
To promote opportunities for dance throughout the
world for children and young people;
•
to experience dance as creators, performers and
spectators, and to ensure the dance interests of
children and young people are recognized and
developed;
•
•
•
to encourage and make available the research into
all aspects of dance for children and young people
in all countries;
to ensure that dance is included in both general
education and community programmes;
to provide for the exchange of ideas on dance programs in schools and in the community.
Adrienne Sansom
Chair of daCi 2012-2015
The General Council Meeting of daCi takes place
Wednesday July 8th 2015
from 10.00-11.00
in the ”Lounge” on the 2nd floor at Dansehallerne
11
Twinning as a Congress Approach
Within daCi people meet through and with dance. We
move with each other both on a physical as well as on
an emotional level. This has inspired the daCi board
to start working with the ‘twinning thought’, which is
becoming more and more in focus in educational and
community policies.
“Twinning” is about interweaving skills and knowledge
between people from different cultures and different
places to create dialogue and new knowledge. All participants are equally involved in a creative process of
mutual learning and sharing. The concept of twinning
was originally introduced after the Second World War
between French and German cities and villages with the
intention of promoting friendship, sharing and understanding.
The twinning concept within daCi is a format in which a
shared passion for dance is the most important medium
in the exchanges and where all participants are equally
involved in a creative process of mutual learning and
sharing. Dance is a powerful medium when it comes
to meeting others. It is a mutual movement that brings
one in a constant exchange at social, cultural, cognitive
and emotional levels. Young people in their process of
development towards adulthood are particularly sensitive to this phenomenon. But twinning partners do
not only share and exchange their ideas and views on
dance; curiosity for each other’s cultural backgrounds
also makes a strong connection towards respect and
understanding. This personal contact is the heart of a
twinning exchange that goes further than exchanging
each other’s choreographies.
For the first time a whole daCi congress is organized
around the thought of twinning as an approach to creating excellent physical meeting points. This is exciting!
And it has a history that dates back some years.
The first “Meeting Point” Twinning Project within daCi
came about in the Netherlands in 2008. This was organized by daCi-NL between young dancers from Suriname,
India and the Netherlands. Each group had prepared
their own choreography based on their own field of in-
terest. As a consequence the three pieces were quite
different. Despite the language barrier and the differences in ages (the Dutch (14-17) the Surinam (8-14) and
the Indian dancers (10-17)), the young dancers were very
eager to try out each other’s moves; they were teaching,
observing and enjoying. During the breaks they were
hanging out together, still moving and exchanging. To
unite the different pieces into one presentation, the
young dancers and their teachers tried out different
ideas, during which we again noticed the genuine interest and joy in sharing and collaborating. When the performance was over they continued dancing together on
the stage. Within daCi-NL we noticed, however, that the
age difference did not really matter in this context. We
also observed that the Dutch youngsters were not only
quite impressed by and attracted to the language of the
dances from India and Suriname. They also expressed
the need to learn the English language as they experienced the value of exchange, not only when it came
to dance. Regarding the gender issue, when returning
home, the Indian boys asked their parents’ permission
for their sisters to join them in their dance classes as
well. This is what they experienced while participating in
the twinning event.
In the meantime, several twinning concepts and projects have arisen within daCi. They will be present at
this congress in Denmark and make room for a journey
into the unknown.
Maria Speth
Chair-elect of daCi
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The daCi SpringBoard
The daCi SpringBoard is an exciting new initiative involving recently qualified dance graduates and teachers who have a particular interest in working with young
people in dance education. The idea of the SpringBoard
was originally conceived by Maria Speth and further developed at the daCi Executive Committee (EC) meetings
in Copenhagen in 2013. The SpringBoard is an attempt
to bridge the gap between the young people who participate in daCi conferences as dancers and the daCi
members who participate as presenters and facilitators.
To this end daCi agreed to fund 8 people to attend the
conference as SpringBoard members – 4 from Denmark
(the host country) and 4 from other parts of the world.
Potential candidates were invited to apply by members
of the EC and then went through a selection process.
The successful SpringBoard members were invited to
introduce themselves to the daCi community through
the daCi newsletter.
Since then the members have been in regular communication through our SpringBoard Facebook group;
enthusiastically sharing ideas about the many different
ways they would like to contribute to the Copenhagen
conference. They have been given responsibility for
designing and facilitating Youth Forums and Pop-up
Meeting Points and have spent the past few months
initiating and negotiating ideas, with the purpose of
enhancing young people’s engagement with, and enjoyment of, the conference. They were asked to think about
SpringBoarders 2014-2018
Cassandra Giannone – AUSTRALIA
Emma Warmington – AUSTRALIA
Maja Bonde Holtze – DENMARK
Meggi Sweeney Smith – USA
Mette Møller Overgaard – DENMARK
Micaela Kühn Jara – DENMARK (Chile)
Nele Vandeneede – NETHERLANDS
Nikki Caputo – AUSTRALIA
Paige Horton – USA
Riikka Laurilehto – DENMARK (Finland)
relevant topics/issues for the Youth Forums that linked
to the themes of the Copenhagen conference.
The Youth Forums will provide a platform for young people to come together with their peers to discuss issues,
ideas, goals and aspirations relating to their developing
identities as dancers and members of daCi. Pop-up
Meeting Points have been designed to create further
opportunities for groups to make connections with each
other and develop relationships that will last beyond the
conference.
The SpringBoard will also be responsible for setting up
a Junior daCi Facebook page, to be launched at the
conference so that young dancers can join up on the
spot and start communicating as a group. They will also
design a page on the website especially for young dancers, where they will be able to access the newsletter and
engage with other important issues and in ways that
they relate to.
The SpringBoard members have undertaken to continue their involvement with daCi beyond the conference
and will eventually be responsible for mentoring the
next SpringBoard group towards the 2018 conference.
Liz Melchior
daCi Executive Board member-at-large
PRESENTATIONS
& WORKSHOPS
14
Keynotes
Invited keynote speakers both aiming at adult and younger participants
include internationally recognized scholars and practitioners who can help
to add new perspectives to the experiences and knowledge of dance and
identity in fields of formal, non-formal and informal education. Each keynote
will focus on one of the congress sub-themes. In line with the congress’ twinning approach all keynotes will have an element of ’twinning’ and some are
organized in pairs of two people who can contribute with different perspectives on the same theme. The speakers have been invited to start a dialogue
before the congress which they will continue during their presentation and
in the end of each presentation the audience will be invited to join the discussion.
Opening Keynote Monday July 6th 10.00 - 11.00 and
Twinning Panel 11.15 - 12.45
Moving Together: Dance in a Shared World
INVITED SPEAKER: FRANÇOIS MATARASSO
SESSION CHAIR: MARIA SPETH
T
he opening keynote by François Matarasso will discuss the concept
of twinning as a framework for artistic exploration and mutual understanding in a globalized world. He will talk about how this concept, with
its implications for the equality, interdependence and common nature of
everyone participating in artistic creation, can enrich the essential dialogue
which art both needs and enables.
François Matarasso
FRANÇOIS MATARASSO is a freelance artist and an Honorary Professor at Robert
Gordon University, Aberdeen, Scotland. He is a writer and researcher with
a long career in arts practice, theory and policy. Between 1979 and 1994 he
worked as artist and producer in community arts, before moving to consultancy and research, where he has done influential work in the evaluation
and social outcomes of arts participation. He has worked for arts, cultural
and governmental organizations in almost 40 countries and served on the
boards of bodies such as Arts Council England and the Baring Foundation.
Twinning Panel
F
ollowing the keynote there will be a panel of speakers who will share their
experiences and contribute to deepen central aspects of twinning from
various perspectives.
15
Keynote Tuesday July 7th 10.00 - 11.00 and
Roundtables 11.15 - 12.45
Congress sub-theme: ”Assessment, research and evaluation tools”
The Art of Stepping Aside – Chances, Potentials and Deficits in
Arts Education Research
INVITED SPEAKERS: SUSANNE KEUCHEL & MICHAEL WIMMER
SESSION CHAIR: SUSAN KOFF
W
hen working with the arts is believed to be influencing identity development, how do we then ‘measure’ if this is what happens? What
is quality in arts education? How can we assess and evaluate for example
dance learning from a multi-faceted perspective? What research methodologies will further our knowledge about what is learned? And how can the
voices of young people be included in research in arts education?
SUSANNE KEUCHEL, Professor, Dr., Director of Remscheid Academy for Arts
Education, Germany. She is an expert in the field of the empirical cultural research and a leading member of the international research project
“Monitoring National Arts Education Systems” (MONAES). It is initiated by
the International Network for Research in Arts Education and will generate
knowledge about how UNESCO’s Roadmap for Arts Education will be implemented in Europe.
Susanne Keuchel
MICHAEL WIMMER, Dr., Head of Educult, Institute for Cultural Policy and Management, Vienna, Austria. He does research in cultural policy, education
policy and arts education. Amongst other areas he has focused on the evaluation of artistic-pedagogical projects including the experiences of children
and young people.
Roundtable: Dance Education Research Methodologies – New
Ways?
SESSION MODERATORS: SUSANNE KEUCHEL & EEVA ANTTILA, MICHAEL WIMMER & ANN KIPLING
BROWN
Michael Wimmer
F
ollowing the keynote that twins arts and policy researchers Susanne
Keuchel and Michael Wimmer, the participants will be assigned to smaller roundtables in order to have a chance to discuss the key issues that were
presented during the keynote. The aim is to consider what would be significant new ways of heading for researchers in dance education and what
each participant might be able to take away from these discussions.
16
Congress sub-theme: ”Embodiment, learning and education”
What Moves Us and Why? A Neurophysiological Investigation of
Movement Perception Twinned with a Thirty-Five Year Exploration
of Dance Improvisation
INVITED SPEAKERS: MARK SCHRAM CHRISTENSEN & KIRSTIE SIMSON
SESSION CHAIR: LIS ENGEL
N
Mark Schram Christensen
europhysiological principles may govern humans’ abilities to subjectively experience and perceive their own movements. Descriptions of
those principles and illustrations through practical examples will provide
an idea of how intertwined sensation and movement are in living creatures
that move. Some of those moving ‘creatures’ are dancers making a living
of their practice, but to Kirstie Simson, for example, her practice of dance
improvisation has been much more than a career. As a life-practice it radically transformed her outlook on life. Her experience has fueled her belief
in dance as a powerful source of embodied intelligence that can heal and
empower individuals, and that brings people into meaningful relationship
with others.
MARK SCHRAM CHRISTENSEN, Associate Professor, Dr., Department of Neuroscience & Phamacology, University of Copenhagen. A continuous guiding light
in his research in movement neuroscience has been the statement that,
“to move things is all mankind can do…” which was proposed by one of the
founders of experimental neurophysiology, Charles Sherrington in 1924.
KIRSTIE SIMSON, Associate Professor, University of Illinois, Deptartment of
Dance, professional dancer and improvisation artist during many years,
does research within the area of dance improvisation and has collaborated
with other professionals like for example engineers and brain researchers.
Kirstie Simson
Congress sub-theme: ”Empowerment, well-being and policy making”
Empowering Dance in Our Communities: Making the Connections
Visible
INVITED SPEAKERS: RALPH BUCK & ERICA ROSE JEFFREY
SESSION CHAIR: CHARLOTTE SVENDLER NIELSEN
D
Ralph Buck
ance has diverse identities and it is this diversity that provides valuable
potential for individuals, communities and nations. How do we unleash
the power, energy and applications of dance beyond our own sector to
create opportunities for employment, innovation, partnerships, and policy
creation? By consciously improving how dance is valued and utilized there
is the opportunity to enhance effective advocacy for the power of dance.
Through profiling their experiences in policy making and well-being, the
speakers make a call for the bold empowerment of dance in our communities across ages, disciplines, and organizations.
17
RALPH BUCK, Associate Professor, University of Auckland, New Zealand. A
researcher in community dance, he is on the Executive Councils, World Alliance for Arts Education (WAAE) and International Network for Research in
Arts Education (INRAE) as a representative for World Dance Alliance (WDA).
He Co-chairs the Education and Training Network within WDA. He is experienced in advocating for the recognition of dance education internationally
and within UNESCO.
ERICA ROSE JEFFREY, MA in peace and conflict studies from the University of
Queensland, Australia. Currently a PhD candidate investigating the connections of dance, empathy and peace at Queensland University of Technology.
She has worked internationally as a performer, choreographer, educator,
arts leader and facilitator, among other places in peace building projects
with young people in the Philippines. The first dancer to be selected as a
Rotary World Peace Fellow she is also the Program Coordinator for Dance
for Parkinson’s Australia.
Erica Rose Jeffrey
SUNDAY
TH
JULY 5 2015
20
Opening of the Congress
Program Sunday 5th July 2015
12.00-19.00 Registration at Dansehallerne
11.30-16.30 Registration at Danhostel
15.00-17.00 Arrival at the Tivoli Gardens (from the main entrance ONLY)
17.30-18.00 Opening Event at the Pantomime Theater
The official opening of Twist & Twin, the 13th World Congress of Dance and
the Child International, is a warm welcome to all it’s participants from near
and far and will take place in the Tivoli Gardens, the famous amusement
park in the heart of Copenhagen. For the opening the Pantomime Theater
has put together a dance performance framed with the historic surroundings of Tivoli. Every season the Pantomime Theatre in Tivoli performs a
variety of classic pantomimes and ballets intended for the entire family.
A program, which demonstrates the theater’s many and very diverse performances, has been put together for this very special day. Thus we will
be encountering Harlequin, Columbine and Pjerrot, in an excerpt from the
pantomime Pjerrot Crazy of Love. They will also see a divertissement from
the world renowned Danish choreographer August Bournonville’s ballet The
Sylph, and finally a scene from the H. C. Andersen ballet The Swineherd,
where the swineherd meets the many dancing pigs in the pigsty. Queen
Margrethe II of Denmark has created the decorations and costumes for
The Swineherd, while Dinna Bjørn has choreographed and James Price has
composed the music.
The opening will also include welcome speeches by Tivoli, the city of Copenhagen, the daCi organization and the organizers.
18.00-19.00 Sandwiches at Akvariesalen at Tivoli’s Concert Hall.
19.00-23.00 Enjoying the Tivoli Gardens
After dinner you will have the chance to enjoy Tivoli and all it’s wonders. No
matter your age, you will find amusements offering fun and speed around
the garden. The many different slides and carousels run at full speed, supplying all the tickling and horizon altering experiences you could want. Perhaps you would like to see Copenhagen from the top of Vertigo, the Golden
Tower, or the Star Tower.
MONDAY
TH
JULY 6 2015
Lunch
Session 1 EMBODIMENT Sense of Self and Agency
(4.0.24)
Performativity,
Embodiment and Identity:
The Meaning of
Be(com)ing Seen through
Dance (paper: Eeva
Anttila)
11.00-11.30
11.30-13.00
13.00-14.00
14.00-15.30
Digital stories –
Empowerment for Dancing
Youth (paper: Sue
Cheesman)
Lecture Sharings NEXS
17: Kerry Chappell & Lizzie
Swinford
If Mirrors Could Tell Stories
(PD: Stina Tobiasen)
Young Identities and
Dance as an Aesthetic and
Participatory Activity (PD:
Unne Loa Jensen)
Twinning panel
10.00-11.00
Dance Teaching Methods
Courses for Preservice
Elementary and Dance
Teachers and Dance
Specialists (PD: Mary Anne
Lee)
Dance Workshops NEXS
14: Chistina B. Andersen &
Victoria Munkstrup
15: Rachel Kimball & Diana
Timothy
16: Kirstie Simson
Dance and Neuroscience:
An Intimate Connection
(paper: Sandra Minton)
Community Engagement
Redefined with Dancers
Connect (PD: Mila Parrish)
Break
9.30-10.00
Developing the Identity of
Dance: Integrating
Teaching, Research and
Dance in Kinesiology (PD:
Nicole Reinders & Pamela
Bryden)
Dance Workshops DH
11: Anna Mansbridge
12: Kathy Bond
Opening Keynote: Moving Together: Dance in a Shared World / François Matarasso (Lundbeck Auditorium)
Session 2 EDUCATION Youth Programs (4.0.02)
Break
8.30-9.30
An Everyday Movement:
Relational Dance Practice
as Mindful Arts Education
(paper: Fiona Bannon &
Duncan Holt)
Session 4-17
Dance Workshops and
Lecture Sharings (see titles
and venues in separate
section)
Dance Flavours (see program and venues in separate section)
Session 3 EDUCATION Dance Science, Learning
and Well-being (4.0.32)
Registration (Dansehallerne and NEXS info desks)
8.15-8.30
Monday - 6th July 2015
Adult Program
MONDAY
22
Session 18 BOOK LAUNCH and RECEPTION (Lundbeck Auditorium)
16.00-17.30
Break
YP Performances: Program A (see performance schedule and descriptions in separate section)
Break
YP Performances Program A (see performance schedule and descriptions in separate section)
17.30-18.30
18.30-20.00
20.00-20.30
20.30-22.00
MONDAY
Dance Education around the World: Perspectives on Dance, Young People and Change (Svendler Nielsen & Burridge, Routledge, 2015)
Break
15.30-16.00
Adult Program
23
Program A (See the list in
separate section)
Youth Forum
Media and DanceDanceokey
Dance Workshops for All
Ages (see titles and venues
in separate section)
11: Anna Mansbridge
12: Kathy Bond
Break
Creative Meeting Points
Lunch
Dance Workshops for
Young People (see titles
and venues in separate
section)
4: Carlos Kiss & Priscila
Coscarella
9.30-10.00
10.00-12.45
12.45-14.00
14.00-15.30
15.30-16.00
Rehearsals for the YP
Performances
From 13.00 – 17.30
8.30-9.30
Holtze, Micaela Kühn Jara,
Riikka Inkeri Laurilehto &
Mette Møller Overgaard
Younger age group (8-13)
Curran
6: Jana Shumway
7: Erika Pekula, Marie
Andersson, Moa Autio &
Break
13: Alice Lee Holland
10: Neva Kralj
Raymond Roa
9: Jessica Ström &
Howey & Dawn Howey
8: Chris Lepage, Brittany
Tilda Henriksson
Facilitated by Maja Bonde
5: Frederik Curry & Tina
Twin Labs
8.15-8.30
Monday - 6th July 2015
Young People’s Program
MONDAY
24
Facilitated by Paige
Horton, Meggi Sweeney
Smith & Nele Vandeneede
Older age group (14-18)
22: Erika Pekula, Marie
Andersson, Moa Autio &
Tilda Henriksson
YP Performances: Program A (see performance schedule and descriptions in separate section)
Break
YP Performances Program A (see performance schedule and descriptions in separate section)
18.30-20.00
20.00-20.30
20.30-22.00
Program A continues
rehearsals
Break
Howey & Dawn Howey
28: Chris LePage, Brittany
Bach Errboe
27: Sherwin Reyes & Signe
26: Anna Mansbridge
25: Patricia Cohen
Anderson
Anderson & David Sutton-
24: Iris Tomlinson, Avril
23: Julianne O'B. Pedersen
20: Luciana Veiga
21: Mark Magruder
Youth Forum
So You Know You Can
Dance, Now What?
Ages
19: Chantal Cadieux
Dance Workshops for
and venues on separate
page)
17.45-18.30
16.00-17.30
MONDAY
25
Alice Lee Holland
Twinning Movement with the Properties of Light
Tillbaka Till Fram (Back to Forwards)
Twist and Twin with Irish Dance
Research and Dance Workshop – Gender
Harmony of Dance
European Historical Dance Workshop
Pilates and Dance
Identifying Your Signature. How Do I Identify My Unique
6
7
8
9
10
11
12
13
Rachel Kimball & Diana Timothy
Kirstie Simson
Dance Math
Side by Side Twinning: Dance and the Classroom
Curriculum; Math and Visual Art
What Is It That Moves Us? – Dance Impro,
15
16
Chistina B. Andersen & Victoria
Munkstrup
Anna Mansbridge
Neva Kralj
Jessica Ström & Raymond Roa
Chris LePage, Brittany Howey &
Dawn Howey
Erika Pekula, Marie Andersson,
Moa Autio & Tilda Henriksson
Jana Shumway
Frederik Curry & Tina Curran
14
Moving Body?
Kathy Bond
Me, You, Us: Cultivating Global Identities Using LMA &
LOD
5
Carlos Kiss & Priscila Coscarella
Contemporary Afro-Brasilian Dance
4
Presenter(s)
Title
Session
Session 4-16: Dance Workshops Session 17: Lecture Sharing
Monday - 6th July 14.00-15.30
Dance Workshops & Lecture Sharings
NEXS - OM-hallen
NEXS - Dansesalen
NEXS - Herresalen
Tove Ditlevsens Skole 1
Vesterbro Ny Skole –
Gymnastiksal 2
Gymnastisksal 1
Vesterbro Ny Skole Multisal
DH Studie 6
DH Studie 5
DH Studie 4
DH Studie 3
DH Studie 2
DH Studie 1
Location
All
Teachers
18+
14-18
All
All
8-13
14-18
14-18
14-18
8-13
3-13
14-18
Target group
MONDAY
26
Creativity in Early Years Dance
Artful Embodied Play: Dialogues of Identity and
Sherwin Reyes & Signe Bach
Errboe
Dawn Howey
I Am Me With You
Dancing in pairs – Creativity and Improvisation: Adding
Color to Movement in Space
Movement Workshop: The Individual and Collaboration
through Dance
Identity Formation and Birth Order Theory - a Creative
and Choreographic Workshop
The Art of Collaboration - Creating Dance and Music
Traditional and Theatrical Jazz Dance
Intergenerational Brain-Compatible Dance Workshop
Dancing in the Ocean
19
20
21
22
23
24
25
26
27
28
Anna Mansbridge
Patricia Cohen
Iris Tomlinson, Avril Anderson &
David Sutton-Anderson
Julianne O'B. Pedersen
Erika Pekula, Marie Andersson,
Moa Autio & Tilda Henriksson
Mark Magruder
Luciana Veiga
Chantal Cadieux
Title
Presenter(s)
Kerry Chappell & Lizzie Swinford
Session
Session 19-28 Dance Workshops
Monday 6th July 16.00-17.30
17
14-18
DH Studie 5
MONDAY
8-13
All
All
14-18
14-18
14-18
8-13
8-13
8-13
Target group
All
Gymnastiksal 1
Multisal
DH Studie 6
DH Studie 4
DH Studie 3
DH Studie 2
DH Studie 1
Location
NEXS - Karnarpsalen
27
28
SESSION 1: EMBODIMENT
An Everyday Movement: Relational Dance
Practice as Mindful Arts Education
MONDAY
FIONA BANNON & DUNCAN HOLT
Performativity, Embodiment and Identity: The
Meaning of Be(com)ing Seen through Dance
EEVA ANTTILA
T
his presentation focuses on how young people
may develop a sense of self through dance, especially when dance takes a form of a shared social
event. Performance, performing and performativity are central concepts in this discussion, and the
aim here is to examine their wider meaning (see, for
example Austin, 1975; Bolt, 2009; Butler, 1997). This
means, for example, that a performative event may
take place outside a traditional, formal performance
context: in everyday actions, in classroom situations, or within a dance class where peers are the
audience. Embodied actions, whether on stage or in
everyday lives can be examined as performatives,
that is, statements that have impact. Making such
statements brings the person visible to others and
may pave her way towards an active agency in the
social world. This, again, may be a significant step
towards developing voice and constructing identity.
The significance of dance in becoming confident in
making embodied statements that have impact will
be discussed, especially from the point of view of
dance pedagogy: what kind of dance experiences
may foster confidence and courage so that young
people would be willing to be seen, eager to become
visible as embodied subjects? Pedagogical implications based on current research in dance pedagogy,
including author's recent work in a public school context will also be shared.
EEVA ANTTILA (Doctor of Arts in dance). Professor in
dance pedagogy at University of the Arts Helsinki,
Theatre Academy, Finland. She has been involved in
Dance and the Child International since 1988, and
was the Chair of daCi 2009-2012. Her research interests include dialogical and critical dance pedagogy,
embodied learning, embodied knowledge and practice-based/artistic research methods. She has published several articles and book chapters nationally
and internationally. She is actively involved in editorial
work of Nordic Journal of Dance: Practice, Education
and Research and International Journal of Education
in the Arts.
T
he aim of the presentation is to articulate a vision
of dance education through dialogic engagement
with aesthetics, relational ethics, self-knowledge and
collective creativity. With dialogue at its core, the discussion addresses potential ways to identify ‘learning
to learn’ and to think through bodily interaction and
embodied knowledge of the World. Along the way, the
relevance of sociality is evidenced through improvisation and choreographic practice, where makers and
movers generate material out of a commonwealth of
their shared endeavor. These combinatorial relationships: between what is embodied, felt, thought and
shared, could arguably be said to identify dance as
a self-actualizing discipline. With increased scholarly attention now given to sensorial awareness and
bodily perception, there are opportunities to further
explore the role of self and collective knowledge as
identifying features of dance education. In order to do
this we consider ethics as something more than the
operation of agreed moral codes, preferring instead
to acknowledge relations through ethics, exploring
what ‘I’ and ‘we’ can come to know through participatory learning. In terms of consolidating dance as
an arts education, we can do more than assimilate
earlier experimental or revolutionary approaches to
moving. It is important to consider how we move and
are moved with others, to appreciate how we deal
with uncertainty together and through such practice
of, ‘being human’ argue for the relevance and impact
of dance education as an agent for positive change.
FIONA BANNON is a Senior Lecturer in dance in the
School of Performance and Cultural Industries, University of Leeds. She holds a doctorate in aesthetic
education from the University of Manchester and is
the current Chair of DanceHE, a UK based network
that supports dance in higher education. Her interdisciplinary teaching and research includes collaborative practice, improvisation, collective creativity,
choreography, ethics and aesthetics. She is a founding member of the performance collective Architects
of the Invisible, a group that explores experimental
choreography and social interaction.
DUNCAN HOLT is a Lecturer in dance at the University
of Hull and a chiropractor, fellow of the McTimoney
Chiropractic Association. He has worked as a professional dancer in the UK, Canada and Australia. As
29
Digital Stories – Empowerment for Dancing
Youth
SUE CHEESMAN
T
ouch Compass Dance Company based in Auckland, New Zealand, runs, as part of their education program, a weekly intergenerational community
dance class, which aims to enable dancers to discover
their own creativity, expression, and self-confidence.
This aim, the researcher contends, is strongly connected to identity. Using digital stories as a methodology for practice-based research, this paper presents
several young people’s point of view as to why they
dance. It is argued that the stories we tell about ourselves influence our sense of self and agency (Bliss,
2014; Davis, 2004; Katz, 2006; Manning, 2009). For
these youth, who have attended this dance class for
several years, how does their personal dance narrative provide a sense of agency and empowerment?
SUE CHEESMAN is a teacher, choreographer, and researcher who is a Senior Lecturer in dance education
at the University of Waikato, Hamilton, NZ. She has
an eclectic background in dance with emphasis on
contemporary and has worked in the field of integrated dance for many years particularly in relation to
the work of Touch Compass Dance Company. Recent
research has centered on: several articles in relation
to her own teaching practice within community and
educational settings, dance and disability, dance
education and choreography particularly in relation
to site-specific work. She is passionate about dance
in all its varying guises.
SESSION 2: EDUCATION
Community Engagement Redefined with Dancers Connect
MILA PARRISH
T
he University of North Carolina Greensboro hosts
Dancers Connect (DC), a free community dance
program for students age 7 to 11. The DC program
focuses on creativity, self-expression, imagination,
improvisation and performance. DC classes promote
the physical and emotional well-being of the child,
develop critical thinking and creative problem solving
skills and celebrate dance as a unique medium for
expression, understanding, cooperation, and communication of ideas. The function of DC is two-fold.
First, DC is a community program for school students
to receive quality dance instruction and to create
choreography and perform dances on campus at
no cost to their families. Second, DC functions as a
laboratory classroom and a practicum teaching opportunity for pre-service dance education students.
University students volunteer to assist with instruction in the program and in turn they receive life skills,
service learning credits, pedagogical practice and
practicum hours from the university. DC classes meet
Saturday for 2 hours and provide interested students
the opportunity to extend their training and expertise
in dance. In the presentation we will share our curricula, photos and video of the students’ dance making
and provide thoughts on: (a) community program
planning; (b) student voice and authentic expression
(c) building personal connections between all stakeholders (d) time constraints, (e) motivation and the
perceived value of free activities ; (f) integration of
academic content. In the session we will share themes
that emerged and draw connections to current community service practice.
MILA PARRISH, Dr. is nationally and internationally recognized for her work in dance pedagogy, educational
technology and interdisciplinary instruction. She has
served on the board of the National Dance Education
Organization, daCi USA, and the Dance Notation Bureau. As the Head of dance and the Director of the MA
in dance education at UNCG she established many
instructional initiatives. She teaches and presents
throughout the US and in Canada, China, Finland,
Brazil, Greece, Portugal and the Netherlands. Recently, she gave the keynote address on “Dance and
Technology” at the Taipei Dance Education Research
Consortium in Taipei, Taiwan.
MONDAY
dance artist in residence at Theatr Clwyd in North
Wales, he was involved as a teacher and director
of developmental programs locally and nationally,
producing dance activities and performances for a
cross-section of children, adult amateur dancers and
a company of professional dancers. As a dance academic, his teaching and research interests include
choreographic practice, health and well-being and a
variety of applied arts practices.
30
MONDAY
Young Identities and Dance as an Aesthetic
and Participatory Activity
UNNE LOA JENSEN
Y
oung people are in a period of their lives where
their identity is intensely in process. They are part
of a new type of cultural consumers who demand to
be involved in art and culture in ways that give them
voice. The assumption of the authors is that being
part of creative processes, young people discover
aspects of themselves in relation to others, which
is an important aspect of creating identities. In the
youth program within Take Hold of the Dance, Dansehallerne wishes to offer young people the possibility of
meeting with peers in creative communities and give
them voice through dance – with a special focus on
co-creation and participation in dance. The authors
will present this project as a case example from the
participatory perspective of a young dancer.
UNNE LOA JENSEN (MA) works as a project coordinator
at Dansehallerne, Aarhus. Her work focuses on projects concerning arts in education and contemporary
dance for children and young people. Since 2007, she
has mainly been coordinating and developing the
touring programs Dans for Børn (Dance for Children)
and Kulturpakker.
Dance Teaching Methods Courses for Preservice Elementary and Dance Teachers and
Dance Specialists
MARY ANN LEE
T
his project dialogue proposes a model of teaching pre-service elementary, dance majors and
dance specialists in the elementary (K-6th grade)
classroom. The course addresses teacher identity by
giving students experiences in the arts/dance so that
they will value the arts and dance, and understand
the impact on their own identity. Taught by Mary
Ann Lee, Dr. Rachel Nardo and Sandy Brunvand from
the University of Utah in the College of Fine Arts, the
course introduces teaching strategies for dance as an
art form and provides models for integrating the arts/
dance into all areas of the curriculum. It is a handson methods course designed to give confidence and
direction in the planning of project experiences in the
fine arts. Students work in the studio with three University of Utah professors who present model lessons
and teaching strategies to pre-service teachers and
specialists, after which students design and implement interdisciplinary fine arts lessons in the public
school classroom. Although all four art forms are represented, the presentation will focus on dance, including a five minute video presentation of all aspects of
the course, and assessment by students at the culmination of the course.
MARY ANN LEE is the director of the Tanner Dance Program and Children’s Dance Theater in the College of
Fine Arts at the University of Utah, where she is also
an adjunct Associate Professor in the Department
of Modern Dance. She trained with Virginia Tanner
and was a member of Children’s Dance Theater. She
received her Master’s degrees in dance and French
from Mills College and the University of Cincinnati,
respectively. She performed professionally in San
Francisco and Ohio, was a dance specialist for the
National Endowment for the Arts’ Artists-in-Schools
program and currently teaches throughout Utah,
nationally and internationally.
Dance and Neuroscience: An Intimate Connection
SANDRA MINTON
T
he goal of this presentation is to explain how recent neuroscience discoveries relate to dance.
Dance technique, choreographic craft and performing are part of standard dance curricula. Learning
aspects of dance curricula also requires the operation of particular brain functions as recently revealed
by neuroscientists. For example, mirror neurons are a
group of brain cells responsible for the human ability
to replicate movement, and learning dance technique
is a movement replication process. The amygdala is a
brain structure responsible for generating emotional
responses, and the ability to respond emotionally is
an important part of dance making and performing.
Human recognition of location in space is recorded in
the brain in the form of spatial maps, and sensitivity
to spatial location is relevant during group improvisation and when choreographing. In this presentation,
these and other recently discovered brain functions
will be first explained as they are understood in the
neurosciences, and then as they relate to and enable learning processes in dance. Today, dance is less
understood and appreciated than the other arts partially as a result of its failure to be included in many
schools. There is a growing thrust among educators
to integrate neuroscience discoveries with teaching
strategies used in schools. An understanding of how
dance is related to learning and the neurosciences
would put dance at the forefront of teaching and
learning. This understanding would also clarify the
identity of dance education as it is related to the larger sphere of education.
SANDRA MINTON, PhD, co-coordinator of a new dance
education MA at the University of Northern Colorado,
has also taught for Colorado public schools, and has
presented workshops on using dance to teach nondance concepts. Her Human Kinetics books include
(as co-editor) Choreography: A Basic Approach Using
Improvisation and Preventing Dance Injuries. Recently, Using Movement to Teach Academics: The Mind
and Body as One Entity was published by Rowman &
Littlefield Education. Her articles have been published
in refereed journals. She was the 1999 National Dance
Association Artist/Scholar, and a 2001 Fulbright
Scholar. Her dance degrees are from UCLA and Texas
Woman’s University.
If Mirrors Could Tell Stories
STINA STRANGE THUE TOBIASEN
T
he aim of this project was to explore how young
dance students in dance education experienced
a contemporary dance class created in the hope of
fostering psychological well-being. Free writings and
video diaries from the approximately 20 students
in a one-year pre-vocational contemporary dance
education in Copenhagen were collected. The study
revealed that a combination of technique, creativity
and autonomy nurtured feelings of psychological
well-being and positive emotion for the majority of
the students. However, the main finding of the study
was that creativity and autonomy did not necessarily
foster a feeling of mental well-being for all students.
The presentation will focus on psychological well-being in young dancers and will create a space for a
dialogue and discussion about the importance of
psychological well-being in terms of young dance students´ identity in their educational years. The discussion of psychological well-being is important because
it will provide an opportunity for students of many
cultures to nurture new knowledge in the area of
psychological well-being and discover what it means
to feel good in terms of finding one’s own identity in
dance as a young dancer.
STINA STRANGE THUE TOBIASEN is a dancer from the Ballet
Academy in Gothenburg and has just received her
post-graduate education in dance partnership from
the Danish National School of Performing Arts. She
has been teaching hobby dancers, pre-vocational
students and professionals and has through her recent education gained new interest in the area of
researching dance. She is working as a dance artist
both teaching and performing. Recently she created
an arts collaborative with a Danish architect working
in the cross field between time, space and movement
through different, performative experiences.
Developing the Identity of Dance: Integrating
Teaching, Research and Dance in Kinesiology
NICOLE REINDERS
W
hile dance can been defined as a type of art
form that involves the movement of the body,
the focus has typically been on the artistic and aesthetic elements. In fact, while dance ranges from
fundamental movements to the complex and highly
skilled movement techniques of ballet, many kinesiology and sport science programs have overlooked
the element that dance involves movement of the
body, and thus such programs have failed to include
dance in their curriculum. Similarly, researchers have
disregarded dance as an avenue for investigation.
Given the emphasis of such programs and researchers on understanding movement, it is imperative that
dance begins to be (re)introduced as an important
academic topic. This presentation will discuss a recently initiated graduate-level seminar that examines
the behavioral, cognitive, perceptual, psychological, health and physiological aspects of movement
through the lens of dance. The course attracts graduate students across a broad range of areas in kinesiology. The course provides a unique lens for students
to understand theoretical concepts and to develop
new and innovative research questions involving
dance in their own areas of expertise. Many of the
ideas conceived during the course have spurred individuals to shift their thinking and begin to examine
dance. This course provides an example of how the
identity of dance and how it is viewed in kinesiology
can be changed, and how dance and kinesiology can
mutually inform research and teaching in the two
disciplines.
NICOLE REINDERS is a masters student in the Department
of Kinesiology and Physical Education with an under-
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graduate degree in health science. Her primary area
of research is dance for people with special needs,
primarily autism spectrum disorder and Down’s syndrome, from both qualitative and quantitative perspectives.
SESSION 4: DANCE WORKSHOP
CARLOS KISS & PRISCILA COSCARELLA
T
his workshop will focus on the sound of the percussion, the techniques of the contemporary Afro-Brazilian dances and the Brazilian popular dances
of African origin, as undulation, to tremble, taps, time,
space, rhythm, jumps and turns. The natural movements of the dancers will give participants the techniques of Afro-Brazilian dance. Through exploration
and improvisation, the dancers will build and experiment. These techniques of corporal positioning are
applied in such a way as to allow the body, with minimal effort and slightness of weight, to explore its possibilities without consuming the dancer physically. We
will finish with a small performance of the movements
constructed through the techniques of contemporary
Afro-Brazilian dance. These techniques, including
muscle and bone strengthening, are used for body
preparation and choreographies by ”CarlKiss Dance –
Companhia de Dance Negra Contemporanea.”
CARLOS ALBERTO VIEIRA SOARES (CARLOS KISS) is a dancer,
choreographer and educator with a degree from the
University of Campinas (UNICAMP), Brazil. He is a
specialist in traditional Afro-Brazilian dance and coordinator of the project “Dance - Education - Self-Esteem - Pro Reitoria de Extensão,” UNICAMP, and the
project “Portal para a Cidadania,” National Secretariat of Human Rights, Brazil. He founded the DCE PUC
Dance Group and DCE UNICAMP Dance Group. He is
a choreographer for Carlkiss Dance -Contemporary
Black Dance Company. He has been a presenter at
numerous international conferences.
Me, You, Us: Cultivating Global Identities Using
LMA & LOD
FREDERICK CURRY & TINA CURRAN
R
elationships, whether mediated face-to-face or
digitally, are fundamental to our sense of identity.
In an era of global citizenship, relationships that affirm individual human identity and dignity while cultivating an appreciation of diverse ways of thinking,
behaving, and creating are seen as critical to educating global citizens. How we understand ourselves and
build relationships with others is important in dance,
to the ways we learn, and how we perceive and interact with the world around us. By making explicit what
is implicit in movement, Laban Movement Analysis
(LMA) and the Language of Dance (LOD) frameworks
can be foundational to understanding ourselves and
cultivating relationships with others. Participants in
this workshop will learn to use LOD and LMA concepts
to understand and develop relationships that affirm
the self, others, and the various communities (cultural,
social, religious, educational, online, geographic, etc.)
to which they belong. Participants will actively explore
ways of relating through movement exploration, by
observing and analyzing dances for insights and ideas, and by collectively creating a group dance in ways
that promote self-awareness, build connections and
create community.
FREDERICK CURRY MA, CMA, is an Assistant Professor in
the Department of Dance, Mason Gross School of the
Arts, Rutgers University (New Jersey, USA), where his
focus is on dance pedagogy and Laban Movement
Analysis. He has taught at the Laban/Bartenieff Institute of Movement Studies and the Dance Education
Laboratory at the 92nd Street Y in New York City, and
serves on the board of directors of the National Dance
Education Organization (USA). As a Laban/Bartenieff
specialist, he has led workshops and presented at
conferences internationally including throughout the
USA, in the United Kingdom, Switzerland, Belgium,
Canada, and Uganda.
PRISCILA LUIZA APARECIDA COSCARELLA is a dancer and percussionist of Carlkiss Dance -Contemporary Black
Dance Company. She is a pedagogy graduate student
at the Faculty UNIARARAS, and works as an educator
of the state government of São Paulo.
TINA CURRAN PhD, MFA, is an Assistant Professor in the
Department of Theater and Dance at the University
of Texas at Austin (USA) where her research focuses
on dance literacy, legacy and pedagogy. Additionally,
she teaches on the faculty of the Dance Education
Laboratory - 92nd Street Y in New York City. As a Language of Dance (LOD) certification specialist, she has
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conducted LOD certification courses in the United
States, Mexico, United Kingdom, and Taipei. With Dr.
ANN HUTCHINSON Guest, she is co-author of Your Move:
The Language of Dance Approach to Movement and
Dance.
ERIKA PEKULA PETTERSON, MARIE ANDERSSON, MOA AUTIO & TILDA
HENRIKSSON
A
Twinning Movement with the Properties of
Light
JANA SHUMWAY
T
his session is a follow up of “Collaborating with
a New Twist: Electrical Engineers and Dancers
Unite” presented by Brigham Young University’s interactive dance company KINNECT. Light . . . it’s all
around us but do we really understand it? Sixth grade
students and other secondary education science
students need to understand the properties and
behavior of heat, light and sound. Come and learn
specifically about the properties of light by dancing
the following: how light reflects, transmits or absorbs
when it hits an object; how light refracts; how white
light separates into the colors of the rainbow; what
type of light goes beyond visible light; what features
are in a light wave; how fast light travels; how light
reflects color; and finally learn about bioluminescent
creatures that reflect their own light. Participants will
dance, twist and twin these properties of light which
will ensure a deeper understanding of these science
principles.
JANA SHUMWAY received her BA and MA from Brigham
Young University in dance education. She has taught
dance at the Waterford School (for 10 years); Brigham
Young University (for 8 years); William Penn Elementary as part of the Beverly Taylor Sorenson Arts Learning Program (for 6 years); and is currently a Visiting
Professor at BYU and co-director of BYU’s Kinnect
Dance Company. She has also presented at art conferences throughout Utah such as: USOE Art Networking Conference, BYU Art Express, UVU Art Education
Conference, daCi Utah Day of Dance, various school
district’s art conferences, Utah State and SUU Art
Conferences.
performance in interaction between an ensemble
and a participating young audience. From us, by
you, through us, to you. The piece is unique every time
as it is performed in direct connection to its young
audience (13-19 years). When the workshop meets its
audience, there is a framework, movement material
and a lot of openness to how the situation will unfold
this time. The dance workshop presents and plays
with choreographic tasks and tools together with the
young people. The common work is a direct integrated aspect and part of the performance. There will be
created a room where conscious choices are putting
unexpected reactions in motion. There is space for
the intuition to take form, a meeting between planned
actions and instant reactions. This format gives the
young new audience a chance to see their chorographical choices performed by professional dancers,
a dance piece that is by them and for them. The aim
of the workshop is to open a new door on how to see
and experience dance, by going around some of the
mystery but keeping all the magic alive. After the
performance the participants are invited to a conversation about the experience of ”Tillbaka till Fram” as
well as interactivity in general.
ERIKA PEKULA PETTERSON, Piteå, Sweden, was educated at
DOCH in Stockholm. Since graduation (2011) she has
amongst other things, danced in “This is not a quintet” by Selma Banich and choreographed/performed
a number of pieces with her performance and creation partner Disa Krosness, latest the duet “Till Öde(s)
hög” in spring 2014.
MARIE ANDERSSON, Piteå, Sweden, was educated at the
Danish National School of Performing Arts in Copenhagen. Since graduation (2013) she has worked in a
number of chorographic projects, among others: “Obsessive Daydreaming” in the frame of Ultimat Väsen
Collective at Not Festival 2013, created the performative entity Augustine in Brussels and latest presented her own choreographic work in Dramalogen,
Halmstad as well as at CPH Stage in a shared evening
within the group Still Burning.
MOA AUTIO, Kiruna, Sweden, received her degree at
DOCH in 2011. She has worked with Åsa Unander
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Scharin in the performance ”Artificial Body Voices,”
Gilda Stillbäck in the piece “Imagine” and latest
created the youth piece “Universum finns inte”(“The
universe does not exsist”) in collaboration with Marie
Wårell Öhman.
TILDA HENRIKSSON, Piteå, Sweden, was educated at Balettakademien in Gothenburg and has after graduation
(2011) worked together with choreographer Gilda Stillbäck in the piece “Imagine”, and with choreographer
Anika Listén, peforming in Gothenburg and Spain.
She also created the solo piece “Drömmar är olika”
(“Dreams are different”), that was presented in connection to a workshop with the same theme.
ing Irish, modern, hip hop and is a certified Zumba
Instructor.
DAWN HOWEY is a co-founder of the Creative Dance
Association and Dance Imagination. She has been
dancing since she was a child and has performed
with Arts Umbrella, Terpsichore, Pacific Ballet Theater
and Burnaby Arts Centre. She teaches dance for the
Burnaby School District and was a member for the
Burnaby Festival of Dance committee for ten years.
JESSICA STRÖM, RAYMOND ROA
CHRIS LEPAGE, BRITTANY HOWEY & DAWN HOWEY
C
ome and celebrate the twists and twinning found
in the expressions of Irish step dancing. Irish step
dancing is a vibrant and constantly evolving art form.
This style of dance allows dancers a lot of room for
innovation and variety. In this workshop, we would like
to present dancers the opportunity to venture out and
try a dynamic social Irish step dance. Dancers of all
ages and stages will learn a simple Irish step dance
using patterned movements and lively rhythms while
allowing dancers to bring forth their own cultural
background movements.
CHRIS LEPAGE is co-founder and Artistic Director of
Dance Imagination and the Creative Dance Association. He has taught dance for over thirty years in
the Burnaby School system and was a Director of
the Burnaby Festival of Dance for twenty years. He
has worked with the Ministry of Education to help
evaluate learning resources for dance, taught level II
and III movement for the B.C. Orff program and is a
Director of the Dance Program Advisory Council of
C.A.H.P.E.R.D. Also a member of B.C. Dance Educators
Association.
BRITTANY HOWEY has been a dancer/performer/choreographer with Dance Imagination for the past 18 years.
She has taught dance at the Creative Dance Association, Coquitlam Parks & Recreation programs and the
Burnaby School District. She has performed at daCi
conferences in Brazil, The Haque, Jamaica and Canada. She is trained in a variety of dance styles includ-
T
his workshop has its starting point in the theme of
gender and modern dance in schools. According
to the Swedish curriculum schools should actively and
consciously promote male and female equal rights
and opportunities. The school has a responsibility to
counteract traditional gender patterns. Throughout
the workshop, we have a common thread to practice,
express, challenge, develop and appreciate dance. To
communicate through dance individually or in groups
- I to We. Being present in your body and in interaction
to fellow dancers. The choreographic work focuses
on character quality and expressions are in context.
The focus of the movements and expression adapted
to the context and to the students’ abilities. The relevance of exploring identities in dance, and twist and
twin, is that every child is unique and that it is important to meet the students where they are right now
and to develop and encourage all that they already
know, but also challenging and developing new skills
through dance. 12-year-olds children are searching
for their identity and they are between being a child
and an adult. The novelty of the content is increased
awareness, understanding and development of gender. They are all different but equally worthy!
JESSICA STRÖM is a Swedish dancer and dance educator
based in Sweden. She began her dance training at
the Ballet School, Malmö, and completed her degree
at the Stockholm Ballettakademien, Sweden. She
also has a dance educational degree from the Danish National School of Performing Arts. She has been
working as a dance educator for 11 years in various
projects in the south of Sweden e.g. Danseballade,
Salto!pedagog, Dansresursen and Skapande skola.
She also has her own company which she started in
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ANNA MANSBRIDGE
RAYMOND ROA was born in Manila, Philippines and
moved to the UK at the age of eight. He began his
training at Newcastle College and completed his degree at the Northern School of Contemporary Dance,
Leeds, then a MA from London Contemporary Dance
School and a 2-year dance partnership course from
the Danish National School of Performing Arts. He
is a visual dance artist, choreographer and teacher
based in Copenhagen, Denmark. He has over 8 years’
experience as a dance educator, has worked with
students from Newcastle College, Cumbria University,
Copenhagen International School, and is teaching at
Barbacka Kulturhuset Kristianstad, Sweden.
Harmony of Dance
NEVA KRALJ
I
nteractive and practice workshop with methods of
dance/movement therapy, which encourage the development of social skills and influence interpersonal
relations in the (dance) group. The main topic of the
workshop is focused on the encouragement of communication skills through movement and dance and,
consequently, also on children’s movement skills, as
well as their self-confidence and self-esteem, social
and personal growth. All this reflected in the cohesion
and harmony of the group as a whole. The workshop
is based on playing with movement creativity.
T
his multi-generational “Historical Dance Workshop” will focus on how dance in European history
was fundamental to people’s lives: how it was through
dance that people communicated and shared their
culture and formed their identities, and how dancing
together as a community created opportunities for
deep personal connections. The workshop begins with
an overview of dance in its cultural context during
the sixteenth through eighteenth centuries, both in
the court and in the cottage. It will look at how and
why everyone danced, examining both the social and
theatrical role of dance. There will be selections of
costumes so participants can appreciate what people
wore, and the spaces in which they lived, affected how
they danced and interacted with each other. Participants will then learn selected dances reconstructed
from original source material, for example the branles
popular during Renaissance times, and the minuet
which was the Queen of Dances in European courts
during the eighteenth century. The workshop will look
at the early eighteenth century Beauchamps-Feuillet
notation system, which originated at the French court
and was published in collections to be distributed
throughout Europe. The distribution of this notation
offered opportunities for collaboration between dancing masters, choreographers, dancers and musicians
in new ways. In summary, participants will come together to share ideas and create knowledge and understanding about the fundamental role of dance to
human connection and identity in sixteenth through
eighteenth European history.
NEVA KRALJ has worked twenty years in the field of
dance education for pre-school and primary school
with the methods and elements of dance-movement
therapy. She teaches in her own dance studio, focusing on creating the movement for higher quality of
life, non-violent communication and conflict prevention behaviors in a group and inclusion of children
with special needs in dance workshops (mild mental
disabilities, hyperkinetic syndrome, premature children, autism spectrum disorders). She is co-author of
the book Dancing in the Kindergarten (Slovenia, 2013).
ANNA MANSBRIDGE, originally from the UK, now resides
in Seattle WA, USA. She holds a First Class Honors
Degree in dance and education from Bedford College,
UK, and an MFA in choreography and performance
from Mills College, CA. She is on the faculty at the
Creative Dance Center and directs Kaleidoscope
Dance Company. She also directs Seattle Early Dance
(founded 2000) specializing in recreating historical
European court and social dance. She is an adjunct
instructor at Cornish College of the Arts and the University of Washington. She was the chair for the daCi
USA 5th National Gathering, Seattle June 2014.
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2010 - focusing on dance education for children from
4-15 years old in preschool, elementary school and
teacher training.
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Pilates and Dance
KATHY BOND
D
ancers and athletes have used the Pilates method of physical conditioning for decades to enhance their performance and achieve the maximum
in efficient movement with a minimum of stress or
pain. The essence of Pilates is its approach of combined training of mind and body to achieve correct
postural alignment. This “thinking way of moving” involves progressively challenging exercises which offer
a unique combination of motion, weight-loading and
counter-balancing to enhance the structural integrity
of the musculoskeletal system. Pilates is now taught in
several ballet schools because of what it can bring to
the dancers’ bodies.
KATHY BOND has over fifty years of experience as a
dance teacher and fitness instructor and has been
teaching Pilates for 16 years. She is a Pilates Method
Alliance Certified Pilates Teacher (PMA®CPT). She is a
graduate of the Diane Miller Pilates Center of Vancouver, Core Dynamics of Santa Fe, Physicalmind Institute of New York and Canada as well as certification
in TRX, Stretch Therapy with Kit Laughlin and Therapeutic Ball Release with The Keller Method.
Identifying Your Signature: how do I Identify
My Unique Moving Body?
ALICE LEE HOLLAND
T
he act of dancing can often seem to be about
one experience: one dancer, one choreographer,
one idea, or one vision. This workshop is driven by
the idea that dancing is a conversation... and that
to be present and engaged in that conversation you
must understand your own voice. Combining the old
and the new, this workshop incorporates improvisation and imitation. Participants will work together to
reflect one another’s individual movement patterns
and nuances - to initiate an objective perspective of
their unique dancing selves, and start to embrace and
celebrate this as a sense of “home base.” Underpinning this workshop is the provocation: contemporary
dance is increasingly universal. Does this mean that
we are all the same, or seeking the same thing? Have
the same aesthetic? Strive for the same outcomes?
This workshop will investigate: how do I know and
comprehend my own unique, moving body from another? How do I become increasingly conscious of
my own style, and signature? The workshop is led by
STEPS’ Artistic Director, Alice Lee Holland, assisted by
the STEPS dancers. It has been specially designed for
the congress, to ‘unpack’ the creative process of the
company’s performance You Be My Mirror. The pairing of the performance and workshop at the congress
offers delegates a deep insight into STEPS’ work, as
best practice for young people.
ALICE LEE HOLLAND trained at the Western Australian
Academy of Performing Arts (BA) and the University
of North Carolina, Greensboro (MFA). As Artistic Director of STEPS Youth Dance Company since 2009,
she has created a number of full-length works, toured
regionally, and internationally. Independently, she has
created works for companies and organizations in
Western Australia, across Australia and in the US. She
has been engaged as a sessional lecturer in contemporary dance technique at WAAPA since 2006.
Dance Math
CHRISTINA BRØNDSHOLM ANDERSEN & VICTORIA MUNKSTRUP
T
his workshop explores how the twinning of two
subjects, dance and math, can create a new
learning space. What can the twinning of dance and
math bring to each other? What are the rewards and
what are the challenges in the twinning process?
Dance and math are traditionally considered as belonging to each side of the body-mind or feeling-intellect dichotomy. Bridging this traditional divide, the
workshop explores and shares experiences of bringing dance and math together and how this enhances
schoolchildren’s learning. The workshop investigates
how dance-movement exercises create a direct bodybased understanding of mathematical problems as
well as a body-memory of mathematical problems
and how this approach to teaching math can be a
more accessible learning style for some children.
The work with Dance Math started in 2013 in a pilot
project initiated by the Danish Ministry of Education,
carried out by KulturMetropolØresund and Dansehallerne and followed by researchers from University
of Copenhagen. The idea behind the project was
to gain experiences with incorporating movement
in school subjects, which is mandatory in the new
Danish school reform. In this new learning space, it
will also be explored how identities as a dancer and
as a math teacher are stretched and change. The
workshop is practical but also invites participants to
share and discuss experiences and thoughts during
the workshop as well as prior experiences with similar
co-operations.
CHRISTINA BRØNDSHOLM ANDERSEN works as a freelance
choreographer and community dance artist based in
Copenhagen, Denmark. She has a MA in choreography from the Laban Conservatoire of Contemporary
Dance in London and Postgraduate certificate in
community dance also from Laban. Her internship
was at the Education and Community Department
at Rambert Dance. She works in a number of Dansehallerne’s community projects for schoolchildren,
young people and for schoolteachers and as dance
consultant for different regions in Denmark. She also
holds a MA in history of dance and history of religion
from University of Copenhagen.
VICTORIA MUNKSTRUP works as a math teacher at Hornbæk Skole in North Zealand, Denmark. She studied to
be a teacher at KDAS and Zahle in Copenhagen, Denmark specializing in math and nature science. She
has studied art history and cultural communication
at Kulturvetarlinjen at Lund’s University, Sweden. Her
internship was at Lousiana Art Museum. She worked
as a consultant in traditional handicrafts in Skåne,
Sweden, prior to becoming a schoolteacher. She has
also studied history of religion at University of Gothenburg.
Side by Side Twinning: Dance and the Classroom Curriculum: Math and Visual Art
RACHEL KIMBALL & DIANA TIMOTHY
I
n this workshop, participants will experience how a
dance teaching artist and elementary (Kindergarten-6th grade) classroom teacher work together in a
side-by-side collaboration to support both dance and
classroom curriculae. The workshop will explore the
University of Utah Tanner Dance Program/Children’s
Dance Theatre’s Side-by-Side (SBS) Dance Residency
model, which has been recognized by the National
Endowment for the Arts. Classroom teacher, dance
teaching artist, and students twin with the artwork
of Swedish artist, Karl Momen. Students, artists, and
teacher connect and collaborate using math and
visual art concepts of line, shape, and form to create original dances. This twinning experience brings
about understanding of identity and culture through
the process of mutual and collaborative learning.
Workshop participants will engage in movement
exploration, collaboration, and dance creation, with
a culmination of a short dance study. Participants
will view video and written examples of dance and
classroom curriculum twinning. In the 1960s, Virginia Tanner established one of Utah’s first Arts in
Education Programs to demonstrate and promote
the essential role of the arts in the development of
every child by incorporating dance into academic
curriculum. In 1994, the organization began its SBS
Program at Washington Elementary in Salt Lake City.
Since that time, the program has grown to serve over
3,000 scholarship students annually in 15 elementary
schools.
RACHEL KIMBALL is a choreographer, artist and educator.
She is currently the Director of the University of Utah’s
Tanner Dance, Arts in Education Program (Outreach).
She teaches and oversees dance specialists in four
Utah school districts and 14 elementary schools. As a
teaching artist, she has taught in numerous communities throughout the western United States. She holds
a BFA in modern dance from the University of Utah.
She continues teaching and choreographing as faculty for the Children’s Dance Theater and the Tanner
Dance Studio Programs.
DIANA TIMOTHY grew up dancing with Tanner Dance and
the Children’s Dance Theater. She graduated with
a BFA in modern dance from the University of Utah
in 2009, where she was a member of the Performing
Dance Company and co-director of the student concerts. She also earned a BA in strategic communication from the University of Utah. She is a full-time specialist with Tanner Dance where she currently serves
as the Director of the Tipping Point High School Company and Assistant Director of the Arts in Education
Program, as well as teaching and choreographing for
the Children’s Dance Theater.
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What is it that Moves Us? Dance Improvisation
KIRSTIE SIMSON
K
irstie Simson draws from her knowledge of
contact improvisation, dance techniques, the
Alexander technique, aikido, meditation and her extensive experience of improvisation in performance.
Her work explores the huge potential of the body’s
response to the primal urge to move, inspired by the
energy released through human interaction, physical
challenge and a daring to go beyond inherent ideas
of limitation. There is deep inspiration and rigor in a
practice of improvisation that posits vulnerability at
its heart. Developing the skills to be able to care for,
engage, respect and respond to that state of vulnerability in oneself and others gives life to improvisation
that is powerful and transformative. This is the work
that Kirstie engenders through facilitated exercises,
open time for play and exploration, movement scores,
observations and discussion. Much of the work is experienced through partnering and connection with
others, balanced with solo time for processing and
reflection.
KIRSTIE SIMSON (UK) has been a continuous explosion in
the contemporary dance scene, bringing audiences
into contact with the vitality of pure creation in moment after moment of virtuoso improvisation. Called
“a force of nature” by the New York Times, she is an
award-winning dancer and teacher who has “immeasurably enriched and expanded the boundaries
of New Dance” according to Time Out Magazine, London. She is renowned today as an excellent teacher, a
captivating performer and a leading light in the field
of dance improvisation. She is a Professor at the University of Illinois, and continues to teach and perform
all over the world.
SESSION 17: LECTURE SHARING
Artful Embodied Play: Dialogues of Identity
and Creativity in Early Years Dance
KERRY CHAPPELL & LIZZIE SWINFORD
T
he presentation will focus on early years (EY)
dance education. It will explore how embodied
self-identity development can be supported by improvisational dance practice; and how this opens up
space for young children to know their bodies and
themselves, to find their own physical voice and be
empowered to find their identities in relationships.
The sharing will draw on work within The Devon Carousel Project’s Arts Council England funded Round
and Round You Turn Me collaborative interdisciplinary
action research. This collaborative lecture sharing will
blend elements of dance performance, improvisation
and the spoken word. The participants will experience activities from the EY dance sessions, and have
the opportunity to use some of our methods such as
See/Think/Wonder and engagement scales. Through
this we will share our research findings and practice;
and insights into our methodologies. Our research
indicates that this practice is about dancing in dialogue with young children through: adult as anchor
(referencing Bruce); adult as model and in interaction
(referencing Nutbrown); ‘standing back and stepping
forward’ (referencing Craft); balancing structure and
freedom. We will explore how this dialogue fuels humanizing creativity (referencing Chappell) through
children making and being made, and how it manifests with children who are ready to know themselves
in their bodies. Our research responds to concern
that children’s lives are increasingly disembodied
(referencing Tobin) as educational cultures focus on
rationality and risk avoidance. We argue for EY dance
education as laying the foundations of the creative,
empathetic, responsive and responsible adults of
tomorrow.
KERRY CHAPPELL (PhD) is a Lecturer in the Exeter University Graduate School of Education and Open University Research Fellow, specializing in dance/arts/creativity in education in the context of educational futures.
Specifically this has meant developing the wise humanising creativity concept, initially within secondary
dance education, and now applying it more widely
e.g. within early years contexts, within the EU-funded
CREATIT research, investigating blended arts/science
education; within the EU-funded C2Learn digital
learning environments project. She teaches on the Exeter Secondary Dance PGCE and MEd Creative Arts
courses. Her research is informed by her dance artist
practice and previous aikido practice.
LIZZIE SWINFORD is an Exeter-based dance practitioner, specialising in movement with early years children, and works with the Devon Carousel Project.
She trained at London Contemporary Dance School
where she gained a MA and has subsequently worked
as a performer, community dance artist, and teacher
and as Associate Lecturer at University of Chiches-
39
Dancing in Pairs – Creativity and Improvisation: Adding Color to Movement in Space
LUCIANA VEIGA
T
SESSION 18: BOOK LAUNCH AND RECEPTION
Dance Education around the World: Perspectives on Dance, Young People and Change
O
fficial launch of the book published in collaboration between Dance and the Child International
and World Dance Alliance “Dance Education Around
the World: Perspectives on Dance, Young People and
Change” (Routledge, 2015) followed by a reception
hosted by daCi.
I Am Me with You
CHANTAL CADIEUX
I
n this workshop, the participant will be led to experience movement and dance through sensory awareness exercises. The practical outline will be simple,
using different props to stimulate proprioception and
relation with the other dancers. The objective is to
create a small dance with at least two different partners.
CHANTAL CADIEUX is the founder and Artistic Director of
DansEncorps. She has created hundreds of choreographies for the DansEncorps Company, the School
of DansEncorps or on order and has won several
distinguished scholarships and prizes. She is formally
trained at the Royal Academy of Dance, and she furthered her training with the Mansio School (France),
the National Ballet, the Université de Montréal, the
Duke University and Bates College. She has been
teaching for over 30 years and is currently a teacher
at the Université de Moncton. In November 2010, she
received the New Brunswick Lieutenant-Governor’s
Award for High Achievement in the Arts.
his workshop aims at broadening the possibilities of bodily movement using materials such as
tapes, hula hoops and fabrics of different textures.
The use of materials in itself encourages children to
carry out several movements, which they perceive in
a concrete manner. They are able to visualize their
space, rhythm and possibilities. The starting point
will be the work of Rudolf von Laban and his basic
principles of movement. Furthermore, the workshop
will have a playful approach. Pair work will involve
movements inspired by everyday life and by the children’s visual repertoire, such as animals and geometric shapes, and bodily movements will be stimulated
in this improvisation. Verbal communication among
peers will be the focus of this workshop. The children
are taught to stimulate the possibilities of their bodies
and to respond with them. This will also enable participation by children of different nationalities and
therefore a ‘mingling through dance.’
LUCIANA VEIGA has studied arts since 1979 and been
educated in dance since 1980. She has taught dance
in different variations throughout her carrier; as
a teacher of classical dance since 1994 in private
schools, as a dance educator for the Mesquita Educational Department (Brazil) since 2011 and a teacher
in the Special Education School for Teens and Adults
since 2014, amongst others.
Movement Workshop: The Individual and Collaboration Through Dance
MARK MAGRUDER
H
ow does the individual experience collaboration?
This workshop explores several ways through
movement that can make this a possibility. In a good
collaboration, the individual’s voice is still present.
Individuals must be strong enough to share their
ideas but open enough to join in when others have
suggestions on the ways something should be done.
Here are examples of two of the many collaborations
featured in the class. By using partner trust walks,
the participants will start to release their grip on who
MONDAY
ter. She has recently become increasingly involved in
action research into early years arts practice through
Carousel’s “Round and Round you Turn Me” project
(ACE-funded) and a bursary awarded by the University of Exeter and Dance Network Active. She is currently studying for a University of Exeter MEd.
MONDAY
40
is in charge. This will be a start of collaborating with
just one person, a twin, who will lead their partner
whose eyes are closed on a journey around the space.
Once trust has been established between the two the
exploration can change levels and speeds. The roles
will change so both partners get to try leader and
eyes closed. Next, the group will try collaboration on
a common problem. Here groups of four or five will
get together to explore, listen, and create a piece of
choreography. Each group will have their own unique
idea to base their dance on. Some in the group will
be leaders; some followers and some will do both. The
dance will be a true collaboration of give and take.
After practice and time, the class will watch the works.
With positive suggestions the groups will go back and
add the suggestions from the class, yet more collaboration brought on by the larger group.
MARK MAGRUDER is a Professor, Head of dance at Sweet
Briar College and Artistic Director and Co-founder of
the Menagerie Dance Company, which performed for
children and adults. He has reviews in The New York
Times and The Washington Post. He has performed in
Finland, Italy and Hungary. His works have been performed at the Kennedy Center at the National College
Dance Festival. He danced in the companies of Shirley
Mordine, Beverly Blossom, and Mimi Garrard. He has
a BFA from the University of Illinois and an MA from
California State University.
ERIKA PEKULA PETTERSON, MARIE ANDERSSON, MOA AUTIO & TILDA
HENRIKSSON
A
performance in interaction between an ensemble
and a participating young audience. From us, by
you, through us, to you. The piece is unique every time
as it is performed in direct connection to its young
audience (13-19 years). When the workshop meets its
audience, there is a framework, movement material
and a lot of openness to how the situation will unfold
this time. The dance workshop presents and plays
with choreographic tasks and tools together with the
young people. The common work is a direct integrated aspect and part of the performance. There will be
created a room where conscious choices are putting
unexpected reactions in motion. There is space for
the intuition to take form, a meeting between planned
actions and instant reactions. This format gives the
young new audience a chance to see their chorographical choices performed by professional dancers,
a dance piece that is by them and for them. The aim
of the workshop is to open a new door on how to see
and experience dance, by going around some of the
mystery but keeping all the magic alive. After the
performance the participants are invited to a conversation about the experience of ”Tillbaka till Fram” as
well as interactivity in general.
ERIKA PEKULA PETTERSON, Piteå, Sweden, was educated at
DOCH in Stockholm. Since graduation (2011) she has
amongst other things, danced in “This is not a quintet” by Selma Banich and choreographed/performed
a number of pieces with her performance and creation partner Disa Krosness, latest the duet “Till Öde(s)
hög” in spring 2014.
MARIE ANDERSSON, Piteå, Sweden, was educated at the
Danish National School of Performing Arts in Copenhagen. Since graduation (2013) she has worked in a
number of chorographic projects, among others: “Obsessive Daydreaming” in the frame of Ultimat Väsen
Collective at Not Festival 2013, created the performative entity Augustine in Brussels and latest presented her own choreographic work in Dramalogen,
Halmstad as well as at CPH Stage in a shared evening
within the group Still Burning.
MOA AUTIO, Kiruna, Sweden, received her degree at
DOCH in 2011. She has worked with Åsa Unander
Scharin in the performance ”Artificial Body Voices,”
Gilda Stillbäck in the piece “Imagine” and latest
created the youth piece “Universum finns inte”(“The
universe does not exsist”) in collaboration with Marie
Wårell Öhman.
TILDA HENRIKSSON, Piteå, Sweden, was educated at Balettakademien in Gothenburg and has after graduation
(2011) worked together with choreographer Gilda Stillbäck in the piece “Imagine”, and with choreographer
Anika Listén, peforming in Gothenburg and Spain.
She also created the solo piece “Drömmar är olika”
(“Dreams are different”), that was presented in connection to a workshop with the same theme.
Identity Formation and Birth Order Theory - A
Creative and Choreographic Workshop
JULIANNE O’BRIEN PEDERSEN
T
he purpose of this workshop is to examine identity
through the lens of birth order theory. The workshop will culminate with a structured improvisational
dance based on choreographic exploration of birth
order/identity research. Based on the choreographic
and research procedures used by Pedersen to develop a dance on this subject, participants will learn
about birth order theories; participate in group improvisations based on personality traits of first-borns,
middle children, and youngest children; develop
phrases relevant to their place in their family; and collaborate on a highly structured score to present and
perform their material. The session will conclude with
a showing of her modern dance “There, There, There”
(restaged in 2013), that presents this research in accessible, technical, and humorous ways. Participants
will leave with an embodied understanding of birth
order theory; a deeper appreciation of their own and
other’s relationships within family; tools for developing improvisations and phrase work; and knowledge
of the use of improvisational performance structures.
JULIANNE O’BRIEN PEDERSEN, Dean and Professor of dance
at Dean College, is a performer, choreographer, and
dance educator. She holds a BA from Connecticut
College, an MFA from the Ohio State University, and
is a certified movement analyst through the Laban/
Bartenieff School. She performed for 14 years with the
Peter Sparling Dance Company, an award-winning
company nationally recognized for interdisciplinary
projects and Graham repertory. She has received
commissions, awards, and grants for her choreography, including funding from the US Embassy in El Salvador, and has developed K-12 arts integration educational programs throughout California, Michigan, and
New England.
The Art of Collaboration - Creating Dance and
Music
IRIS TOMLINSON, AVRIL ANDERSON & DAVID SUTTON-ANDERSON
A
shared passion for dance and music fuels the
desire to pass on the presenters’ experience and
knowledge of creative collaboration, gained through
working together over a period of 25 years. Young
artists explore how dance and music combine in spirit
through creative collaboration. Music is not treated
as an accompaniment to dance ‘steps’, but rather as
an equal component of the work as a whole. In the
workshop participants will be guided through the
process of creating dance and music, culminating
in an original work shared in performance. All participants will have the opportunity to compose/play
or choreograph/dance. It is not necessary to be an
accomplished or trained musician in order to participate. The starting point for the process of linking
sound and vision will be the art of Henri Matisse. A
violinist since childhood, music was his “sole form of
relaxation.” Following an introduction and exploration
of common shared ground, e.g. dynamics, texture,
line, rhythm, all participants will discuss and explore
ideas through structured improvisation, after working
together on rhythmic call and response, an exercise
in spontaneity, improvisation and rhythmic co-ordination.
IRIS TOMLINSON, independent dance artist, co-director
of Sound Moves and t’ai chi tutor at Middlesex University. She directed and developed the pioneering
children’s work of her teacher and mentor, Jane Dudley, at The Place over three decades, nurturing and
inspiring young dancers; many currently performers,
choreographers and rehearsal directors. She is internationally recognized for her imaginative approach
to the teaching of dance technique, composition and
methodology. An innovative animateur with London
Contemporary Dance Theater’s touring workshop unit
(1970’s), she has created over 40 original works with
and for young dancers, many in collaboration with
Sound Moves co-directors, Avril and David Sutton-Anderson.
AVRIL ANDERSON is a composer, lecturer and animateur,
directing workshops for Unicorn Children’s Theater,
education projects for London Festival Orchestra,
Colourscape Festival and Lambeth schools and as
composer in education for the Performing Right Society. Before teaching composition at the Royal College
of Music Junior Department, she was a composer in
residence for the Young Place. She has worked with
David Sutton-Anderson on collaborative projects at
the Royal Ballet Senior School and Sound Moves at
The Place. She is co-founder and director of Sounds
Positive contemporary music group, for which she has
recently curated a series focusing on Raqs Sharqi.
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41
MONDAY
42
DAVID SUTTON-ANDERSON works extensively in dance as
composer, musical director, teacher and pianist with
Hilde Holger Dance Group (1980-2002); Northern Ballet Theater and Birmingham Royal Ballet Education
Departments; Amici Dance Company; Young Place
(1988-97); directed/taught courses for accompanying
contemporary dance class (London and Caracas).
Currently resident dance rehearsal pianist Royal Opera, Covent Garden, he regularly plays class for dance
companies including Mark Morris and Michael Clark.
He is Head of composition at the Royal College of
Music Junior Department and Associate Professor at
the University of Notre Dame.
expression, and community through collaboration in
the creative process.
PATRICIA COHEN, MA, is on faculty of the Dance Education Program at New York University’s Steinhardt
School where she created the syllabus for, and teaches jazz dance, culture and pedagogy. Her research
has been published in the Journal of Dance Education and the journal of the National Dance Education
Organization (NDEO). She contributed two chapters
to the new book Jazz Dance: A History of its Roots and
Branches. She has presented at NDEO and daCi conferences. Leadership includes her current position on
the board of directors of the NDEO. She is certified in
Simonson Technique.
Twisting Traditional and Theatrical Jazz
Dance
PATRICIA COHEN
Intergenerational Brain-Compatible Dance
Workshop
J
ANNA MANSBRIDGE & TERRY GOETZ
azz music and dance, art forms that are indigenous to the USA, have become global phenomena.
In the presenter’s experience, students generally define jazz dance as a rhythmic combination of ballet
and Broadway dance that is highly choreographed.
However, as traditionally experienced by African
Americans in jook joints and dance halls in the 19th
and 20th centuries, jazz music and dance are manifestations of social and cultural identification. In
time, the joyously grounded body, articulated torso
and loose limbs of African-American vernacular, e.g.
Charleston, Lindy and the Twist, blended with the
refined European closed ballroom position and verticality found in ballet, created the dance form we
identify today as jazz. The study of jazz dance in cultural context creates community and clarifies cultural
identification among the participants. Therefore, the
workshop advocates retention of jazz dance’s cultural
identity in studios and on stage by honoring the roots
of jazz: the syncopated rhythms, personal expression,
conversation among dancers and musicians, improvisation, and focus on community. Participants in the
workshop can explore these ideas in response to jazz
music (blues and swing) and to the extent possible,
twin with the Copenhagen Jazz Festival, which runs
concurrently with the daCi congress, in their informal
street performances. Specifically, the workshop will
incorporate embodiment of the vernacular vocabulary and a Simonson Technique warm up, followed
by integration of the hallmarks of traditional jazz in a
brief dance that emphasizes improvisation, personal
T
his fun and informative Intergenerational
Brain-Compatible Dance Workshop will engross
participants of all ages in learning and sharing ideas through dance. Using world renowned American
dance educator Anne Green Gilbert’s conceptual
approach to teaching dance, Terry Goetz and Anna
Mansbridge from the Creative Dance Center in Seattle, WA, will ‘twin’ to bring participants together to
experience dance technique, improvisation and creation. The lesson format will be structured using Anne’s
five-part lesson plan, a comprehensive methodology
for dance teaching that encourages problem solving,
skill development, technical growth, cognition, social
and emotional connections with peers and adults,
and nurtures creativity. Class will begin with Anne’s
BrainDance, a sequence of eight developmental
movement patterns humans move through in the first
year of life that wire the central nervous system, enhance lifelong learning, and integrate body and mind
for optimal brain function; then we will explore the
dance concept, develop skills, create, and reflect.
43
TERRY GOETZ is director of the Creative Dance Center in
Seattle, Washington. She first trained with CDC founder Anne Green Gilbert in 1997. She danced with Pacific
Northwest Ballet from 1988-1995 and with Pittsburgh
Ballet Theater from 1986-1988. During her career,
she performed works by Balanchine, Taylor, Limon,
Lubovitch, Cunningham, and many classical ballets.
She presents nationally and internationally, teaching
BrainDance and Brain-Compatible Dance Education
and has presented at NDA, daCi, and NDEO conferences. She worked with other dance specialists developing updated K-12 Learning Standards for Dance in
WA state. She is past-president of Dance Educators
Association of Washington.
in 1999. Furthermore, she has also won the Danish
championship.
SIGNE ERRBOE studied dance, improvisation and performance at Bewegungs-Art, Freiburg, Germany from
2009 until 2011. She has taken classes and workshops
with a number of internationally recognized teachers and performers, focused mainly in the practice
of contact improvisation. Signe is also educated as
a yoga teacher. She is today studying “Dance Partnership” at the Danish National School of Performing
Arts in Copenhagen and has thereby gained experience in teaching children in creative dance.
C
Dancing in the Ocean
SHERWIN REYES & SIGNE ERRBOE
T
he workshop will be a time travel exploring the
magical universe of the ocean, sea, fish and
plants. Water is essential for all living creatures - 70
percent of the earth’s surface is water, similar to our
bodies, where 70 percent of our body mass is water.
Water is fluid, but when the temperature is under 0
degrees it transforms into ice and when the temperature is above 100 it becomes boiling water. How can
this be expressed through movement? The class will
be with movement inspiration from fusion, martial
arts, hiphop house, Qigong etc.
SHERWIN REYES was born and raised in Copenhagen,
with Philippino parents. She is currently studying on
the Post-graduate Dance Partnership program at the
Danish National School of Performing Arts and also
teaches at Sceneindgangen in Copenhagen. Prior to
this She studied the 3-year program at the Iwanson
Dance Center in Munich and also took a one-year
education at Gaardbo Dans from 2006-2007. She
then travelled to Paris to study “house” and became
inspired to follow a professional career in dance.
She also has a background in the Korean martial
arts, Taekwondo and achieved her 1st dan black belt
Association.
conferences in Brazil, The Haque, Jamaica and Canada. She is trained in a variety of dance styles includ-
MONDAY
44
MONDAY
ing Irish, modern, hip hop and is a certified Zumba
Instructor.
TUESDAY
TH
JULY 7 2015
Session 30 EDUCATION Teacher and Learner
Identity (4.0.13)
Teacher and Learner
Identity in Relation to 21st
Century Social Media
Technology: A Collaborative
Dialogue (project panel:
Barbara Bashaw, Jenna
Kiefer, Kyle Georgina
Marsh, Meg Hebert Regan &
Cassandra Roberts)
Break
Session 29: ROUNDTABLE
(4.0.10 & 4.0.34)
(See description in the
section “Keynotes”)
11.00-11.30
11.30-13.00
Applying Body Aesthetic
Concepts on Kindergarten
Education: Exploring the
Partnership between
Teachers and Researchers
(PD: Chu-Yun Wang)
Applied Learning: Dance,
Design, and Community (PD:
Joy Guarino, Ann Emo &
Laura Hill Rao)
33: Wendy Turner
34: Luciana Veiga
35: Philip Channells, &
Tone Pernille Østern
36: Amy MarkgrafJacobsen & Angela
Banchero-Kelleher
37: Miranda Wickett
Reflections from
A/R/Tography Perspective to
Review Creative Activities
with Special Children (paper:
Chung-Shiuan Chang & ShuHwa Jung)
Next Choreography:
Transformative Potential for
Young People in
Interdisciplinary
Choreographic Practice
(paper: Kerry Chappell,
Charlotte Slade & Amy
Phillips)
Dance/Movment Therapy
Interventions for Children
with Autism Spectrum
Disorders (paper: Nicole
Reinders, Sara Scharoun,
Pamela Bryden & Paula
Fletcher)
Session 33-37
Lecture Sharings (see
titles and venues in
separate section)
Keynote: The Art of Stepping Aside – Chances, Potentials and Deficits in Arts Education Research / Susanne Keuchel & Michael Wimmer
10.00-11.00
Session 32 EMPOWERMENT Creativity and Special Needs
(4.0.05)
Break
9.30-10.00
Session 31 EDUCATION Professional Collaborations
in Arts (4.0.24)
8.30-9.30
(Lundbeck Auditorium)
TUESDAY
8.15-8.30
Tuesday - 7th July 2015
Adult Program
46
15.30-16.00
Break
Young Dancers of the
Cantal: A Study in Regional
Identity and Performance
(paper: Catherine
Limbertie)
Embodied Encounters:
Identities in Experiential,
Informal Dance and
Movement in Central Java
(paper: Lise Lavelle)
The Identity of Dancers with
Disability(PD: Lesley
Ovenden)
TUESDAY
Exploring the Identity of
Dance Teachers in Taiwan
(paper: Chu-Yun Wang)
"I am a Dancer":
Experiencing Identity,
Empowerment and Inclusive
Community through Dance
(PD: Jackie Prada)
54: Vesna Geršak & Susan
Griss
55: Karen Jensen, Jana
Shumway & Marilyn
Berrett
51: Christina B. Andersen
& Victoria Munkstrup
52: Philip Channells
53: Mila Parrish
My Dream is . . . What I
Like about Myself is . . .
About Me . . . (PD: MaryElizabeth Manley)
Dance Teacher Educator
Identity (paper: Marit
Skreiberg & Hilde Rustad)
Dance Workshops DH
49: Hannah Park
50: Patricia Cohen
Red Shoes – the Connective
Power of Dance ... When
Movement and Breath Unite
(PD: Katja Bucik & Amy
Philips)
Dance/Teaching/Research:
The Practice of Living
(paper: Susan Stinson)
Dancing Multiple Identities:
Case Study of an Australian
Malaysian Site-specific
Collaboration as a Model
for Youth Dance (paper:
Cheryl Stock)
Session 38 daCi ACROSS
BORDERS RESEARCH
PROJECTS (4.0.32)
14.00-15.30
Dance and Visual Arts: A
Collaborative Experience
between American and
Brazilian Art Educators
and Students (paper:
Alba Vieira, Claudio José
Magalhaes, Laurie
Merriman & Sara
Semonis)
Session 49-55
Dance Workshops and
separate section)
Session 41 EMPOWERMENT
- Arts for Inclusion (4.0.02)
Session 40 EDUCATION Professional Identity (4.0.24)
Session 39 EMBODIMENT Culture and Identity (4.0.10)
Lunch
13.00-14.00
Adult Program
47
YP Performances: Program B (see performance schedule and descriptions in separate section)
Break
20.00-20.30
20.30-22.00
Supporting Pre-service
Dance Teachers' Reflection
with Different Reflective
Procedures (paper: Anu
Sööt & Äli Leijen)
Does the Dance of Childhood
have a History? Who is
Writing it in the 21st Century?
(paper: Karen Bond)
Dancing on the Mountain:
Dance and the Significance
of Place Contributing to
Young Children's Sense of
Belonging and Cultural
Identity (paper: Adrienne
Sansom)
Session 59 EMPOWERMENT Young Children's Dance
(4.0.24)
18.30-20.00
Relational Identity: A Case
Study of the Now + Next
Dance Mentoring Project
(paper: Marissa Nesbit)
Dance as Expression in
Physical Education? Aesthetic Experiences,
Identities and Unusual
Learning Processes (paper:
Torun Mattsson)
Student Teachers’
Developing Identities as
Dance Educators:
Opportunities and
Challenges (paper: Liz
Melchior)
Session 58 EDUCATION Teacher Confidence (4.0.32)
Break
Dance, Physical Activity
and Young People's
Everyday Lives (paper:
David Mead)
Breakdance - "That’s Me!"
Identity Constructions
among Breakdancers
(paper: Tonje Fjogstad
Langnes)
Moments of Learning while
Doing Contemporary
Circus Training (paper:
Stine Degerbøl)
The Impact of a Dancing
Adolescence on a
Present Identiy (paper:
Duncan Holt & Fiona
Bannon)
Raw-board and Love
(paper: Isto Turpeinen)
Session 57 EMBODIMENT Young People's Moving
Identities (4.0.10)
Session 56 EMBODIMENT
- Philosophical Practice
(4.0.02)
17.30-18.30
16.00-17.30
Adult Program
TUESDAY
73: Miranda Wickett
74: Amy MarkgrafJacobsen & Angela
Banchero-Kelleher
70: Carlos Kiss & Priscila
Coscarella
71: Clare Battersby
72: Kirstie Simson
Dance Workshops DH
65: Kathy Bond
66: Hannah Park
67: Terry Goetz
Session 65-74
Dance Workshops and
separate section)
48
Program B (See the list in
separate section)
Youth Forum
Identity and dance - 100%
daCi.
Ages
49: Hannah Park
50: Patricia Cohen
Break
Lunch
Dance Workshops for
page)
42: Nina Meško & Saša
Loncar
9.30-10.00
10.00-12.45
12.45 -14.00
14.00-15.30
15.30-16.00
Performances
From 13.00 – 17.30
8.30-9.30
Riikka Inkeri Laurilehto &
Mette Møller Overgaard
Howey
44: Mark Magruder
45: Misty Wensel Heather
Break
48: Neva Kralj
Sutton-Anderson
Anderson & David
47: Iris Thomlinson, Avril
Pedersen
46: Julianne O’B.
TUESDAY
Holtze, Micaela Kühn Jara,
Brittany Howey & Dawn
Cameron & Fran Gilboy
Facilitated by Maja Bonde
43: Chris LePage,
Twin Labs
8.15-8.30
Tuesday - 7th July 2015
49
Nele Vandeneede
63: Shelley Cushman
Break
Break
18.30-20.00
20.00-20.30
20.30-22.00
79: Riikka Laurilehto
Cameron & Fran Gilboy
68: Misty Wensel, Heather
Raymond Roa
64: Jessica Ström &
Meggi Sweeney Smith &
Jimmie Huckins
67: Terry Goetz
61: Chris LePage, Brittany
Program B continues
rehearsals
The Poetry of Motion:
Creations inspired by
Dance.
Facilitated by Paige Horton,
66: Hannah Park
Loncar
62: Chara Huckins &
65: Kathy Bond
60: Nina Meško & Saša
Performances
From 13.00 – 17.30
Youth Forum
Howey & Dawn Howey
Ages
Dance Workshops for
page)
17.30-18.30
16.00-17.30
TUESDAY
50
Amy Markgraf-Jacobsen & Angela
Banchero-Kelleher
Miranda Wickett
Sowing Dancing - Body and Movement for 4-Month-Old
to 3-Year-Old Children. The Experience in Mesquita
PERFECT (im)PERFECTIONS – Creating Dance Art with
Performers with and without Disabilities
Windows
Character Education & Dance: Reaching Beyond
34
35
36
37
Philip Channells & Tone Pernille
Østern
Nina Meško & Saša Loncar
Two Flying and One Barefoot
Movement Workshop: The Individual and Collaboration
through Dance
Poetics of Place, Riddles of Space
42
43
44
45
DH Studie 4
DH Studie 3
DH Studie 2
DH Studie 1
Location
NEXS - Idrætshallen
NEXS – OM-Hallen
NEXS - Herresalen
NEXS - Dansesalen
NEXS - Karnapsalen
Location
TUESDAY
Misty Wensel, Heather Cameron &
Mark Magruder
Dawn Howey
Presenter(s)
Title
Session
Session 42-53: Dance Workshops Session 54-55: Lecture Sharings
Tuesday - 7th July 14.00-15.30
Artistry
Technique to Develop Identity, Empathy and Authentic
Wendy Turner
The Twinning of Choreography and Costume
33
Luciana Veiga
Presenter(s)
Title
Session
Session 33-37: Lecture Sharings
14-18
8-13
8-13
8-13
Target group
All
All
All
All
All
Target group
51
Chistina B. Andersen & Victoria
Munkstrup
Philip Channells
Mila Parrish
Dance Math
Disability-inclusive Dance Workshop: PERFECT
(im)PERFECTIONS - an investigation into the creative
processes
Celebrating Critical Thinking - Ending the “Shut Up and
51
52
53
55
54
NEXS – OM-Hallen
Patricia Cohen
Twisting Traditional and Theatrical Jazz Dance
50
and Dancers Unite
Collaborating with a New Twist: Electrical Engineers
Dancing the Curriculum
Twinning Across the Ocean – Expressing Identity by
Dance” cycle
NEXS - Herresalen
Hannah Park
Dancing Beings: Exchanging Identities, Cultures, and
Possibilities!
49
Karen Jensen, Jana Shumway &
Marilyn Berret
Vesna Geršak & Susan Griss
Neva Kralj
Harmony of Dance
48
NEXS - Karnapsalen
NEXS - Dansesalen
Gymnastiksal 2
Gymnastiksal 1
Vesterbro Ny Skole Multisal
DH Studie 6
Iris Tomlinson, Avril Anderson &
David Sutton-Anderson
The Art of Collaboration - Creating Dance and Music
47
DH Studie 5
Julianne O'B. Pedersen
Identity Formation and Birth Order Theory - a Creative
and Choreographic Workshop
Fran Gilboy
46
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All
All
Teachers
Teachers
18 +
All
All
8-13
14-18
14-18
52
Nina Meško & Saša Loncar
Jessica Ström & Raymond Roa
Kathy Bond
Terry Goetz
Misty Wensel, Heather Cameron &
Fran Gilboy
Riikka Laurilehto & Micaela Kühn
Clare Battersby
Kirstie Simson
Twinning the Kinesthetic Learning Across the
Curriculum
Walking in Another's Shoes
Pilates and Dance
Dancing Beings: Exchanging Identities, Cultures and
Possibilities!
BrainDance: Twinning Variations
Contact / Composition
Cooking Up a Storm
What Is It That Moves Us? – Dance Impro
60
61
62
63
64
65
66
67
68
69
70
71
72
Hannah Park
Shelley Cushman
NEXS – Herresalen
NEXS - Karnapsalen
DH Studie 4
Tove Ditlevsens Skole
Gymnsatiksal 2
Gymnastiksal 1
Multisal
DH Studie 6
DH Studie 5
DH Studie 3
DH Studie 2
DH Studie 1
Location
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Chara Huckins & Jimmie Huckins
Dawn Howey
Presenter(s)
Title
Session
All
Teachers
18 +
14-18
14-18
All
All
All
14-18
14-18
8-13
8-13
8-13
Target group
53
74
73
Windows
Artistry
Technique to Develop Identity, Empathy and Authentic
Character Education & Dance: Reaching Beyond
Banchero-Kelleher
Amy Markgraf-Jacobsen & Angela
Miranda Wickett
NEXS - OM-Hallen
NEXS - Dansesalen
TUESDAY
All
All
54
55
Dance Education Research Methodologies –
New Ways?
SUSANNE KEUCHEL & EEVA ANTTILA, MICHAEL WIMMER & ANN
KIPLING BROWN
F
ollowing the keynote that twins arts and policy
researchers Susanne Keuchel and Michael Wimmer, the participants will be assigned to smaller
roundtables in order to have a chance to discuss the
key issues that were presented during the keynote.
The aim is to consider what would be significant new
ways of heading for researchers in dance education
and what each participant might be able to take
away from these discussions.
Teacher and Learner Identity in Relation to 21st
Century Social Media Technology: A Collaborative Dialogue
BARBARA BASHAW, JENNA KIEFER, KYLE GEORGINA MARSH, MEG H.
REGAN & CASSANDRA ROBERTS
T
rying to keep up? Do you LIKE, TWEET, POST and
PIN? Social media technology influences learners dance experience inside and outside of the studio-classroom. Today’s dance educator and learner
are confronted with a variety of issues regarding the
integration of social media and digital technology
into teaching and learning. These pedagogical issues
span and include: appropriation, cultural stereotyping, body epistemology and privacy, among others.
This panel discussion will explore professional teacher identity in relationship to learner identity for the
purpose of clarifying socially responsive teaching
in dance education in the 21st Century. Data from
a qualitative, international Google questionnaire
about social media technology use in the dance
studio-classroom will be shared. Data was collected
from dance learners between the ages of 10 through
adult and a varied population of dance educators
in the following settings: private studios, community
programs, cultural organizations, public and independent K-12 schools, and post-secondary education.
The questionnaire was distributed in Bali, Bermuda,
Brazil, Canada, China, Cuba, England, Germany,
Ghana, Ireland, Israel, Korea, Mexico, Peru, South Africa, Sweden, Turkey, and the United States. The panel
and participants will dialogue about findings related
to the common uses of online video references for
dance, attitudes toward social media, and student
expectations and identity when using social media
technology. Participants will have the opportunity to
share perspectives from across the globe. The panel
aims to collaboratively identify with participants distinct ways that we can all collaborate globally to support the challenges and opportunities for 21st century
teaching and learning.
BARBARA BASHAW, EdD, CMA is Graduate Director of
Dance Education and Teacher Certification at
Rutgers University and the director of the Rutgers
Pre-College Summer Dance Conservatory and Camp.
She is PK-12 certified in dance in NY and NJ and
worked in multiple school contexts across NYC before
founding the dance program at PS 295 in Brooklyn.
Barbara serves on the writing team for the new NCCAS dance standards, is the 2003 recipient of the
NDEO Emerging Visionary award and serves on the
board of DanceNJ. Barbara is an alumna of SUNY
Brockport, the Laban/Bartenieff Institute and Columbia University.
JENNA KIEFER is a middle school dance educator in Silver Spring, Maryland and a Lecturer with Rutgers University Online. She received her Ed.M in Dance Education from Rutgers University, and holds a B.A. in dance
and psychology from the University of Maryland. She
is PK-12 certified in MD, PA, NJ, and NY. Jenna has
presented on best practices in dance education assessment, anti-bullying through movement studies,
and problem solving for first year teachers. She works
with Musikfest and AFI Docs.
KYLE GEORGINA MARSH holds a Masters in Dance Education with PK-12 Teaching Certification from Rutgers
Graduate School of Education, and a BFA in Dance
from Mason Gross School of the Arts. She completed
a full-time teaching internship at Middlesex County
Vocational and Technical School where she implemented an oral history and choreography curriculum,
centered on developing student identity and community awareness. She is a teaching artist, choreographer and performer for Georgina Dance and full-time
faculty for the Rutgers Summer Dance Camp and
Conservatory.
MEG H. REGAN is a PK-8 dance educator in Alexandria,
New Jersey and Lecturer for Rutgers University Online. She holds an EdM in Dance Education and a
BFA in Dance from Mason Gross School of the Arts,
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SESSION 29: ROUNDTABLE
56
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Rutgers University. Regan has presented at state and
national conferences on anti-bullying in dance and
problem solving for first year teachers. She is choreographer for Meg Hebert Dance. Regan has taught
dance to learners in South African township schools.
She is a member of the National Association of Professional Organizers.
CASSANDRA ROBERTS is a NJ State Certified dance educator at Passaic County Technical Institute, a Career
and Technical Education High School in Wayne, NJ.
She holds an EdM in Dance Education from Rutgers
University and a BFA in Dance Performance from
Arizona State University. She is the Assistant Director
and on Faculty for the Rutgers Pre-College Summer
Dance Conservatory and Camp. Cassandra served as
a Pilot Teacher for the Stronge Teacher Effectiveness
Performance Evaluation System and has presented
at NDEO’s National Conference. She also teaches at
New Jersey School of Ballet and dances in a Contemporary Ballet Company in NYC.
Next Choreography: Transformative Potential
for Young People in Interdisciplinary Choreographic Practice
KERRY CHAPPELL, CHARLOTTE SLADE & AMY PHILLIPS
T
his presentation will discuss interim findings
from year 1 of the three-year Siobhan Davies
Dance (SDD) project, Next Choreography, which aims
to generate greater arts engagement for young people via an interdisciplinary choreographic approach.
Funded by Paul Hamlyn Foundation, this project also
aims to develop young people’s creativity and to
understand the transformative potential this has on
their identity and lives. The research framework uses
Chappell’s wise humanising creativity which posits a reciprocal relationship between creativity and
identity grounded in embodied dialogue. Developed
in secondary school-based dance, this is now being
explored within this voluntary interdisciplinary young
people’s arts context. The research is being carried
out by a University of Exeter (UoE) team, external to
the SDD project team. It runs parallel to, and partially
integrated with, action research being undertaken by
the project’s artist facilitator, mentored by UoE. The
university study will use a socio-constructivist, interpretivist approach applying qualitative methods:
a creativity wheel (a reflective tool which prompts
conversations around wise humanising creativity between adult/peer and young person); a progressively
levelled young people’s choreographic skills and understanding scale; semi-structured staff interviews,
reflective diaries, and young people’s questionnaires.
The presentation will offer insight into how the SDD
approach (studying and experiencing choreographic
processes as used by artists across art forms through
working with high level creative professionals such
as Siobhan Davies and her collaborators) can extend
young people’s perspectives on how art can be made
and develop their choreography and creativity in the
context of their wider personal narratives.
KERRY CHAPPELL (PhD) is a Lecturer in the Exeter University Graduate School of Education and an Open
University Research Fellow, specializing in dance /
arts / creativity in education in the context of educational futures. Specifically this has meant developing
the wise humanising creativity concept, initially within secondary dance education, and now applying it
more widely, such as within interdisciplinary voluntary
young people’s arts, within EU-funded CREATIT research, investigating blended arts/science education
within EU-funded C2Learn digital learning project.
She teaches in the Exeter Secondary Dance PGCE
and MEd creative arts courses. Her research is informed by her dance artist practice and previous
aikido practice.
CHARLOTTE SLADE trained as a physical education (PE)
teacher and has specialized in gymnastics and dance
throughout her career. She has worked at some of the
most challenging schools in London and equally some
of the most prestigious. With a Masters in education
from the University of Exeter (2013) she is interested in studying further the effects of children taking
risks with their creative work, particularly in dance.
She is currently working as a Research Associate on
the EU-funded CREAT-IT research project within the
Graduate School of Education at Exeter University
and teaches PE part time in Lambeth schools.
AMY PHILLIPS is course leader for the PGCE secondary
dance course at Exeter University and continues to
teach part-time at a large secondary school in Devon. She has taught dance for over 15 years in further,
higher and secondary education. In the past she has
choreographed for many youth dance companies
alongside her work with her own company the Fugitive Dance Company. An A Level dance examiner she
57
Applied Learning: Dance, Design, and Community
JOY GUARINO, ANN EMO & LAURA RAO
C
urrent research reveals that connecting the
classroom to community through service-learning is an effective pedagogical strategy demonstrating improved academic content knowledge,
written and verbal communication, critical thinking,
and leadership skills (Eyler & Giles, 1999; Furco, 2011;
Sedlak et al, 2003; Voglegesang & Astin, 2000). Embedding service learning in SUNY Buffalo State dance
and design courses has resulted in a true collaboration between faculty, students, and community
partners, each providing an essential component to
the process resulting in a vital product. Pre-test surveys were given to obtain information on background,
service learning experience, and preconceptions
about collaboration. Random groups were established to develop design inspirations and movement
lesson plans. Data was gathered via observation rubric and video capture. Post-test surveys were given
to obtain supportive and contrasting data based on
pre-test information. All data was analyzed to assess
the effectiveness of the project goal. Consequently,
the dance and design students became more aware
of the significance of each other’s art and how each
augments the other. The community children, because of the content of the courses, demonstrated
improved psychomotor skills through creative movement (kinesthetic) experiences and also developed an
understanding of design concepts, artistic symbols,
and styles. They showed advancement in academic
skills, critical thinking, creativity, and communication
as well as affective development in leadership, team
work, personal responsibility, and pride in their community. Faculty, in turn, affirmed their conviction that
practical experiences enhance pedagogical practices. Further work is planned in this area for Spring
2015.
JOY GUARINO is an Associate Professor of dance at
SUNY Buffalo State, teaches a variety of studio technique classes, history, education, and choreography.
She has developed courses, conducted research, and
presented internationally on kinesthetic learning,
dance integration, youth development, and service
learning. She earned her MFA in dance from Temple
University. Her advocacy for children led to various
positions in the arts and youth development profession. As a practitioner, consultant, and mentor for
her students, she is committed to finding creative
and practical ways of designing and implementing
meaningful children’s arts programs. She holds a NYS
Teacher’s Certification in dance.
ANN R. EMO is Associate Professor, SUNY Buffalo State,
Theater Department in Costume Design, Stage Makeup and Technical Theater. In addition to teaching,
she is a professional costume designer for dance,
theater, film, and opera having earned her MFA from
New York University. Her award winning designs have
been produced locally, in the Buffalo, NY area, and
regionally. Through her work with service learning and
community engagement, she has expanded her pedagogical philosophy believing that students benefit
greatly from positive and interactive activity beyond
the classroom. She is a devoted martial artist and
avid supporter of the arts in education.
LAURA RAO coordinates the SUNY Buffalo State Volunteer and Service-Learning Center where she facilitates and supports students, faculty, and community
partners engaged in academic service-learning and
co-curricular volunteer activities. In 10 years, she has
grown student community engagement from 575 to
3,350 students annually. She holds an MS in environmental education from Lesley University and a BA
in psychology from SUNY Buffalo. She taught youth
using experiential education pedagogies for a number of years before moving into educational program
administration.
Applying Body Aesthetic Concepts on Kindergarten Education: Exploring the Partnership
between Teachers and Researchers
CHU-YUN WANG
T
he purpose of presenting this research is to reflect on an ongoing research practice and to raise
some of the issues associated with using collaborative
approaches in applying aesthetic concepts to education. The project is one of various kinds of aesthetic
education projects funded by the Taiwanese Ministry
of Education. Based on the concept of applying dance
education as aesthetic education, the aesthetic quality of body, sound and space in education are sought.
This study focuses on the teachers’ application of the
body aesthetic concept in teaching and teachers at
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is beginning to develop her research through her work
at Exeter University.
58
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kindergarten level. In studying teachers, the changes
in practices and their conceptualizations are examined. Here the focus will be the interaction between
teachers and researchers, their own reflections on
their own roles in the project and how these changes
relate to their practice. The presentation will focus
on three issues: (a) examples of our research with
teachers; (b) a matrix displaying the phases of research activities and changes in interaction between
researchers and teachers; and (c) a pattern demonstrating the phases and scope of the issues in teacher
development. These issues suggest a series of guiding
questions which we consider need to be answered.
These questions will be clarified at the outset and
throughout the inquiry exploring the partnership between educational researchers and teachers.
CHU-YUN WANG, Dr. studied dance at the Taipei National University for the Arts, Taiwan. After that, she
completed a MA in dance studies at the Laban Centre, London in 2014. She was awarded a doctorate in
education at the University of Exeter Graduate School
of Education, UK. Her main research interest has developed out of her early dance training and focuses
on the dance teachers’ identity, teacher professional
development and dance education in schools.
SESSION 32: EMPOWERMENT
Reflections from A/R/Tography: Perspective to
Review Creative Activities with Special Children
CHUNG-SHIUAN CHANG & SHU-HWA JUNG
T
his paper aims to share the processes and outcomes of an arts curriculum initiated in a primary
school in Taipei. Two researchers and 12 graduate
students implemented weekly arts courses from
February till June of 2014. The various creative arts
activities, were designed to guide 14 special needs
children in developing longer attention time on learning, and stronger awareness of themselves, and the
environment around them. The arts activities were
based on the theoretical concept of Merleau-Ponty‘s
Phenomenology of Perception (1962), highlighting
the experience and objective thought of body, the
spatiality and motility of body. Moreover, the project
includes the methodology of A/R/Tography, an action
research model which is grounded in the pre-preparation, implementation and introspection of all participants. The whole process includes class observation,
data collection and analysis, expert forum, related
literature review, creative arts curriculum design and
teaching practice. Three primary outcomes have
been revealed: 1) Building a learning community of
A/R/Tographer, a strategy for gradually ‘becoming’
in-between the artist, teacher and researcher. Different models or paradigms for identity through the
learning community of A/R/Tographer are provided. 2)
Merleau-Ponty’s theory needs to be linked with integrated arts teaching and learning (Creative Activities), and 3). Special needs children are facilitated to
learn and express in their own ways through various
arts activities.
CHUNG-SHIUAN CHANG obtained an Ed.D. from Teachers
College, Columbia University in 1991 with her research
focused on children’s creative dance. She was a
founding member of Neo-Classic Dance Company
led by Dr. Feng-hsueh Liu, a respected choreographer
and dance scholar in Taiwan. She has been a full-time
teacher at the Taipei National University of the Arts
(TNUA) since 1992. At TNUA, besides teaching, she was
selected as the Chair of the Dance Department, and
the Dean of the School of Dance from 2000 to 2006.
Currently she is the Vice president at TNUA.
SHU-HWA JUNG received a PhD from the University of
Exeter. She has worked for professional theater nearly
30 years. Since 1999, due to the Education Reform, the
government has put performing arts into the national
curriculum within the compulsory education system.
An Associate Professor of Graduate Institute of Arts
and Humanities Education at the Taipei National
University of the Arts, she has started focusing on the
field of applied drama, such as, drama in education,
theater in education, applied Theater and community
and the sociology of arts, community theater and the
development of youth theater in Taiwan.
Dance/Movement Therapy Interventions for
Children with Autism Spectrum Disorders
NICOLE REINDERS, SARA SCHAROUN, PAMELA BRYDEN & PAULA
FLETCHER
A
utism Spectrum Disorder (ASD) is one of the most
common forms of developmental disabilities of
childhood (Fombonne, 2009), rooted in atypical language and social development, in conjunction with
repetitive and patterned behaviors (American Psychiatric Association, 2013). It is also suggested that gross
and fine motor impairments are a core feature of ASD
59
of Kinesiology and Physical Education with an undergraduate degree in health science. Her primary area
SARA SCHAROUN is a PhD candidate at the University
of Waterloo in the Department of Kinesiology (Neuroscience), working with Dr. Pamela Bryden and Dr.
Eric Roy. Her research interest involves the typical
development of motor skills across the lifespan and in
clinical populations.
PAMELA BRYDEN, Dr. is a full Professor in the Department
of Kinesiology and Physical Education, with a background in psychology. Her primary research interests
are the cognitive, perceptual, and motor determinants of behavior in normal and clinical populations
across the lifespan, and in particular examining the
mechanisms underlying lateral dominance.
PAULA FLETCHER, Dr. is a full Professor in the Department
of Kinesiology and Physical Education, with a back-
ground in health & gerontology. Her primary research
interest involves the examination of the lived experiences of individuals faced with a chronic illness and/
or disability. She also studies the impact illness and/or
disability has on the family unit.
The Twinning of Choreography and Costume
WENDY TURNER
T
he Virginia Tanner creative dance program at the
University of Utah has a long history developing
individual voice through movement. Empowering
children to express themselves through movement/
choreography is an integrated part of class. Creative
concepts relating to cultural and social issues are
often explored through the physicality of dance choreography. The sharing or formal presentation of the
dancer’s creations invites a need for twinning. The
use of a costume in relation to choreography is one
area of twinning. What connects a costume to choreography? Why dance in a costume? How can costume
and choreography twin to become one identity? This
lecture sharing is created to explore these questions.
Exploration of the what, why and how dance choreography and costumes connect, relate and support
each other will be presented. The University of Utah
Children’s Dance Theater will be helping with this
presentation. Their choreographic and costuming
process will be shared. The dancers will create choreography relating to the congress themes and will work
to create a costume concept that supports or twins
with the dance. We will share the process, fun, frustrations, and everything else that happened during the
collaboration.
WENDY TURNER, costumer Tanner Dance Programs University of Utah. BA in theater arts and dance Southern
Utah University. Master’s in teaching higher education/choreography New York University. Professional
trainee certification: Martha Graham School of Contemporary Dance. Her creative collaborations with
dance and costuming began with her mother Cynthia
Turner. Dancing professionally, teaching all populations and designing costumes have always been incorporated in every aspect of her career.
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(Fournier, Hass, Naik, Lodha & Cauraugh, 2010), are
more prevalent in comparison to the general population (Matson, Matson & Beighley, 2011), and may be
further exaggerated due to reduced participation in
physical activity (Lang et al., 2010). As awareness for
ASD has increased, so have the number of therapeutic approaches; however, no single intervention has
proven beneficial in alleviating the cardinal symptoms of ASD (Sandler, Brazdziunas & Cooley, 2001).
Therefore the most effective treatment or combination of treatments remains inconclusive (Hanson et
al., 2007). This paper will discuss a narrative review by
Scharoun, Reinders, Bryden and Fletcher (in press).
DMT has the ability to provide both physical and psychological benefits for children with ASD; however, the
need to connect research with policy, training, and
advocacy is essential for effective, evidence-based
treatment (Lord et al., 2005). The dialogue will outline
why creative movement and dance are a practical
and feasible option for children with ASD. Furthermore, evidence of successful DMT interventions will
be discussed, including case studies, group interventions, DMT in special education curriculae, and DMT
for those who have not been formally diagnosed with
ASD. Suggestions for new interventions proposed in
the literature will also be presented.
60
Sowing Dancing – Body and Movement for
4-month-old to 3-year-old children. The Experience in Mesquita
Perfect (im)Perfections – Creating Dance Art
with Performers With and Without Disabilities
PHILIP CHANNELLS & TONE PERNILLE ØSTERN
LUCIANA VEIGA
TUESDAY
T
his work aims at disseminating information on
the teaching of dancing recently implemented in
public schools in the city of Mesquita in the Baixada
Fluminense area of Rio de Janeiro state, Brazil. Mesquita is a city of 180 thousand inhabitants located
in Baixada Fluminense, one of the poorest and most
crime-ridden regions in the state. The city was founded a mere 15 years ago, which makes it the newest
town in the area. Dancing was included in the school
curriculum only 3 years ago. In 2014 the pilot project
to teach children arts in early childhood was put into
place in municipal day-care centers. Dancing was
the first art form to be offered, initially in only two
day-care centers. Such centers care for 4-month-old
to 3-year-old children, who are subsequently sent
to elementary schools. Body and movement classes
take place once a week. 4-month-old to 24-month-old
babies are given Shantala, visual and sound stimulation with dangling mobiles and experimentation with
textures and with small musical instruments. Children
from 2 and 3 years are stimulated and encouraged
to dance with a “ludica” [playing] approach. Current
Brazilian law enforcing the teaching of arts dates
back to 1996. There are many challenges to the implementation of dance classes in Brazilian schools: a
lack of teachers, ill-equipped schools and managers
who have barely taken notice of the law are all points
to be considered. This work also attests to genuine
efforts in the management of arts in this city.
“P
erfect (im)Perfections – Stories Untold” is the
performance outcome of a disability-inclusive,
intergenerational collaborative community arts project which involved 19 performers with and without
disability at MultiPlié dancefestival in Trondheim,
Norway between 10th March – 3rd April 2014.
The cast of dancers ranged from 23-80 years old,
with and without disabilities, professionals and hobby dancers. Cultural backgrounds of the performers
included Argentinian, Filipino, Russian, Norwegian
and Indigenous Australian. This new dance theater
work captured a mosaic of the performers’ stories
using dance, theater and spoken word. The performance was shown 9 times to more than 1000 school
kids in Trondheim through “Den kulturelle skolesekken.” Choreographer Channells and dancers also led
workshops with the children. In this lecture sharing
we will share an extract of the performance, and
discuss the project from 4 different perspectives.
Channells, the choreographer of the work, discusses
the creative process, successes and challenges of
working bilingually. Østern followed the process as a
researcher, and will discuss how the different dancers
experienced the choreographic process and what
they learnt from it. Wiger, being a hip hop artist, will
focus on how he wrote texts for the performance with
inspiration from the inside of the process. Kandal generated empirical material for her master thesis about
children’s understanding of contemporary dance
presented through “Den kulturelle skolesekken”, and
will focus on that in the sharing. Together the four
presenters seek to discuss the value of this deeply
inclusive dance art process and product from a range
of perspectives.
PHILIP CHANNELLS (BA dance performance) is Australia’s
leading expert in disability-inclusive dance practice.
His choreographic credits include: Perfect (im)Perfections – stories untold, The Main Event (2014), Skindeep, Enter & Exit (2013), Second Skin, inPerspective
#1, Lythophytes & Epiphytes (2012), Next of Kin – no
ordinary status family (2010). He is fiercely committed to the development of thriving artistic cultural
communities that integrate people from diverse age
groups, backgrounds and life experience. Through his
work in Australia, the UK, Norway, Finland, Singapore,
Hong Kong and Papua New Guinea, he builds a collaborative environment conducive to creativity and
social inclusion.
answer period will create an engaged learning opportunity to experience the twinning between dance and
the sciences. Look through the window.
TONE PERNILLE ØSTERN (Dr. of dance art) is an Associate
Professor in arts education at the program for teacher education, Norwegian University of Science and
Technology in Trondheim. She is the artistic leader
of Inclusive Dance Company, and the founder of the
Dance Laboratory and MultiPlié dance festival. She
works to open up dance for a diversity of different
bodies, arguing that dance as an art form gains more
relevance as it reflects a surrounding society characterized by rich diversity. She was the county-artist of
Sør-Trøndelag in 2011.
AMY MARKGRAF-JACOBSEN, MFA, MA, is an Associate Professor, Utah Valley University. She began dancing
with Brigham Young University’s Children’s Creative
Dance Program. Her choreography has been honored
at numerous dance festivals and has been commissioned and toured throughout much of the world.
She is a dance educator, performer, and artist who is
interested in the many places dance can exist in the
world. She is a daCi USA board member-at-large. She
is currently the dance education program coordinator at UVU and co-artistic director of Contemporary
Dance Ensemble.
ANGELA BANCHERO-KELLEHER, MFA, is an Associate Professor of modern dance at Utah Valley University. She
has had a professional career spanning twenty years,
including 15 years with Repertory Dance Theater. Her
performance/teaching career has taken her to venues worldwide, including the La Bella Vita Arts dance
workshop in Italy for the last 4 years. She has presented her scholarly research internationally, co-publishing a paper in the International Journal of Arts in
Society. Her latest choreography, “Material Tokens of
the Freedom of Thought,” appeared on the ACDFA
gala concert in MT and will be performed by Repertory Dance Theater in 2015.
Windows
AMY MARKGRAF-JACOBSEN & ANGELA BANCHERO-KELLEHER
A
window can be defined as an opportunity to see
or understand something usually unseen. How
is it that our curiosity leads us through windows to
discovery and from discovery to understanding?
The process of twinning provides some answers.
Twinning creates new possibilities for collaboration
between people, and through dance, for developing
understanding about each other, our identities and
cultures. The current tension between the value of an
arts education within a system that promotes STEM
(science, technology, engineering and math) can be
addressed through twinning the core identities of the
arts and sciences. Contemporary Dance Ensemble,
the pre-professional dance company from Utah Valley University has created a 90 minute lecture/sharing
performance that explores the interchange between
dance and science as a means to develop critical
thinking skills in students as reflected in a deeper understanding of our human experience and the world
in which we live. Using a lecture demonstration format, the dancer presenters will illustrate the process
through which dance and science create an interchange, a twinning. Presentation attendees of all ages
will see 3 different examples of the way dance and
the sciences contribute to produce new knowledge;
a lecture module built around the concepts of DNA,
a piece that explores our connection to the physical
environment through ritual, and a piece that investigates our reliance on water. Participation in a 45
min. movement experience and 15 min. question and
Character Education & Dance: Reaching Beyond Technique to Develop Identity, Empathy
and Authentic Artistry
MIRANDA WICKETT
I
magine a classroom that shapes future generations
of confident, engaged citizens with strong self-identities. The dance classroom is the perfect place to
develop 21st century skills like critical thinking, problem solving, creativity, collaboration, self-direction,
leadership and responsibility. Dance creates the
opportunity to discover personal identity through
physical, cognitive and social education; few other
subjects reach these realms simultaneously. Miranda
Wickett has designed a framework that melds dance
education with the development of self-awareness
and community involvement using methods derived
from a connected classroom (Belenky et al., 2006),
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developmental theory (Dewey, 1897), student driven
content (Cone, 2007) and sound pedagogical progression (Bloom et al., 1956). The framework allows
students to cultivate personal values, realize authentic artistry and muster courage for self-expression.
The road-tested activities within the framework
enable self-discovery, build empathy and empower
change within the students and their community. This
supports the development of personal identity and
identity in dance. This continuous cycle brings improved self-knowing, increased empathy and enables
development of authentic artistry. In this lecture sharing, the framework is shared and the multifaceted
approach to dance theory and curriculum explained.
Activities and exemplars will be shared and time for
discussion and the exchange of ideas will be welcomed. Striving to create a more holistic dance classroom supports the soul inside each technical dancer. Let us shift our thinking about dance from just
physical technique and focus on how we can foster a
brighter, kinder dancer, citizen and human...together.
MIRANDA WICKETT is a graduate student in dance education at the University of North Carolina at Greensboro. She holds a BA in political science and a BA of
education in primary/junior/intermediate education
focusing on physical education and guidance counseling. She has taught at Western University in the
dance, music education, music performance and arts
management programs and Lake Superior State University in the dance minor program. She specializes
in dance education, movement for singers, character
development and rhythm’s role in dance training. She
has been dance director for The Canadian Operatic
Arts Academy since 2009.
SESSION 38: DACI ACROSS BORDERS RESEARCH
My Dream Is . . . What I Like about Myself Is . . .
About Me . . .
4, and 5, at J.R. Nakogee Elementary School in Attawapiskat, Ontario, Canada gained experiential knowledge about children’s rights through acknowledged
aboriginal learning strategies of observation, listening, participation, introspection, and reflection. Four
educator/artists guided the children as they explored
their unique Cree identity during seven arts education residencies that focused on ten UN children’s
rights (i.e. name, nation, family, protection, play, health
and wellness, education, shelter, freedom of expression, food and water). Through culturally appropriate
arts—dance, drama (story-telling), visual arts, and
music (drumming)—significant links between arts education and First Nations identity, active citizenship,
and empowerment were revealed. Finally, the dance/
theatre piece, Our Dreams Matter Too, was constructed using a local Cree story, The Guardians. Featuring
an otter, lynx, bear, and turtle, protectors of the culture and environment, the performance references
ancestral knowledge and the contemporary connection to Attawapiskat’s Shannen Koostachin and her
classmates who successfully lobied the Canadian
government to build a new school in their community.
The Guardians, a social justice theater work, was performed in the first assembly at the new Kattawapiskat
Elementary School in September 2014.
MARY-ELIZABETH MANLEY, Associate Professor has taught
in the Dance Department at York University since
1974, directing a range of courses including modern
technique, improvisation, composition, pedagogy, education, dance science, and community arts practice.
Her research and publications focus on creative and
modern dance pedagogy; dance education; choreography and performance for and by young people; and
community arts practice. With Drs. Ann Kipling Brown
and Charlotte Svendler Nielsen, she edited daCi’s
First 30 Years: Rich Returns, an anthology of papers
from daCi Conference Proceedings, 1978 to 2009. Her
biography, Roots and Wings: The Dance Life and Legacy of Virginia Tanner, is forthcoming.
MARY-ELIZABETH MANLEY
T
his presentation chronicles the two-year research/creation project, Exploring the Rights of
the First Nations Child through the Arts: Our Dreams
Matter Too. The disregard for the UN Declaration of
the Rights of the Child relative to First Nations children in Canada and UNESCO’s Road Map for Arts
Education (2006) are central to this project. Utilizing
an aboriginal pedagogical approach, while adhering
to multiple intelligences theory, students in grades 3,
Dance and Visual Arts: A Collaborative Experience between American and Brazilian Art Educators and Students
ALBA VIEIRA, CLAUDIO MAGALHAES, LAURIE MERRIMAN & SARA
SEMONIS
H
ow may identity be explored, adapted, and
changed through collaborative art making? To
delve into this question in a practical yet reflexive
63
ALBA VIEIRA is a tenured professor of Dance at Federal
University of Vicosa/FUV, Brazil. She received her Ph.D.
in dance from Temple University (USA). She is the author of “Education in Arts”, book chapters and papers
in Brazil and abroad. Her work has been presented in
a number of venues including NDEO, DaCi and CORD
conferences, and published in several journals including Dance Therapy, Dance Current Selected Research,
Possible Dialogues and Journal Scene. At the university level, she teaches courses in composition, dance
history and somatics. Currently, she is Director of the
Mosaic Dance Group at FUV.
CLAUDIO JOSE MAGALHAES is a professor in the Department of Architecture at the Federal University of Vicosa, Brazil. He works professionally as an artist, especially in drawing and painting. He has a Master of Arts
degree from the School of Fine Arts, Federal University of Bahia and a Ph.D. in Arts from the Faculty of Fine
Arts at the Complutense University of Madrid, Spain.
As a professor he teaches courses in design, visual
arts and art history, and as a painter he produces
works inspired by contemporary art, having held several solo and group exhibitions in Brazil and Spain.
LAURIE MERRIMAN, Professor of dance and assistant Dean
of research, College of Fine Arts at Illinois State University. She has choreographed more than 70 works:
Ballet and contemporary dance, and has performed
nationally and internationally. She has served in several administrative positions, as a guest speaker at
numerous conferences, and initiated and implemented collaborative grants/partnerships across the arts
and arts education. She also currently serves as the
Dance Chair for Tennessee Governor’s School for the
Arts, co-director of the Coleman Fellows, and grant
writer for the College.
SARA SEMONIS is an Associate Professor and Head of
the Dance Program at Illinois State University. She
has served on the American College Dance Festival
National Board (Central Region) and is currently a
member of the National Dance Education Organization. She has created over 60 choreographic works
that have performed in both the United States and
abroad. She teaches technique courses in modern
and jazz, with additional courses in dance pedagogy,
composition, and dance kinesiology. She is currently
a member on the Council for Teacher Education and
serves as dance faculty at the renowned Interlochen
Summer Arts Institute.
Dancing Multiple Identities: Case Study of an
Australian Malaysian site-specific Collaboration as a Model for Youth Dance
CHERYL STOCK
T
aking place in the world heritage setting of multicultural Melaka, Naik Naik (Ascent) was created
and performed through a collaborative process, in
situ, by 11 artists of diverse cultural and movement
backgrounds, resident in Malaysia and Australia.
Responding to architectural ruins set in the natural
environment of St Paul’s Hill, this presentation reflects
on the transcultural identities of both performers and
three linked sites, evoked by the power of memory
- historic and cultural. Imbued simultaneously with
pre-colonial, colonial and contemporary histories and
sensitivities, the performers draw on their differing
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manner, this interdisciplinary study, conducted in
Brazil, included professors and students in dance
and visual arts from Federal University of Vicosa and
Illinois State University (USA). The initial challenge
in this collaborative effort was to bring students together from cross-disciplinary art forms and cultural
backgrounds in the construction of new knowledge
and development of this work that led to a structured
improvisation performed at the theater. The qualitative research paradigm used participant observation,
individual and collective informal dialogues, students
and professors’ journals, photos and videos taken
during the process and at the showing. To discuss the
findings, we use: Duffy’s (2010) and Risner and Stinson’s (2010) ideas of art and identity, which parallel
our understanding of change; Vieira’s (2007) notion
of “productive loss” in portraying how students explored the sense of being between cultures and may
have experienced ‘dislocation’ in a positive manner.
Students’ meanings, in general, expressed how the
project expanded their identities as ‘partner-beings’
throughout twinning experiences; they also embodied
art as one important process through which identity
may be constituted. These findings suggest this kind
of experience is one possibility to explore the collaborative process between artists from different nationalities and disciplines within the fine arts in order
to promote hybrid, dynamic and fluid constructions
of identity that may challenge the maintenance of
clearly demarcated identities in the face of transnational relations (Duffy, 2005).
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64
cultural and performance backgrounds as well as
their spiritual beliefs and philosophies to engender
understandings of identity experienced through
dance. Employing participant observation and artist
interviews, a rich vein of individual yet shared danced
identities emerge, informed by the sites that also
became a site of learning and discovery. With experienced and emerging artists working closely together
this project encouraged mentoring relationships
that synergistically evolved. Multiple dance identities
contributing to the richness of the performance palette included Western classical ballet, contemporary
dance and somatic practices, with strong influences
from Malay trance and traditional dance, Sabah
ethnic performance traditions and Chinese-based
movement practices such as tai chi. This project is
further explored as a creative youth dance model for
students of different cultural backgrounds. Through
choosing sites of personal significance, young dancers are able to explore their transcultural / diasporic
identity through on-line background research, in
order to devise and create meaningful on-site dance
collaborations to share with their communities.
CHERYL STOCK, Dr., Secretary General of World Dance
Alliance, has a career spanning choreography, directing, education and research. Formerly Head of
dance and Director of Postgraduate Studies, Creative
Industries Faculty, Queensland University of Technology, her research encompasses interdisciplinary
and interactive site specific performance, contemporary Australian and Asian dance, and practice-led
research. As a choreographer she has created over
50 dance works and was founding Artistic Director
of Dance North, with her doctorate in intercultural
performance leading to 20 collaborative exchanges
in Asia. She is also a recipient of the Lifetime Achievement Award, Australian Dance Awards, for outstanding contributions to dance practice and scholarship.
engendering new creations and styles. This paper
will present dance and movement in which I have
participated in the cultural city of Solo, Central Java,
Indonesia, (1980s -2013), during my field work for my
doctoral dissertation, Amerta Movement of Java
1986-1997: An Asian Movement Improvisation (2006).
Amerta Movement, a free, non-stylized movement,
based on everyday movements and also working
with awareness and attitudes to life (not an ethnic
dance), has attracted thousands of people from all
walks of life and of all ages. It has been created by
Javanese movement instructor and performing artist,
Suprapto Suryodarmo, (Prapto). The practitioners
study identity, self-expression, movement vocabulary, communication and improvised performance.
The method is practice-based research. A special
event for me has been applying the non-stylized, free
Amerta Movement technique to a performance project entitled, “Perempuan” [Women], with two young
Javanese dancers from the National Performing Arts
Institute in Solo, Central Java, [ISI, “Institut Seni Indonesia”]. It became an encounter between non-form
(Amerta Movement) and form (Javanese dance), as
well as a project to get to know each other as women
from different parts of the world.
LISE LAVELLE, Copenhagen, Denmark, holds a PhD (Fil.
Dr.) in Indonesian from Lund University, Sweden. She
is a trained teacher of relaxation and movement from
the Ingrid Prahm School, Denmark, and a recognized
teacher of Amerta Movement by Suprapto Suryodarmo, Java, Indonesia. Her own free movement work,
taught since 1988, is termed “Embodiment, dance
of release and transformation.” She has also made
many movement and performance projects with Indonesian artists.
Young Dancers of the Cantal: A study in Regional Identity and Performance
CATHERINE LIMBERTIE
Embodied Encounters: Identities in Experiential, Informal Dance and Movement in Central
Java
LISE LAVELLE
T
oday, globalism, open borders, and cheap transport allow people, including young dancers, to
travel from one end of the world to the other, to live
and to study. Identity is changing and has become
multiple, at least for young people in the West. Also,
dance and movement traditions develop and change
W
hile spending the summer of 2014 writing up
her research in the Auvergne department of
Cantal, France, the author witnessed a large number
of young people actively participating in traditional
dance ‘typical’ of this predominantly rural region in
the Central Massif. She was curious as to why traditional dances seemed so popular among the young,
bearing in mind her own investigations into dance as
“performance of incorporated memory“ (Connerton,
1989) inside the cultural communities of Ontario, Can-
65
CATHERINE LIMBERTIE is a PhD candidate in the Dance
Department at York University, Toronto and is a practicing teacher, dancer, folklorist and historian. Her
work on Filipino dance in the diaspora is published in
Dance Education around the World: Perspectives on
Dance, Young People and Change (Svendler Nielsen
& Burridge, 2015). Prior to entering academia, she was
Executive Director of the Community Folk Art Council
of Toronto, an organization formed by members of
Toronto’s many cultural communities to further the
interests of maintaining multiple identities through
dance.
Dance/Teaching/Research: The Practice of
Living
SUE STINSON
A
fter a long career as a dance educator, teacher
educator, and researcher, this presenter faced
retirement with the question, how do we create what
we will become out of what we have been? She
explores how lessons learned in dance have transformed each phase of her life and continue to do so:
how her life in dance became part of her teaching,
how both became incorporated into her understanding of research, and how all are related to the larger
project of living. The structure of the presentation is
based on lessons learned in dance that are relevant
to living a meaningful life, including dance as a state
of consciousness, as creating, and as interpretation;
and teaching as art, as development, and as moral
praxis. From her research career, the presenter identifies themes of conscious awareness, disciplined
practice (making time for what matters), rhythm,
body knowing, cultivating companions, persistence,
and courage. The findings are relevant not only for life
journeys of other professional dance educators, but
also for ways that dance education may impact the
many students whose lives will take them in directions
other than dance.
SUE STINSON, EdD, retired in 2013 as Emeritus Professor
of dance at University of North Carolina Greensboro, USA, following 35 years as a faculty member
and administrator. She has published her scholarly
work in multiple journals and book chapters, and has
taught and presented nationally and internationally.
A founding member of daCi, she has served as former
international Chair, conference Co-chair, conference
proceedings editor, and research officer, and has
delivered keynote addresses at several conferences.
Awards include National Dance Education Association (USA) Lifetime Achievement Award (2012), and
Congress on Research in Dance award for Outstanding Scholarly Research (2012).
Dance Teacher Educator Identity
MARIT SKREIBERG & HILDE RUSTAD
H
is paper will explore the identity of one particular
dance teacher educator who has been working
at the college of dance in Oslo for 30 years. It will deal
with how the different experiences of teaching dance
pedagogy over time defines and shapes identity, and
how this identity in turn has importance as to how this
teacher develops her work further. The paper seeks
to address the following question: in which ways is
it necessary for a dance educator to embody a professional dance teacher educator identity in order to
become good at educating dance teachers who will
teach children how to dance? A parallels focus will
be on how institutional and state educational politics
may play a part in changing dance teacher educators. Using data collected through semi-structured
interview and reflection-notes, and drawing from Max
van Manen’s (1990) ideas of hermeneutic phenomenology as described in his book Researching lived
experience, the paper will investigate what dance
teacher educator identity means.
MARIT SKREIBERG finished her BA in dance and teacher
training/dance pedagogic in 1976. She has been an
important part of developing the curriculum of the
Norwegian college of Dance, where she has worked
as a teacher and part of the leading group since 1978.
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ada. The author made contact with local leaders to
discover the secrets to their success. She discovered
that these dances, far from being simple spectacles
of touristic entertainment, were in fact prime examples of Foucauldian historical discontinuity and thus
of great analytical interest. Using data gathered
through interviews, as well as primary and secondary
source material, in addition to prolonged observation,
the author will share her findings on the importance
of dance in the expression of regional identity. She
will also discuss strategies and benefits of engaging
young people in social dance, as well as present a
brief overview of the regional dance and music of
Cantal.
66
Her main subjects have been: Jazz dance, Pilates, folk
dance, dance didactics, all practical and theoretical.
She took her MA in pedagogy in 1997. Her Master thesis focused on experience-based education at the
Norwegian College of Dance. She has been member
of different committees for NOKUT, (Norwegian Agency for Quality Assurance in Education), and has been
a member of the board of the Norwegian association:
dance in School. She was one of the authors of the
book Dance technique (1996).
Exploring the Identity of Dance Teachers in
Taiwan
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CHU-YUN WANG
T
his presentation will discuss the findings from a
doctoral study on the identity of dance teachers
in Taiwan. Applying Wenger’s theory of identity in
communities of practice (1999) and boundary encounters, this study used the life histories of dance
teachers to explore the changes to their identities.
In order to examine the relationship between the
previous experiences of teachers, including their
experiences of teacher training and their personal
perspectives of those changes, traditional qualitative
and creative research methods were used. The latter
included mapping and dance improvisation activities,
which were used as a means for teachers to represent
the significant events of their life history. By using a
narrative methodological approach, the data demonstrates that there are several individual pathways by
which dance teachers conceptualize their professional identity in accordance with their own experiences
and the communities within which they are situated.
The focus of this presentation is an examination of
the differences of the conceptualized pathways, and
the concepts of professional identity by teachers in
relation to their professional development.
Chu-Yun Wang studied dance at the Taipei National University for the Arts, Taiwan, after which she
completed an MA course in dance studies at Laban,
London. In 2014 she was awarded a PhD in education
from the University of Exeter Graduate School of Education, UK. Her main research interest has developed
out of her early dance training in which she focuses
on the dance teacher’s identity, teacher professional
development and dance education in schools.
Red Shoes – the Connective Power of Dance ...
When Movement and Breath Unite ...
KATJA BUCIK & AMY PHILLIPS
T
he Red Shoes-dance performance with special
needs children, young and established dancers
of the M&N Dance Company, explore new forms of
creative dance movement. The dancers express the
uniqueness and universality of the movement of a
specific group of individuals. In this experience, 50
dancers speak to each other; a movement of one
dancer is a response to a movement of another
dancer and this continues in an uninterrupted chain
of coordinated responses. The Red Shoes dance
performance engages the art-therapeutic process,
of Dance Movement Therapy (DMT) including DMT
workshops, international creative workshops and
stage performances. Children in wheelchairs, the
Mary-go-round dance group from CIRIUS Vipava,
share their stories when they enter the stage - stories
of different identities with the same goal: to dance
their story together. Stage performance is a huge step
on the path to independence, dance-movement expression and experiencing success and satisfaction.
The group dynamics as well as the initiative of an
individual to actively participate in co-creating the
art process bring the identity of one person closer to
each other. Utilizing gross-motor skills, expansion and
development of kinesphere and spatial orientation
is very important for collaboration and mutual communication. The red shoes are a metaphor for vitality
which enables everyone to start creative work and
search for new paths. They represent patience, curiosity and trust, which are needed to realize new ideas.
A performance ends but the creative energy remains
and it is eternal.
KATJA BUCIK specializes in Dance Movement Therapy (DMT). She has developed dance technique with
wheelchairs in Slovenia and connected therapy with
performance. Since 2001, she has been regularly
invited to the International Dance Festival in DMT
on wheelchair and organized international creative
projects with EU partners. She provides lectures and
workshops on DMT and development of communications skills through movement and play in Slovenia
and abroad. She received the prize for best performance - International Festival in Portugal - 2003,
the highest national prize for dance “Povodni mož” -
67
AMY PHILLIPS is Course Leader for the PGCE secondary
dance course at Exeter University and continues to
teach part-time at a large secondary school in Devon. She has taught Dance for over 15 years in further,
higher and secondary education. In the past she has
choreographed for many youth dance companies
alongside her work with her own company “The Fugitive Dance Company.” She has been an A Level dance
examiner with AQA and is beginning to develop her
research through her work at Exeter University.
JACKIE PRADA is a University of Waterloo Recreation
and Leisure Masters student with a BA in therapeutic
recreation (2011). Since 2004 she has assisted in the
choreography and administration of adapted and
integrated dance programs at the Carousel Dance
Center and was involved in the development and
creation of the integrated dance company at Carousel. She has also taught dance at an integrated arts
camp at Arts Express, and in 2012 attended the Dance
and the Child International conference in Taipei
where she explored ideas related to the provision of
integrated performance opportunities as well as program options for persons with disabilities.
“I Am a Dancer”: Experiencing Identity, Empowerment, and Inclusive Community through
Dance
The Identity of Dancers with Disability
JACKIE PRADA
W
T
he purpose of this presentation is to explore the
relationship between dance participation and the
experience of disability. To highlight this relationship,
the linked concepts of empowerment, identity, and
inclusive community are employed to discuss the
author’s experiences as a staff member and former
student at Carousel Dance Center in Waterloo, Ontario. Her graduate research is focused on the concepts
mentioned above along with the importance of performance in dance for individuals with a disability. As
a dancer with mild cerebral palsy, affecting the right
side of her body, she has an embodied understanding
of the role of dance as a tool for identity development
and community inclusion. Dance has created the
chance to become less concerned with what others
think of her, as the studio provides a chance to engage in a dance experience that is focused more on
the enjoyment of dance as an expressive art form.
Participation in leisure, such as dance, can provide
an opportunity for positive social change in terms of
societal attitudes regarding disability (Dionigi, 2002).
Liminality is a term that can be used to describe the
creation of shared experiences that open up communication pathways to understand and be comfortable with difference (Blackshaw, 2010). The feeling of
community that these experiences create benefit all
dancers. Specific examples from her experience of
working closely with our Dance for EveryBODY integrated Dance Company, will be presented to highlight
the meanings that these concepts hold for participants’ individual experiences.
LESLEY OVENDEN
hat kinds of bodies dance? Who is a dancer?
Dancers with disability challenge the stereotypical answers to these questions. This paper focuses
on the challenges faced by dancers with disability to
identify themselves as dancers with different abilities
in a Western sociopolitical environment struggling to
work within the social, as opposed to medical, model
of disability. Being “differently able” encourages creativity and innovation in dance practices and choreography, in which the corporeality of dance can assert
the identity of an individual with disability. Dancers
with sensory, physical and intellectual disabilities
further challenge the Cartesian dualism of the role
of mind and body in learning and communicating
through dance. Impairments to the nervous system,
genetic disorders and trauma all inform sense of self
and are embodied. Dance pedagogies need to consider the integrity of the dance student with disability.
It is debated within the disabled community whether
a label of a specific disability helps or hinders learning outcomes. Identifying with a label can stereotype
the dancer and restrict artistic and creative output.
On the other hand, identifying with a specific label
can attract funding and support. Dance could possibly be effective in improving cognition in people with
neurological impairments. The ability and identity of
people with disability may evolve and change through
physical or observational participation in dance.
Dancers with (dis)abilities can be empowered to effect social and political change within and beyond the
parameters of the dance community.
LESLEY OVENDEN gained her MA in dance studies at the
University of Surrey, England. Her dissertation is titled
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2004, the highest national prize for special education
“Anton Skala”- 2010.
68
Dance for Dyspraxic Children: An Investigation into
the Potential for Dance Tuition to Improve the Abilities
of Dyspraxic Children. Her case study focused on the
Special Needs Dance Project of the Royal Academy of
Dance in London, where she previously trained as a
ballet teacher and gained her Licentiate of the Royal
Academy of Dance. She is the New Zealand representative of daCi and is a primary school teacher in
New Zealand, with two daughters, one of whom has
dyspraxia.
as the choreographer, teacher, artistic director and
producer. Her choreographies for children and young
people regularly participate in all important dance
events in Slovenia and abroad (Planetado - France,
SPHA - Croatia, International Children’s Festival of
Performing Arts - India).
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NINA MEŠKO & SAŠA LONCAR
“T
wo flying and one barefoot” is the name of
a dance workshop based on Saša Lončar’s
method of working with children and adolescents,
resulting from the exploration of primary movement.
Her work is based on the fact that through the various creative processes she awakens and raises the
awareness of movement, which is then, in close collaboration with the child, formed in personal dance
expression. The basic starting point for such an exploration of movement is the unrestricted fantasy
world of a child. Saša Lončar uses many methods
being developed simultaneously, according to the requirements and wishes, because only in this way can
she maintain the integrated group process.
NINA MEŠKO has worked as a dancer, choreographer
and dance teacher for more than 15 years. She gained
her dance education at workshops both in Slovenia
and abroad. Her projects have been presented worldwide. She is the recipient of two major international
residential scholarships - ArtsLink (NY) and Tanzquarter (A). The last seven years she has worked as a
Head of the Dance Department at the Public Fund for
Cultural Activities. In the course of her work she has
very meticulously started to plan pedagogical work
and influenced the development of contemporary
dance pedagogy in Slovenia.
SAŠA LONCAR (Slovenia) is a dance teacher, specialized
in dancing with young people between the ages of 4
to 16 years. Her long-standing work brought her in the
beginning to meet with the primary movement, which
has become the main theme of her research in the
field of movement abilities of the individual. In 1999,
she founded the KD Qulenium, in which she works
C
Association.
conferences in Brazil, The Haque, Jamaica and Canada. She is trained in a variety of dance styles including Irish, modern, hip hop and is a certified Zumba
Instructor.
69
MISTY WENSEL, HEATHER CAMERON & FRAN GILBOY
MARK MAGRUDER
H
ow does the individual experience collaboration?
This workshop explores several ways through
movement that can make this a possibility. In a good
collaboration, the individual’s voice is still present.
Individuals must be strong enough to share their
ideas but open enough to join in when others have
suggestions on the ways something should be done.
Here are examples of two of the many collaborations
featured in the class. By using partner trust walks,
the participants will start to release their grip on who
is in charge. This will be a start of collaborating with
just one person, a twin, who will lead their partner
whose eyes are closed on a journey around the space.
Once trust has been established between the two the
exploration can change levels and speeds. The roles
will change so both partners get to try leader and
eyes closed. Next, the group will try collaboration on
a common problem. Here groups of four or five will
get together to explore, listen, and create a piece of
choreography. Each group will have their own unique
idea to base their dance on. Some in the group will
be leaders; some followers and some will do both. The
dance will be a true collaboration of give and take.
After practice and time, the class will watch the works.
With positive suggestions the groups will go back and
add the suggestions from the class, yet more collaboration brought on by the larger group.
MARK MAGRUDER is a Professor, Head of dance at Sweet
Briar College and Artistic Director and Co-founder of
the Menagerie Dance Company, which performed for
children and adults. He has reviews in The New York
Times and The Washington Post. He has performed in
Finland, Italy and Hungary. His works have been performed at the Kennedy Center at the National College
Dance Festival. He danced in the companies of Shirley
Mordine, Beverly Blossom, and Mimi Garrard. He has
a BFA from the University of Illinois and an MA from
California State University.
T
he focus of this workshop will be twinning the
concepts of ‘space’ and ‘place’ in dance. A meditative warm up, clearing the dancers of preconceived
expectations and perspectives, will be the launching
point of this journey. Specific attention to developing
awareness of working in the present moment will be
the guiding force of this exploration. Through led improvisation different elements of ‘space’ and ‘place’,
as they relate to dance, will be investigated. The concepts will be explored as singular entities as well as
combined forces that merge together and blur definition. During the workshop, a variety of geometric
studies and spatial riddles will be used to further the
participants dance improvisation. Participants will
be guided through a process of creation where they
will extract ideas from their improvisation and distill
them into choreographic phrases. Lastly, these choreographic phrases will be set in various placements in
time, space and place.
MISTY WENSEL is one of the dancers and choreographers of the innovative and whimsical FadaDance
Troupe. She is a graduate of the University of Regina
holding a B.Ed in arts education, majoring in dance.
In 2004 she established FadaDance, a contemporary
dance school, the first of its kind in Regina. Her work
with both the FadaDance youth company and the
professional troupe has taken her to stages, festivals
and workshops across Canada and to daCi in Brazil,
Jamaica, and Taiwan.
HEATHER CAMERON holds a Bachelor degree in contemporary dance from Concordia University (Montreal).
She moved to Regina (SK) as a co-founder of the FadaDance Troupe, working in collaboration to create
original and whimsical performances. As a solo artist,
she presented her one-woman theatrical dance show,
“Boney Bones,” at the German International Festival
of Dance and Theater. Her most recent cross-disciplinary collaboration, “Honey on Wallpaper,” was
performed in 2011 at Regina’s Globe Theater in collaboration with Shaunna Dunn (visual artist) and Jeff
Morton (sound artist). She has performed work by
Johanna Bundon, Bill Coleman, Robin Poitras, Michele
Sereda and Turner Prize.
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Movement Workshop: The Individual and Collaboration Through Dance
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FRAN GILBOY has been an educator, dancer and choreographer with FadaDance Troupe since its inception.
Working in this trio has served as a vehicle to drive
her creativity and push boundaries by constructing
a positive and dynamic collaboration experience
with her co-creators, Heather Cameron and Misty
Wensel. She has had a strong interest and committed
practice based in the Theravada lineage of Buddhist
teachings for 15 years. This consistently informs the
process, content and quality of her work, as an educator, dancer and choreographer. Her mindfulness
practice extends into the FadaDance studio, where
meditation, inquiry, skillful speech and deep listening
are a part of her classes with young dancers.
projects and Graham repertory. She has received
commissions, awards, and grants for her choreography, including funding from the US Embassy in El Salvador, and has developed K-12 arts integration educational programs throughout California, Michigan, and
New England.
The Art of Collaboration - Creating Dance and
Music
IRIS TOMLINSON, AVRIL ANDERSON & DAVID SUTTON-ANDERSON
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A
Identity Formation and Birth Order Theory - A
Creative and Choreographic Workshop
JULIANNE O’BRIEN PEDERSEN
T
he purpose of this workshop is to examine identity
through the lens of birth order theory. The workshop will culminate with a structured improvisational
dance based on choreographic exploration of birth
order/identity research. Based on the choreographic
and research procedures used by Pedersen to develop a dance on this subject, participants will learn
about birth order theories; participate in group improvisations based on personality traits of first-borns,
middle children, and youngest children; develop
phrases relevant to their place in their family; and collaborate on a highly structured score to present and
perform their material. The session will conclude with
a showing of her modern dance “There, There, There”
(restaged in 2013), that presents this research in accessible, technical, and humorous ways. Participants
will leave with an embodied understanding of birth
order theory; a deeper appreciation of their own and
other’s relationships within family; tools for developing improvisations and phrase work; and knowledge
of the use of improvisational performance structures.
JULIANNE O’BRIEN PEDERSEN, Dean and Professor of dance
at Dean College, is a performer, choreographer, and
dance educator. She holds a BA from Connecticut
College, an MFA from the Ohio State University, and
is a certified movement analyst through the Laban/
Bartenieff School. She performed for 14 years with the
Peter Sparling Dance Company, an award-winning
company nationally recognized for interdisciplinary
shared passion for dance and music fuels the
desire to pass on the presenters’ experience and
knowledge of creative collaboration, gained through
working together over a period of 25 years. Young
artists explore how dance and music combine in spirit
through creative collaboration. Music is not treated
as an accompaniment to dance ‘steps’, but rather as
an equal component of the work as a whole. In the
workshop participants will be guided through the
process of creating dance and music, culminating
in an original work shared in performance. All participants will have the opportunity to compose/play
or choreograph/dance. It is not necessary to be an
accomplished or trained musician in order to participate. The starting point for the process of linking
sound and vision will be the art of Henri Matisse. A
violinist since childhood, music was his “sole form of
relaxation.” Following an introduction and exploration
of common shared ground, e.g. dynamics, texture,
line, rhythm, all participants will discuss and explore
ideas through structured improvisation, after working
together on rhythmic call and response, an exercise
in spontaneity, improvisation and rhythmic co-ordination.
Contemporary Dance Theater’s touring workshop unit
(1970’s), she has created over 40 original works with
and for young dancers, many in collaboration with
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directing workshops for Unicorn Children’s Theater,
composer in education for the Performing Right Society. Before teaching composition at the Royal College
of Music Junior Department, she was a composer in
residence for the Young Place. She has worked with
DAVID SUTTON-ANDERSON works extensively in dance as
composer, musical director, teacher and pianist with
Hilde Holger Dance Group (1980-2002); Northern Ballet Theater and Birmingham Royal Ballet Education
Departments; Amici Dance Company; Young Place
(1988-97); directed/taught courses for accompanying
contemporary dance class (London and Caracas).
Currently resident dance rehearsal pianist Royal Opera, Covent Garden, he regularly plays class for dance
companies including Mark Morris and Michael Clark.
He is Head of composition at the Royal College of
Music Junior Department and Associate Professor at
the University of Notre Dame.
Harmony of Dance
NEVA KRALJ
I
Dancing Beings: Exchanging Identities, Cultures and Possibilities
HANNAH PARK
T
his inter-generational movement session is open
to all participants, from young dancers to adults.
It provides an opportunity to share creativity and
dance with other dancers from around the world,
using various instructed movement games related to
defining aspects of diverse global cultures. The session will involve an introduction and sharing through
movement by each participant, with a particular focus on participants’ embodied national cultures and
geographies. Students will be given an opportunity
to share unique features that represent their countries. By exploring various categories that define the
authenticity of different cultures and using specific
categories for elements of dance as a guide, participants will explore their identities using movement and
guided creative processes. Participant groups will
engage in movement play, and will create dances that
capture their exchanges, to be shared with all participants at the end of the session. The session will focus
on guided movement exploration, with various individual and small- and large-group creative processes
leading into the creation of a dance to be shared and
exchanged among participants as a celebration of
diverse young dancing bodies.
HANNAH PARK is an Assistant Professor of dance and
coordinator of the dance program at Lander University (USA) and is a director of the residential dance
company. As an educator, performer, choreographer,
movement specialist, and researcher, her interests
include explorations of dance and cultural diversity,
creative processes, community outreach, and embodied learning. She holds a PhD from Temple University,
a MFA in dance from New York University, a BFA in
dance from the SUNY-Purchase, and a dance diploma
from the North Carolina School of the Arts. She is a
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Sound Moves co-directors, Avril and David Sutton-Anderson.
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certified Laban/Bartinieff movement analyst, and a
somatic practitioner.
to the new book Jazz Dance: A History of its Roots and
Branches. She has presented at NDEO and daCi conferences. Leadership includes her current position on
the board of directors of the NDEO. She is certified in
Simonson Technique.
Twisting Traditional and Theatrical Jazz
Dance
PATRICIA COHEN
Dance Math
TUESDAY
J
azz music and dance, art forms that are indigenous to the USA, have become global phenomena.
In the presenters experience, students generally define jazz dance as a rhythmic combination of ballet
and Broadway dance that is highly choreographed.
However, as traditionally experienced by African
Americans in jook joints and dance halls in the 19th
and 20th centuries, jazz music and dance are manifestations of social and cultural identification. In
time, the joyously grounded body, articulated torso
and loose limbs of African-American vernacular, e.g.
Charleston, Lindy and the Twist, blended with the refined European closed ballroom position and verticality found in ballet, created the dance form we identify
today as jazz.
The study of jazz dance in cultural context creates
community and clarifies cultural identification among
the participants. Therefore, the workshop advocates
retention of jazz dance’s cultural identity in studios
and on stage by honoring the roots of jazz: the syncopated rhythms, personal expression, conversation
among dancers and musicians, improvisation, and focus on community. Participants in the workshop can
explore these ideas in response to jazz music (blues
and swing) and to the extent possible, twin with the
Copenhagen Jazz Festival, which runs concurrently
with the daCi conference, in their informal street performances. Specifically, the workshop will incorporate
embodiment of the vernacular vocabulary and a Simonson Technique warm up, followed by integration
of the hallmarks of traditional jazz in a brief dance
that emphasizes improvisation, personal expression,
and community through collaboration in the creative
process.
PATRICIA COHEN, MA, is on faculty of the Dance Education Program at New York University’s Steinhardt
School where she created the syllabus for, and teaches jazz dance, culture and pedagogy. Her research
has been published in the Journal of Dance Education and the journal of the National Dance Education
Organization (NDEO). She contributed two chapters
CHRISTINA BRØNDSHOLM ANDERSEN & VICTORIA MUNKSTRUP
T
his workshop explores how the twinning of two
subjects, dance and math, can create a new
learning space. What can the twinning of dance and
math bring to each other? What are the rewards and
what are the challenges in the twinning process?
Dance and math are traditionally considered as belonging to each side of the body-mind or feeling-intellect dichotomy. Bridging this traditional divide, the
workshop explores and shares experiences of bringing dance and math together and how this enhances
schoolchildren’s learning. The workshop investigates
how dance-movement exercises create a direct bodybased understanding of mathematical problems as
well as a body-memory of mathematical problems
and how this approach to teaching math can be a
more accessible learning style for some children.
The work with Dance Math started in 2013 in a pilot
project initiated by the Danish Ministry of Education,
carried out by KulturMetropolØresund and Dansehallerne and followed by researchers from University
of Copenhagen. The idea behind the project was
to gain experiences with incorporating movement
in school subjects, which is mandatory in the new
Danish school reform. In this new learning space, it
will also be explored how identities as a dancer and
as a math teacher are stretched and change. The
workshop is practical but also invites participants to
share and discuss experiences and thoughts during
the workshop as well as prior experiences with similar
co-operations.
CHRISTINA BRØNDSHOLM ANDERSEN works as a freelance
choreographer and community dance artist based in
Copenhagen, Denmark. She has a MA in choreography from the Laban Conservatoire of Contemporary
Dance in London and Postgraduate certificate in
community dance also from Laban. Her internship
was at the Education and Community Department
at Rambert Dance. She works in a number of Dansehallerne’s community projects for schoolchildren,
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VICTORIA MUNKSTRUP works as a math teacher at Hornbæk Skole in North Zealand, Denmark. She studied to
be a teacher at KDAS and Zahle in Copenhagen, Denmark specializing in math and nature science. She
has studied art history and cultural communication
at Kulturvetarlinjen at Lund’s University, Sweden. Her
internship was at Lousiana Art Museum. She worked
as a consultant in traditional handicrafts in Skåne,
Sweden, prior to becoming a schoolteacher. She has
also studied history of religion at University of Gothenburg.
promotes positive role modelling in an inclusive environment.
PHILIP CHANNELLS is Australia’s leading expert in disability-inclusive dance practice. As the Creative Director
of Dance Integrated Australia, he is fiercely committed to the development of thriving artistic cultural
groups, backgrounds and life experience. In 2013, he
was appointed Ambassador to Bundanon Trust’s Artist in Residency program. His latest work “Perfect (im)
Perfections – stories untold” was commissioned by
DansiT – Senter for Dansekunst i Sør-Trøndelag for
the Multiplié Dansefestival 2014. Through photography, dance education and performance work in Australia, Europe and Asia, he builds a collaborative environment conducive to creativity and social inclusion.
Disability-inclusive Dance Workshop: Perfect
(im)Perfections – an Investigation into the
Creative Processes
Celebrating Critical Thinking - Ending the
“Shut Up and Dance” Cycle
PHILIP CHANNELLS
MILA PARRISH
“P
A
erfect (im)Perfections - an investigation into
the creative processes” is a workshop which is
suitable for dancers and physical theatre performers
spanning across different age groups and cultural
background.
For many young people without a dance background
and especially people with disabilities, participating
in a dance workshop can be alienating, overwhelming
and terrifying, particularly when the dance instructor lacks self-awareness and has limited experience
of working within different community contexts.
Movement and dance plays an important role in the
development of young people’s minds and promotes
life-long learning that permeates into other aspects
of their daily life. As a tool to influence, foster and
promote healthy well-being and positive self-awareness, dance has the ability to effect significant
change in our attitude to people living differently. This
open workshop provides participants opportunities
to access their creativity through understanding
the choreographic processes used in the making of
Dance Integrated Australia’s latest work, “Perfect (im)
Perfections - stories untold”. This collaborative work is
an intergenerational, disability-inclusive performance
project that merges dance, theatre and poetry with
Norway’s premier hip hop artist, Trond Wiger. Led by
Australian director/choreographer, Philip Channells, it
s educators, it is our job to prepare our students
for the challenges ahead of them. Skills required
for success are not rote memorizations of facts but
innovation, creativity, the ability to generate new ideas, and to think outside the box. Young adults need instruction, which guides them toward the development
of critical thinking and 21st century learning skills of
communication, collaboration, and creative thinking.
Such critical thinking activities provide opportunities
for students to learn about themselves, to question
what they think, to find their voice, to become confident in their own opinions, to work collaboratively,
and to solve challenging problems. “Celebrating
Critical Thinking” is an approach to curriculum and
instruction which promotes fundamental critical
thinking skills for dance education which include the
ability to (a) identify and evaluate assumptions, (b)
clarify and interpret expressions of ideas, (c) analyze,
evaluate and produce explanations, and (d) analyze,
evaluate and make decisions (Paul & Elder, 2002).
Young artists and developing dancers need meaningful opportunities to guide them toward the development of intellectual discipline and engaging curricula
which requires thinking skills of conceptualizing,
applying, analyzing, synthesizing, evaluating information gathered from or generated by, observation,
experience, reflection, reasoning, or communication.
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young people and for schoolteachers and as dance
consultant for different regions in Denmark. She also
holds a MA in history of dance and history of religion
from University of Copenhagen.
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Traditionally the dance classroom silences our young
dancers, praising their athletic prowess but providing
little opportunity to voice opinions and to articulate
what they think and what they believe (Bracey, 2004;
Bond & Stinson, 2007). Rather than asking students to
“shut up and dance” this strategy urges students to
“speak out and dance.”
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MILA PARRISH, Dr. is nationally and internationally recognized for her work in dance pedagogy, educational
technology and interdisciplinary instruction. Her research and publications have established new trends
in movement technology, integrated curriculum and
teacher training in the digital arena. She has served
on the board of the National Dance Education Organization, Dance and the Child International, and the
Dance Notation Bureau. As the Head of dance and the
Director of the MA in dance education at UNCG she
established instructional initiatives including Dancers Connect, a free community dance program, iDance-Digital partners, a standards-based curriculum
delivery system of dance instruction using videoconference technologies, and reconstruction initiatives.
Twinning Across the Ocean – Expressing Identity by Dancing the Curriculum
VESNA GERŠAK & SUSAN GRISS
H
ow can young people develop positively as human beings through dance and collaborative
practices? What role does the body play in the future
of learning? What is the role of dance in personal
development and holistic well-being? How can dance
be used as a means for young people to express
themselves physically, emotionally and creatively?
The authors would like to address these topics, ‘twinning’ from their experiences teaching on both sides
of the Atlantic Ocean – in Slovenia and the USA. The
lecture sharing will begin with a discussion of the
relationship between exercise and the brain (Gardner,
1993; Hannaford, 1995; Jensen, 2000; Medina, 2008;
Ratey, 2008; Sousa, 2011). The authors will introduce
the value of creative movement improvisation, journey, and tableau to explore identity, make personal
connections to academic curriculum, develop habits
of mind, and encourage self-reflection through movement activities, photos, and videotapes. One author’s
background includes working with inner city children,
rural children in high minority/low income areas, and
wealthy suburban children, in the USA. The other has
worked with the same groups of children in Slovenia.
The authors will compare how these experiences are
similar and different across the extremes of history,
culture, size, geography and national curriculum.
VESNA GERŠAK graduated from the Faculty of Education,
University of Ljubljana, Slovenia. She spent several
years implementing the method of creative movement as an elementary school teacher and received
non-formal dance education attending various
national and international workshops and classes.
Since 2003, she has been a Lecturer in the field of
creative movement method, and dance didactics at
the Faculty of Education, University of Ljubljana and
University of Primorska. Her field of research is creative movement and dance for preschool and primary
school children. She is currently working on a doctoral
dissertation entitled Creative movement as a holistic
teaching approach in primary school.
SUSAN GRISS, dance-in-education pioneer, has a Master’s from NYU and graduated from Smith College.
Her book, Minds in Motion: A Kinesthetic Approach to
Teaching Elementary Curriculum, (Heinemann, 1998)
is still widely used. She has trained teachers in her
methods throughout the US, in Slovenia and Israel,
and teaches graduate courses at Bank Street College
of Education in NYC, and Lesley University. Her articles have appeared in Educational Leadership, Education Week, The Independent Teacher, and Teaching
Artist Journal. For 10 years, she taught for the Kennedy Center in Washington, D.C. and has danced with
children for over 25 years.
Collaborating with a New Twist: Electrical Engineers and Dancers Unite
KAREN JENSEN, JANA SHUMWAY & MARILYN BERRET
T
he daCi USA motto claims, “Every child has the
right to dance!” This motto drives the work of
KINNECT - a dance education outreach company
from Brigham Young University in Provo, Utah, USA.
KINNECT has provided transformative dance experiences for over 200,000 children in 250 USA schools
and in Brazil, Jamaica, Taiwan and The Netherlands
since 2002. This session includes KINNECT’s 2015 interactive lecture demonstration in which there will
be twinning with elementary core curriculum. In this
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KAREN JENSEN (MA, MEd) is a Professor of dance at
Brigham Young University and Co-Artistic Director of
Kinnect, an elementary school dance outreach program. She grew up dancing with BYU Young Dancemakers, and teaches a variety of university courses
including contemporary technique, introduction to
dance, dance education, and dance and film. Her
research interests include dance filmmaking, cross
discipline collaborations and dance and identity. She
has taught dance for grades K-12 in the public and
private sectors and in Ghana and Taiwan. She is currently a doctoral candidate at New Mexico State University in curriculum and instruction.
Conferences.
MARILYN BERRET, Professor and Chair of the Department
of Dance at Brigham Young University, has a MA from
BYU, and BA from the University of Utah. A certified
elementary educator, she presents workshops for
dance and arts organizations and universities nationally and internationally. She has received awards
for choreography, film, dance education technology
and student mentoring. She founded Kinnect, a BYU
dance-education outreach company in 2002 and
has collaborated on numerous regional and national
dance and education initiatives for over 35 years. She
is past national daCi USA representative.
The Impact of a Dancing Adolescence on a
Present Identity
DUNCAN HOLT & FIONA BANNON
B
etween 1984 and 1992 Holt was the Dance Animateur for the county of Clwyd in North Wales, UK.
One of the on-going programs was an ever-changing
group of approximately 30 teenaged people who Holt
directed and facilitated as a kind of preparation for
life by making art through dance. They arrived from
various communities and found, what Ken Robinson
calls “The Element” in his book of that title (2009).He
is referring to the manner in which people are drawn
to the environment, practices, behaviors and identity
in which they will thrive. Herein is a discussion of the
manner in which the participants in the Clwyd Youth
Dance came together from a fifty-mile radius to meet,
and together form through dance many of the key
friendships and elemental aspects of their identities.
They are now mature women and men full of purpose
including families and careers, having spread their
lives around the country. They have kept the experience of this dance work as a significant aspect of
their self-identities, of their dancing in a shared past
in a present day testament to the powerful experiences of dancing together. They continue to remain in
each other’s lives through social media and occasional gatherings. This presentation includes a variety of
poignant examples highlighting ways the participants
have treasured these experiences, and the impact
this has had in enhancing the quality of their lives.
DUNCAN HOLT, MA (Laban), DC FMCA SFHEA is a Lecturer and researcher in dance at the University of
Hull and a Fellow of the McTimoney Chiropractic
Association. He has worked as a professional dancer
in the UK, Canada and Australia, as a Dance Artist in
Residence at Theatr Clwyd in North Wales and now
as an academic. His research interests include choreographic practice and a fascination with technology
in live performance. He has written considerations of
how dance and chiropractic relate through common
factors of touch and economy of bodily use in the
context of personal well-being and artistic practice.
FIONA BANNON is a Senior Lecturer in dance in the
School of Performance and Cultural Industries, University of Leeds. She holds a doctorate in aesthetic
education from the University of Manchester and is
the current Chair of DanceHE, a UK based network
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workshop participants will observe the result of the
collaborative processes KINNECT uses in their work at
the university and in elementary schools. The Kinnect
Dance Company collaborated with a team of electrical engineering students from Brigham Young University to create a portion of this exciting and innovative
dance ‘informance.’ Come experience the creative
magic found in Kinnect’s outreach, performance, and
teaching.
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that supports dance in higher education. Her interdisciplinary teaching and research includes collaborative practice, improvisation, collective creativity,
choreography, ethics and aesthetics. She is a founding member of the performance collective Architects
of the Invisible, a group that explores experimental
choreography and social interaction.
Nominated as Chair of the Arts Council of the Uusimaa region, he was also awarded the State Prize for
Children’s Culture in 2002.
Dance, Physical Activity and Young People’s
Everyday Lives
DAVID MEAD
Raw-board and Love
ISTO TURPEINEN
TUESDAY
T
his paper is based on the author’s ongoing
arts-based doctoral dissertation at the Theater
Academy in the University of Arts, Finland in which
he returns to the roots of his working style called the
“raw-board-method.” The raw-board-process cycle
(action – experience – reflection – sharing) explores
dance in intersubjective space. Dance is constructed
from personal experience which is reflected on by
the learner. Learners share this constructed dance
with each other in a dialogic dance process. In Greek
dia means through or across, and logos has multiple meanings ranging from speech to reason. In this
context his presence as a facilitator seeks active face
to face relations between participants, creating an
environment encompassing dialogue, diversity and
the learner’s own space. This concept is linked to the
loaded concept of love whether it be through entertainment, criminal justice, romantic ideas, or biology.
Love dates back to Plato when eros was associated
with erotic and philia with brotherly love. With this
understanding he approaches the teacher’s role
with agape or unconditional respect. Paolo Freire
(1996) sets dialogical education in relation to love as a
crucial medium of human existence. As expressed by
Martin Buber (1937) “pedagogical love” is open to an
altruistic relationship with the other. In his own teaching practice, when facing another as a ‘whole’ person
with his/her character, aspirations and limitations, in
addition to his/her potentiality and actuality, it awakens a reciprocity of pedagogical love, which allows for
a two-way relationship with the students (Varto, 2012).
ISTO TURPEINEN (MA) is a dance researcher and pedagogue whose field of expertise is boys’ dance education. He is currently completing doctoral studies at
the Theater Academy Helsinki, Finland, concurrently
working as a graduate school research assistant at
the Performing Arts Research Center. He is a member
of the Arts Cooperative Monkey Garden and a dance
instructor of the cooperative’s Free Dance School.
A
s part of a review of the worth of its programs,
since 2013, the Cloud Gate Dance School in
Taiwan has been conducting an investigation into
their impact on young participants’ lives away from
the dance studio. The study is a wide-ranging and
open-ended consideration of the impacts of participation in dance and movement. It set out with no explicit research questions and no hypothesis to prove.
Youngsters aged 12-18 taking part in the school’s
programs were asked in questionnaire and interview
about their relationship with dance focusing on their
level of participation in other physical activities and
reasons for involvement (or not), and the impact they
believe that relationship has on their orientation
towards the world, and attitudes towards academic
subjects, life, self and others. The study is particularly
interested in understanding the effects of the dance
experience from their perspective. As such, their views
are paramount, and their voices, on film, are featured
in the paper. Examination of the resulting qualitative
and quantitative data continues, but analysis so far
indicates agreement with the existing research (such
as Quin, Redding & Frazer’s 2007 study for Laban/
Hampshire Dance, and Urmston’s 2012 Go Dance report for East Youth Dance, both in the UK) and with
the huge volume of anecdotal evidence regarding the
benefits of participation in dance for physiological
health, psychological well-being and other areas of
education. It is already apparent that participation in
dance plays a major role in the construction of their
personal identity and sense of self.
DAVID MEAD is a British freelance dance practitioner
with a particular interest in dance education and
East Asian dance. He has a MA in ballet studies from
Roehampton University and a PhD in dance studies
from the University of Surrey, where he researched
creativity in dance education, focusing on the Cloud
Gate Dance School in Taiwan. David is a regular visiting lecturer at universities in Taipei, and guest choreographer at Taipei Shuang Yuan Junior High School
(dance division). He also is a regular critic for and
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contributor to a number of international publications
and websites.
Breakdance – That’s Me! Identity Constructions among Breakdancers
TONJE FJOGSTAD LANGNES
Moments of Learning While Doing Contemporary Circus Training
STINE DEGERBØL
T
he presentation explores and reflects upon how
didactic encounters take place and what possibilities for embodied learning they foster in the case
of youngsters, ages 18-26, doing fulltime professional
contemporary circus training. The presentation puts
an emphasis on the role of the body in the learning
process, and discusses how an understanding of identities, as an intertwinement with embodied and cultural experiences and social relations, can be thought
of pedagogically. In the study, film is used as a knowledge creating practice (Møhl, 2005), in combination
with a hermeneutic-phenomenological approach (van
Manen, 1990), and through videographic participation
(Svendler Nielsen, 2009) and narratives of the participants’ lived experiences (van Manen, 1990; Sparkes,
2002). The case will be discussed focusing on the following questions: What role does contemporary circus
training play for young people to understand their
own and others’ identities? What can the role of contemporary circus training be in identity development
and learning of young people? How can young people
develop as human beings through contemporary circus? How does the training influence the young people´s identities? How do they explore their identities
while doing contemporary circus training? How do the
learners experience being involved in the practice?
What didactic tools are used to teach contemporary
circus? What are the pedagogical tasks that co-exist
while introducing contemporary circus to non-artists
at different ages in formal, nonformal and informal
settings of education? And why should it be done?
STINE DEGERBØL is a former swinging trapeze artist. She
is currently working on her PhD dissertation “Embodied Learning in Contemporary Circus Education” at
the Department of Nutrition, Exercise and Sports, University of Copenhagen, Denmark. The empirical work
of her dissertation was carried out at the Academy
for Untamed Creativity in Copenhagen (DK).
I
n a rapidly changing world, the globalization of the
hip-hop culture and breakdance gives young people
a framework for expression and a source for alternative identity formation. The hip-hop culture has
evolved from the ghettos of The Bronx, New York in
the 1970s, into a global phenomenon. Despite such
prominence there is an absence of academic research on the hip-hop culture element: breakdance.
Through eight months of participant observations
and 17 qualitative interviews, this study investigates
the identity construction process among breakdancers with diverse ethnic backgrounds in Norway. The
aim is to provide an insight into the lives of young
people and their impression management in constructing a breaker identity. The analysis highlights
the complex and contested nature of breakdance as
it is experienced and viewed by young people performing breakdance in Norway. Through deliberate
impression management the breakdancers construct
an alternative identity detached from other social
categories. As a result, breakdance seems to counter
social oppression and to have an empowering and
liberating potential different from the common stigmatization and stereotypical prejudices regarding
gender and ethnicity that many have experienced.
TONJE FJOGSTAD LANGNES is a Research Fellow at the
Department of Physical Education at the Norwegian
School of Sport Sciences in Oslo (NIH), Norway, where
she teaches in play, dance, fitness and youth culture.
Her dissertation is an ethnographic research investigating the meaning of breakdance in the lives of
young people today. She has been teaching at NIH
since 1997 and has an interdisciplinary academic
background including anthropology, physical education teacher education (PETE), and a Master in sport
sociology.
Relational Identity: A Case Study of the Now +
Next Dance Mentoring Project
MARISSA BETH NESBIT
A
cross many dance education contexts, students
form relationships with one another and with
their teachers that contribute significantly to their
learning and development as artists and citizens.
This research explores the nested mentoring model
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used within the Now + Next Dance Mentoring Project,
which puts emphasis on these connections as core to
both dance-making and personal development. This
program encourages college women and adolescent
girls to build powerful relationships as they explore
the themes of action, connection, curiosity, challenge,
and resilience while dancing together in week-long
summer dance camps hosted in different USA communities. The college students, themselves preparing
to navigate an increasingly challenging career field,
are in turn mentored by the faculty in a supportive
environment where these emerging professionals can
develop their dance leadership skills. This qualitative case study investigates the experiences of Now
+ Next participants to address the question: How do
middle school girls and college dancers experience
and understand mentorship through their engagement in dance? Within the relationships built through
collaborative dance-making, discussion groups, and
teaching and learning experiences, participants
inhabit many identities: mentor, mentee, student,
teacher, girl, woman, dance artist, and more. The
dance experiences of physical engagement, shared
movement, and creative problem solving go beyond
traditional discussion-based mentorship activities to
offer a powerful place where these relational identities can be explored and nurtured. Drawing on class
observations, discussions, and interviews, this research situates dance education as a unique context
whereby artistic and personal development are inextricably linked.
MARISSA BETH NESBIT, Dr. is Assistant Professor at East
Carolina University, where she coordinates the Dance
Education Program and teaches dance pedagogy,
modern dance, improvisation, and dance appreciation courses. She is also a Service Learning Faculty
Fellow, working with colleagues to investigate the
application of service learning pedagogy across
the university. Her research interests include dance
education curriculum, dance literacy, and teacher
education; her creative interests include collaborative
choreography and the creation of works that resonate with young people. She earned her PhD in art
education from The Ohio State University and MFA in
dance from Texas Woman’s University.
Student Teachers’ Developing Identities as
Dance Educators: Opportunities and Challenges
LIZ MELCHIOR
I
n New Zealand dance is well established as part of
the arts learning area in the national curriculum,
with a mandate that all children will have opportunities to learn dance as part of their education.
Although this should ensure that dance has a visible
and valued place in schools, many primary teachers lack confidence and subject knowledge to teach
dance. This is of increasing concern to dance educators involved in initial teacher education. Student
teachers, who have limited opportunities to explore
dance pedagogies in their university-based courses,
need quality school-based experiences to develop
their dance knowledge in relation to practice. This
paper will report on a case study investigating one
group of student teachers’ experiences of teaching
dance in the classroom. The participants are undergraduate students who are developing their professional identities as dance educators in their fourth
and final year of a Bachelor of teaching degree.
Participants agreed to reflect on their experiences
of teaching dance during their last placement in primary schools and to identify implications for their
future practice. The purpose of the study was to find
out what opportunities they had to teach dance, what
encouragement and support they received from expert teachers, and how well they perceived their university courses prepared them to teach dance. Data
was collected at the end of the practicum through a
questionnaire and a semi-structured group interview.
The findings of the study will contribute to national
and international research in the field of initial teacher education and dance in schools.
LIZ MELCHIOR is dance Lecturer in the School of Education at Victoria University of Wellington, New Zealand.
She teachers dance in early childhood, primary and
secondary teacher education programs. An experienced primary teacher and advocate for dance in
schools, she contributed to the draft arts curriculum
(1998), and was a facilitator providing professional
development for teachers implementing dance in
their classrooms (2000-2005). She founded the Wellington Dance Educators Network (Well Dance), offering regular workshops for teachers in the region and
is a committee member of Dance Subject Association
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Position of Dance in PE” (Sport, Education & Society)
examines the historical position of dance as a pedagogical discourse in Swedish PE curricula.
Dance as Expression in Physical Education? –
Aesthetic experiences, Identities and Unusual
Learning Processes
Supporting Pre-service Dance Teachers’ Reflection with Different Reflective Procedures
TORUN MATTSSON
ANU SÖÖT & ÄLI LEIJEN
D
ance has been a part of physical education (PE)
in several countries for a long time. Dance is
marginalized in PE in Sweden and many PE teachers
generally feel uncertain about the role of dance in
their subject and are insecure about how to teach it.
PE appears to be dominated by a multiactivity model, underpinned by discourses of health and fitness.
The aim is to discuss whether dance as expression
can help broaden understandings of the body within
the subject. The theoretical references draw on the
pedagogue John Dewey’s (1934/2005) concept of art
as experience and the sociologist Thomas Ziehe´s
(1982/1986) concept of unusual learning processes
for challenges in students’ learning. An intervention study, consisting of eight PE lessons with dance
inspired by the work of Rudolf Laban (1948/1988),
was carried out in three high school classes in the
compulsory school. The empirical material consists
of videotaped lessons and students’ written narratives. The results show that dance and the aesthetic
dimensions of movements challenge students in PE.
They also offer new learning experiences and therefore can be seen as a part of an identity process. The
students wish to express their feeling through dance
using unpredictable movements instead of imitating
and reproducing movements. The PE teachers use
a more student centered teaching approach rather
than a direct teaching approach which uses specified
movements as a form of social control. New dimensions of subjective experiences and the sensual body
are given space in PE using dance as expression as a
counterweight to sport-related physical activities.
T
TORUN MATTSSON is a Lecturer in sport science in the
areas of dance and movement, pedagogy and outdoor education at Malmö University. From 2011 she
has been a doctoral student scholar in sport science
in the field of dance. Her doctoral thesis explores
dance in physical education and focuses on students’
and PE teachers’ experiences in dance. She is also
interested in how students and PE teachers experience meaning making in bodily movements and how
learning is noticeable in action. Her publication “The
ANU SÖÖT, MA, is a Lecturer in dance pedagogy at the
University of Tartu, Viljandi Culture Academy. Her
Master’s thesis focused on The role of guided core
reflection in supporting the professional development
of novice dance teachers. She continues with her
enquiry into reflection in her doctoral studies at the
Faculty of Social Sciences and Education. She also
chairs the Board of the Estonian Dance Organization,
and is one of the authors of the curricula for general
education of school dance and movement.
he pedagogical practice of dance education has
changed considerably during recent decades.
Owing to the active role of students, self-regulation
and reflection skills have become increasingly important in today’s dance education. In addition to reflecting on oneself as a dance teacher, Anttila (2003)
points out that teachers should guide their students
to reflect on their learning activities. Incorporating
students’ reflection into the study process helps the
student to establish a personal connection with the
material and to find motivation for the learning activity. The aim of the study was to discover which strategies and methods university-level dance students
employ in their reflective practice. More specifically,
the focus was on the following research questions: To
what level does reflective practice occur in terms of 1)
teacher activity (environment, behavior, competencies, beliefs, identity, and mission) as distinguished by
Korthagen and Vasalos (2005) and 2) critical engagement in reflection (description, evaluation, justification, dialogue, and transformation) as distinguished
by Poldner et al. (2014) The study also asks: What are
the differences between the levels of teacher activity and the levels of engagement in reflection? The
results show that guided reflection is more effective,
even though it requires more effort and time. Guided
reflection encompassed dialogue and transformation,
while unguided reflection elicited only descriptive encounters. Comparing the levels of teacher activity in
employing critical reflection, students tended to use
lower levels for external reflection and higher levels
for more internalized reflection.
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New Zealand (DSANZ). She is a Member-at-Large on
the daCi Executive Board.
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ÄLI LEIJEN is a Senior Research Fellow at the Tartu
University in Estonia. Her academic background is
educational sciences (BA degree from the University
of Tartu, Estonia in 2001, MSc from the University of
Twente, The Netherlands in 2004). Her PhD thesis, The
Reflective Dancer: ICT Support for Practical Training (University of Utrecht, The Netherlands, 2008),
explored possibilities for innovation and change in
arts education. Her current work is mostly focused
on teacher education. Her current research themes
include: supporting students’ reflection; development
of professional identity; ICT as means for supporting
pedagogy and implementing innovations; characteristics influencing successful doctoral education.
ADRIENNE SANSOM (PhD) is a Senior Lecturer in the
School of Curriculum and Pedagogy at the University
of Auckland. She teaches dance and drama education and early years’ pedagogy. Her current research
focuses on the body and embodied knowing and
cultural identity primarily through the art forms of
dance and drama. Recent publications include her
book: Movement and Dance in Young Children’s Lives:
Crossing the Divide; “Mindful Pedagogy in Dance:
Honoring the Life of the Child” in Research in Dance
Education and “Daring to Dance: Making a Case for
the Place of Dance in Children’s and Teachers’ Lives”
in Young Children, Pedagogy and the Arts.
Does the Dance of Childhood have a History?
Who is Writing it in the 21st Century?
KAREN E. BOND
Dancing on the Mountain: Dance and the Significance of Place Contributing to Young Children’s Sense of Belonging and Cultural Identity
ADRIENNE SANSOM
T
his presentation focuses on a specific pedagogical event situated in a local context (a Māori-medium early childhood center in Auckland, New Zealand), and the relationship between the children and
teachers at the center with the nearby mountain.
The connection between the mountain (maunga)
and the teachers and children at the center creates
a bond that is of historical and cultural significance.
The teachers, children and family members visit the
mountain on a regular basis and just as the mountain
has become part of the center’s life, the center has
become part of the life on the mountain. Incorporated
in this case study is one teacher’s narrative from the
early childhood center concerning the ways in which
different approaches to pedagogy and assessment
can contribute to a re-thinking of teaching and learning in the early years through the conduit of the arts,
and, in this particular case, through dance, from an
indigenous and bi-cultural perspective. The study is
underpinned by two curriculum documents, the New
Zealand early childhood curriculum Te Whāriki (Ministry of Education, 1996) and the Māori assessment
framework Te Whatu Pōkeka (Ministry of Education,
2009). Ultimately, the purpose is to demonstrate how
dance can connect to the significance of place and
act as an empowering agent for both children and
teachers in early childhood settings through promoting a sense of belonging and cultural identity.
I
n 2000 I challenged the field to improve the status
of children’s dance as an important area of historiographic research (Bond, daCi keynote address,
2000). Joan Bel Geddes (1997) suggests that history’s
tendency in general has been to ignore and undervalue children’s knowledge and contributions to human
civilization. I suggested that the field of dance should
make the history of children’s dance a top priority
of revisionist scholarship in the early 21st century.
Since 2000 I have noted the same concerns in several
publications (Bond, 2010, 2013). In 2013, Tresa Randall
wrote, “Dance education for children is an important
component of the dance profession, and provides the
life blood for many dance organizations, but is rarely
examined by dance historians.” This paper addresses
the title questions, examining developments in children’s dance historical research and writing over the
past 15 years (since daCi 2000). Has there been an increase of interest and activity within daCi and within
the academic field of dance studies with its seeming
adultist preoccupations? Or has little changed since
Marion Van Tuyl recounted the following response to
her suggestion to create an issue on Dance for Children for the 1957 Impulse: Annual of Contemporary
Dance: “Why do that? Art is for adults” (Van Tuyl, 1957,
Preface). If the latter is the case, perhaps the best
strategy for moving forward is daCi’s unique concept
of ‘twinning’ - collaborative commitments to unearth
and communicate historical identities in childhood
dance.
KAREN E. BOND, PhD, La Trobe University, Australia. Formerly Senior Lecturer and Coordinator of dance ed-
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ucation and research at the University of Melbourne,
now faculty of the dance department at Temple University since 2000, teaching doctoral and master’s
courses on experiential research methods (phenomenology, ethnography, autobiography) and theory
and practice of dance teaching. She is Director of
the Temple/National Dance Education Organization
(NDEO) Center for Research in Dance Education and
recipient of NDEO’s 2013 inaugural Award for Outstanding Contribution to Dance Education Research.
She has served daCi as National Rep for Australia,
Research Officer, and Chair (2003-2006).
wide. She is the recipient of two major international
residential scholarships - ArtsLink (NY) and Tanzquarter (A). The last seven years she has worked as a
Head of the Dance Department at the Public Fund for
Cultural Activities. In the course of her work she has
very meticulously started to plan pedagogical work
and influenced the development of contemporary
dance pedagogy in Slovenia.
SAŠA LONCAR & NINA MEŠKO
“T
wo flying and one barefoot” is the name of
a dance workshop based on Saša Lončar’s
method of working with children and adolescents,
resulting from the exploration of primary movement.
Her work is based on the fact that through the various creative processes she awakens and raises the
awareness of movement, which is then, in close collaboration with the child, formed in personal dance
expression. The basic starting point for such an exploration of movement is the unrestricted fantasy
world of a child. Saša Lončar uses many methods
being developed simultaneously, according to the requirements and wishes, because only in this way can
she maintain the integrated group process.
SAŠA LONCAR (Slovenia) is a dance teacher, specialized
in dancing with young people between the ages of 4
to 16 years. Her long-standing work brought her in the
beginning to meet with the primary movement, which
has become the main theme of her research in the
field of movement abilities of the individual. In 1999,
she founded the KD Qulenium, in which she works
as the choreographer, teacher, artistic director and
producer. Her choreographies for children and young
people regularly participate in all important dance
events in Slovenia and abroad (Planetado - France,
SPHA - Croatia, International Children’s Festival of
Performing Arts - India).
and dance teacher for more than 15 years. She gained
her dance education at workshops both in Slovenia
and abroad. Her projects have been presented world-
C
Association.
conferences in Brazil, The Haque, Jamaica and Canada. She is trained in a variety of dance styles including Irish, modern, hip hop and is a certified Zumba
Instructor.
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Curriculum
CHARA HUCKINS & JIMMIE HUCKINS
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T
he arts are one of the most significant ways by
which we understand the world and ourselves.
By integrating kinesthetic learning into the demands
of the daily curriculum, teachers can provide an
all-inclusive learning classroom to meet the needs of
their students through embodied learning. Through
twinning, two teachers connect professionally as an
elementary educator and a performing dance artist
and personally as a mother and a daughter team.
They have collaborated for many years together to
integrate dance into the learning environment of the
classroom curriculum. Through the creative process,
students learn, connect to others and share movement ideas that celebrates their cultural identity.
These collaborations culminate with a showing for
the parents. In this workshop, participants can expect to move creatively through the creative process.
Participants will be encouraged to work with others
using movement to promote understanding about
themselves by moving, investigating, creating, and
contextualizing.
CHARA HUCKINS started dancing at the age of three
with Virginia Tanner’s Children’s Dance Theater. She
graduated with a BFA in modern dance from the University of Utah. She earned an M.Ed. in curriculum and
instruction, creative arts in learning from Lesley University. She performed professionally with Repertory
Dance Theater. She is a certified Movement Specialist
in the Utah Artist-in-Education Program. She has
brought the magic of dance to student and teachers
with her performances, teaching classes, chorography, and professional development workshops. She
currently teaches and choreographs for the Children’s Dance Theater and throughout the Utah school
system.
Walking in Another’s Shoes
SHELLEY CUSHMAN
I
n this session, participants will learn about their bodies and ways of interacting through the habitual patterns of the way they walk. In 1974-75, Dr. Ida Rolf was
conducting research with Dr. Valerie Hunt at UCLA on
the impact of Rolfing, a technique manipulating connective tissue, which effected performance quality.
Cushman became a Rolf Institute Model in her school
in LA while at UCLA, which meant she was a subject
for her students to learn from. During those sessions,
she began to somatically embody an understanding
of how profoundly our individual bodies affect our
way of perceiving the world and interacting with others. Changing your body changes how you perceive
time and space and how much effort is involved in
going from point “A” to point “B” while negotiating life
whether walking across the room or problem solving.
After Rolfing sessions, the experience of herself was
very different and she felt she was literally walking in
someone else’s shoes. In this session, participants will
team up with a partner with significant differences:
different generations, body types, gender, cultures,
etc. Participants will teach and learn each other’s
walk and way of being in that walk. After performing
their partner’s walk, they will have the opportunity to
share what they have learned about their own bodies
through this process. Becoming another’s walk brings
insight into one’s own self and way of being, and at
the same time brings perspective and empathy and
develops tolerance toward others.
SHELLEY CUSHMAN, MA, LMT, NCMTB, is a Professor at the
University of North Texas where she has worked for
38 years. She performed with the Sara Rudner Dance
Ensemble and the Theater Vanguard Improvisational
Company in Hollywood, California. A prolific choreographer with well over 160 works, her collaborative film
work, Cinematic Caricatures, involving 30 dances,
has been presented in competitions, conferences, and
performances throughout the world. She was awarded the NDA 2010 University Dance Educator of the
Year award. Between her professional research and
teaching interests is the investigation into the fusion
of bodywork and performance to create body clarity
and purpose.
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JESSICA STRÖM & RAYMOND ROA
based in Copenhagen, Denmark. He has over 8 years’
experience as a dance educator, has worked with
students from Newcastle College, Cumbria University,
Copenhagen International School, and is teaching at
Barbacka Kulturhuset Kristianstad, Sweden.
T
JESSICA STRÖM is a Swedish dancer and dance educator
based in Sweden. She began her dance training at
the Ballet School, Malmö, and completed her degree
at the Stockholm Ballettakademien, Sweden. She
also has a dance educational degree from the Danish National School of Performing Arts. She has been
working as a dance educator for 11 years in various
projects in the south of Sweden e.g. Danseballade,
Salto!pedagog, Dansresursen and Skapande skola.
She also has her own company which she started in
2010 - focusing on dance education for children from
4-15 years old in preschool, elementary school and
teacher training.
RAYMOND ROA was born in Manila, Philippines and
moved to the UK at the age of eight. He began his
training at Newcastle College and completed his degree at the Northern School of Contemporary Dance,
Leeds, then a MA from London Contemporary Dance
School and a 2-year dance partnership course from
the Danish National School of Performing Arts. He
is a visual dance artist, choreographer and teacher
Pilates and Dance
KATHY BOND
D
ancers and athletes have used the Pilates method of physical conditioning for decades to enhance their performance and achieve the maximum
in efficient movement with a minimum of stress or
pain. The essence of Pilates is its approach of combined training of mind and body to achieve correct
postural alignment. This “thinking way of moving” involves progressively challenging exercises which offer
a unique combination of motion, weight-loading and
counter-balancing to enhance the structural integrity
of the musculoskeletal system. Pilates is now taught in
several ballet schools because of what it can bring to
the dancers’ bodies.
KATHY BOND has over fifty years of experience as a
dance teacher and fitness instructor and has been
teaching Pilates for 16 years. She is a Pilates Method
Alliance Certified Pilates Teacher (PMA®CPT). She is a
graduate of the Diane Miller Pilates Center of Vancouver, Core Dynamics of Santa Fe, Physicalmind Institute of New York and Canada as well as certification
in TRX, Stretch Therapy with Kit Laughlin and Therapeutic Ball Release with The Keller Method.
Dancing Beings: Exchanging Identities, Cultures and Possibilities
HANNAH PARK
T
his inter-generational movement session is open
to all participants, from young dancers to adults.
It provides an opportunity to share creativity and
dance with other dancers from around the world,
using various instructed movement games related to
defining aspects of diverse global cultures. The session will involve an introduction and sharing through
movement by each participant, with a particular focus on participants’ embodied national cultures and
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his workshop has its starting point in the theme of
gender and modern dance in schools. According
to the Swedish curriculum schools should actively and
consciously promote male and female equal rights
and opportunities. The school has a responsibility to
counteract traditional gender patterns. Throughout
the workshop, we have a common thread to practice,
express, challenge, develop and appreciate dance. To
communicate through dance individually or in groups
- I to We. Being present in your body and in interaction
to fellow dancers. The choreographic work focuses
on character quality and expressions are in context.
The focus of the movements and expression adapted
to the context and to the students’ abilities. The relevance of exploring identities in dance, and twist and
twin, is that every child is unique and that it is important to meet the students where they are right now
and to develop and encourage all that they already
know, but also challenging and developing new skills
through dance. 12-year-olds children are searching
for their identity and they are between being a child
and an adult. The novelty of the content is increased
awareness, understanding and development of gender. They are all different but equally worthy!
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geographies. Students will be given an opportunity
to share unique features that represent their countries. By exploring various categories that define the
authenticity of different cultures and using specific
categories for elements of dance as a guide, participants will explore their identities using movement and
guided creative processes. Participant groups will
engage in movement play, and will create dances that
capture their exchanges, to be shared with all participants at the end of the session. The session will focus
on guided movement exploration, with various individual and small- and large-group creative processes
leading into the creation of a dance to be shared and
exchanged among participants as a celebration of
diverse young dancing bodies.
HANNAH PARK is an Assistant Professor of dance and
coordinator of the dance program at Lander University (USA) and is a director of the residential dance
company. As an educator, performer, choreographer,
movement specialist, and researcher, her interests
include explorations of dance and cultural diversity,
creative processes, community outreach, and embodied learning. She holds a PhD from Temple University,
a MFA in dance from New York University, a BFA in
dance from the SUNY-Purchase, and a dance diploma
from the North Carolina School of the Arts. She is a
certified Laban/Bartinieff movement analyst, and a
somatic practitioner.
body-mind integration; broad assessment of students; and reorganization of the neurological system.
The BrainDance gives us visual, cognitive, social-emotional, and kinesthetic feedback. It opens a window to
perceiving, sensing, and understanding identity. When
we facilitate observation during a BrainDance and
peer reflection after, we open ourselves to communication and understanding important collaborative
skills. Twinning BrainDance variations will be done
with partners, trios, and small groups. The workshop
ends with creating a collaboratively choreographed
BrainDance. The BrainDance gives a framework for
establishing self-awareness, trust, and cooperation.
MISTY WENSEL, HEATHER CAMERON & FRAN GILBOY
TERRY GOETZ
I
n this session, we will learn how the BrainDance is
a powerful tool for self-discovery. When done with
others, it is a journey of social-emotional engagement
that can lead to deep explorations surrounding identity. BrainDance with partners is an efficient way to
warm up and lay the foundation for a collaborative
atmosphere at the beginning of a class, rehearsal, or
project. Leading, following, and compromise are skills
that can be refined through the balance of repetition and novelty which the BrainDance provides. As
we practice these skills, they are ingrained into our
neural networks allowing us to call upon them when
needed. The BrainDance is a body-mind movement
tool and can be tailored to all ages and abilities. Benefits include improved alignment, connectivity, and
expressivity; brain oxygenation for clarity and focus;
T
he focus of this workshop will be twinning the
concepts of ‘space’ and ‘place’ in dance. A meditative warm up, clearing the dancers of preconceived
expectations and perspectives, will be the launching
point of this journey. Specific attention to developing
awareness of working in the present moment will be
the guiding force of this exploration. Through led improvisation different elements of ‘space’ and ‘place’,
as they relate to dance, will be investigated. The concepts will be explored as singular entities as well as
combined forces that merge together and blur definition. During the workshop, a variety of geometric
studies and spatial riddles will be used to further the
participants dance improvisation. Participants will
be guided through a process of creation where they
will extract ideas from their improvisation and distill
them into choreographic phrases. Lastly, these chore-
ographic phrases will be set in various placements in
time, space and place.
MISTY WENSEL is one of the dancers and choreographers of the innovative and whimsical FadaDance
Troupe. She is a graduate of the University of Regina
holding a B.Ed in arts education, majoring in dance.
In 2004 she established FadaDance, a contemporary
dance school, the first of its kind in Regina. Her work
with both the FadaDance youth company and the
professional troupe has taken her to stages, festivals
and workshops across Canada and to daCi in Brazil,
Jamaica, and Taiwan.
HEATHER CAMERON holds a Bachelor degree in contemporary dance from Concordia University (Montreal).
She moved to Regina (SK) as a co-founder of the FadaDance Troupe, working in collaboration to create
original and whimsical performances. As a solo artist,
she presented her one-woman theatrical dance show,
“Boney Bones,” at the German International Festival
of Dance and Theater. Her most recent cross-disciplinary collaboration, “Honey on Wallpaper,” was
performed in 2011 at Regina’s Globe Theater in collaboration with Shaunna Dunn (visual artist) and Jeff
Morton (sound artist). She has performed work by
Johanna Bundon, Bill Coleman, Robin Poitras, Michele
Sereda and Turner Prize.
FRAN GILBOY has been an educator, dancer and choreographer with FadaDance Troupe since its inception.
Working in this trio has served as a vehicle to drive
her creativity and push boundaries by constructing
a positive and dynamic collaboration experience
with her co-creators, Heather Cameron and Misty
Wensel. She has had a strong interest and committed
practice based in the Theravada lineage of Buddhist
teachings for 15 years. This consistently informs the
process, content and quality of her work, as an educator, dancer and choreographer. Her mindfulness
practice extends into the FadaDance studio, where
meditation, inquiry, skillful speech and deep listening
are a part of her classes with young dancers.
Contact/Composition
RIIKKA LAURILEHTO & MICAELA KÜHN
W
e are never alone. Whether we live in small villages or big cities we are always surrounded
by family, friends or strangers. We constantly share
space with other human beings and carve pathways
passing each other, in between each other, beside
somebody. Especially in a dance class we are constantly relating ourselves to space and those that
we are dancing with. But, how do we actually notice
people around us? How aware are we of the constant
changes around us, how do we react to impulses from
our surroundings? How do we dance together? How
can we help each other to see, to move or to feel?
The workshop “Contact/Composition” will take the
participants through different tasks and situations
around contact improvisation and instant composition. The exercises will vary from partnering to individual movement research and group composition
tasks. The goal is to explore diverse ways of being and
moving together in space and to sharpen the participants’ awareness to everything that is surrounding
them.
RIIKKA LAURILEHTO is halfway through her studies in
contemporary dance at the Danish National School
of Performing Arts. Her background in movement
before entering the program is in ballet, jazz dance,
contemporary dance and capoeira angola. Her greatest interest in dance has always been choreography
and composition and since entering the school in
Copenhagen she has greatly expanded her views and
knowledge in the field. She is especially fond of working with teenagers and children, and she has many
years of experience in organizing youth camps and
other events for teenagers in Finland. Beside her studies she is also involved in various other art projects, at
the moment she is working on a stage piece premiering at the Danish Royal Theater next autumn.
MICAELA KÜHN studied dance in her home country Chile,
as well as Cuba and Germany. After having worked
as a freelance dancer and performer, she is currently
doing the Post-graduate program Dance Partnership
in Copenhagen. Her dancing and teaching styles are
varied and dynamic as her background. She is interested in collaborating with different people involved
in creative processes, like children, people with disabilities or non-trained dancers. Age and experience
should not be a limitation but an inspiration to find
new forms of communication.
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T
Like food, movement, dance and play are needed in
children’s lives every day. How can we keep them fed,
the diet varied, the taste alluring? In this workshop
session Clare Battersby, aka FairyClare, one of New
Zealand’s leading children’s contemporary dance
teachers will share from the bounty of this creative
isle. What kind of children’s dance teacher are you?
Do you follow recipes exactly? Do you improvise with
ingredients? Do you have your favorite dishes or do
you try to make something different every time. If you
rely on microwave meals, this workshop is maybe not
for you. The key ingredients will be dance elements,
forms, structures, games and provocations blended
together for the participants to taste and then generate their own recipes and banquets back home.
Simple compositions and improvisations will reboot
the participant’s creativity and inspire them to value
what they already do. This workshop will refresh one’s
identity as a children’s dance educator.
CLARE BATTERSBY, Dip Tchg ECE; Graduate Diploma
Movement and Dance, University of Melbourne. She is
known across New Zealand for her expertise in young
children’s dance. She is also widely known as her alter
ego, FairyClare, developing shows for children about
nature, which she has performed in Botanic Gardens
around the world. She regularly presents at conferences in Australia and New Zealand and presented at
daCi in Finland in 1997. She teaches dance to children
in a range of settings in Auckland and trains teachers
from around New Zealand, previously being on staff
at the University of Auckland.
What is it that Moves Us? Dance Improvisation
PRISCILA LUIZA APARECIDA COSCARELLA is a dancer and per-
KIRSTIE SIMSON
cussionist of Carlkiss Dance -Contemporary Black
K
Cooking Up a Storm
CLARE BATTERSBY
T
his practical participatory and interactive teaching session is designed to resource dance teachers who work with young children (3-8 year olds).
irstie Simson draws from her knowledge of
contact improvisation, dance techniques, the
Alexander technique, aikido, meditation and her extensive experience of improvisation in performance.
Her work explores the huge potential of the body’s
response to the primal urge to move, inspired by the
energy released through human interaction, physical
challenge and a daring to go beyond inherent ideas
of limitation. There is deep inspiration and rigor in a
practice of improvisation that posits vulnerability at
its heart. Developing the skills to be able to care for,
engage, respect and respond to that state of vulnerability in oneself and others gives life to improvisation
87
KIRSTIE SIMSON (UK) has been a continuous explosion in
the contemporary dance scene, bringing audiences
into contact with the vitality of pure creation in moment after moment of virtuoso improvisation. Called
“a force of nature” by the New York Times, she is an
award-winning dancer and teacher who has “immeasurably enriched and expanded the boundaries
of New Dance” according to Time Out Magazine, London. She is renowned today as an excellent teacher, a
captivating performer and a leading light in the field
of dance improvisation. She is a Professor at the University of Illinois, and continues to teach and perform
all over the world.
Character Education & Dance: Reaching Beyond Technique to Develop Identity, Empathy
and Authentic Artistry
identity in dance. This continuous cycle brings improved self-knowing, increased empathy and enables
development of authentic artistry. In this lecture sharing, the framework is shared and the multifaceted
approach to dance theory and curriculum explained.
Activities and exemplars will be shared and time for
discussion and the exchange of ideas will be welcomed. Striving to create a more holistic dance classroom supports the soul inside each technical dancer. Let us shift our thinking about dance from just
physical technique and focus on how we can foster a
brighter, kinder dancer, citizen and human...together.
MIRANDA WICKETT is a graduate student in dance education at the University of North Carolina at Greensboro. She holds a BA in political science and a BA of
education in primary/junior/intermediate education
focusing on physical education and guidance counseling. She has taught at Western University in the
dance, music education, music performance and arts
management programs and Lake Superior State University in the dance minor program. She specializes
in dance education, movement for singers, character
development and rhythm’s role in dance training. She
has been dance director for The Canadian Operatic
Arts Academy since 2009.
MIRANDA WICKETT
I
Windows
magine a classroom that shapes future generations
of confident, engaged citizens with strong self-identities. The dance classroom is the perfect place to
develop 21st century skills like critical thinking, problem solving, creativity, collaboration, self-direction,
leadership and responsibility. Dance creates the
opportunity to discover personal identity through
physical, cognitive and social education; few other
subjects reach these realms simultaneously. Miranda
Wickett has designed a framework that melds dance
education with the development of self-awareness
and community involvement using methods derived
from a connected classroom (Belenky et al., 2006),
developmental theory (Dewey, 1897), student driven
content (Cone, 2007) and sound pedagogical progression (Bloom et al., 1956). The framework allows
students to cultivate personal values, realize authentic artistry and muster courage for self-expression.
The road-tested activities within the framework
enable self-discovery, build empathy and empower
change within the students and their community. This
supports the development of personal identity and
AMY MARKGRAF-JACOBSEN & ANGELA BANCHERO-KELLEHER
A
window can be defined as an opportunity to see
or understand something usually unseen. How
is it that our curiosity leads us through windows to
discovery and from discovery to understanding?
The process of twinning provides some answers.
Twinning creates new possibilities for collaboration
between people, and through dance, for developing
understanding about each other, our identities and
cultures. The current tension between the value of an
arts education within a system that promotes STEM
(science, technology, engineering and math) can be
addressed through twinning the core identities of the
arts and sciences. Contemporary Dance Ensemble,
the pre-professional dance company from Utah Valley University has created a 90 minute lecture/sharing
performance that explores the interchange between
dance and science as a means to develop critical
thinking skills in students as reflected in a deeper understanding of our human experience and the world
TUESDAY
that is powerful and transformative. This is the work
that Kirstie engenders through facilitated exercises,
open time for play and exploration, movement scores,
observations and discussion. Much of the work is experienced through partnering and connection with
others, balanced with solo time for processing and
reflection.
88
TUESDAY
in which we live. Using a lecture demonstration format, the dancer presenters will illustrate the process
through which dance and science create an interchange, a twinning. Presentation attendees of all ages
will see 3 different examples of the way dance and
the sciences contribute to produce new knowledge;
a lecture module built around the concepts of DNA,
a piece that explores our connection to the physical
environment through ritual, and a piece that investigates our reliance on water. Participation in a 45
min. movement experience and 15 min. question and
answer period will create an engaged learning opportunity to experience the twinning between dance and
the sciences. Look through the window.
AMY MARKGRAF-JACOBSEN, MFA, MA, is an Associate Professor, Utah Valley University. She began dancing
with Brigham Young University’s Children’s Creative
Dance Program. Her choreography has been honored
at numerous dance festivals and has been commissioned and toured throughout much of the world.
She is a dance educator, performer, and artist who is
interested in the many places dance can exist in the
world. She is a daCi USA board member-at-large. She
is currently the dance education program coordinator at UVU and co-artistic director of Contemporary
Dance Ensemble.
ANGELA BANCHERO-KELLEHER, MFA, is an Associate Professor of modern dance at Utah Valley University. She
has had a professional career spanning twenty years,
including 15 years with Repertory Dance Theater. Her
performance/teaching career has taken her to venues worldwide, including the La Bella Vita Arts dance
workshop in Italy for the last 4 years. She has presented her scholarly research internationally, co-publishing a paper in the International Journal of Arts in
Society. Her latest choreography, “Material Tokens of
the Freedom of Thought,” appeared on the ACDFA
gala concert in MT and will be performed by Repertory Dance Theater in 2015.
WEDNESDAY
TH
JULY 8 2015
Break
daCi General Council Meeting (the Lounge, 2nd floor of Dansehallerne)
Break
National meetings (a possibility for congress participants to meet in national groups,
venues will be announced)
Possibility to explore the City
Professional Performance: 360 degrees – The Blackest of White Lies /Uppercut Dance
Theater at Dansekapellet (tickets required).
"Battle & Jam" 19.30-22 outside Dansekapellet
8.15-8.30
8.30-9.30
9.30-10.00
10.00-11.00
11.00-11.15
11.15-12.45
12.45-18.30
18.30-19.30
&
20.00-21.00
Wednesday - 8th July 2015
WEDNESDAY
Professional Performance: M.E.N. / Edhem Jesenkovic at
Dansehallerne (tickets required)
Cultural Tours
90
THURSDAY
TH
JULY 9 2015
Break
Keynote: What Moves Us and Why? A Neurophysiological Investigation of Movement Perception Twinned with a Thirty-Five Year Exploration of Dance
8.30-9.30
9.30-10.00
10.00-11.00
Afro-Brazilian
Contemporary Dance Dance, then We Exist
(PD: Carlos Kiss &
Priscilla Coscarella)
Injury and Identity:
Breaking the
Negative Physical
and Mental Cycle
through Changing
our Attitude and
Implementing New
Teaching Tools
(paper: Evelien Maes)
The Identity of Dance
in Schools in the
Tension Field between
Art and Education (PD:
Anna Katrine Korning
& Ulla Gad)
Traditional Dances and
Creativity: Sharing and
Creating Together
(paper: Margarida
Moura)
Pain, Pleasure and
Performance:
Aspects of Embodied
Identity of Young
Dancers (paper:
Angela Pickard)
Movement Theater - A
Concept for Cultural
Education in Schools
(PD: Sabine Kaross &
Petra Plata)
80: Lynette Overby
81: Diana Timothy
Settings of Dance in
Recife-PE-Brazil:
Mapping Networking
in the Teaching of
Dance for Children
and Adolescents
(paper: Adriana
Gehres,)
The Dancerpreneur (PD:
Maja Bonde Holtze)
Fear and Power: A
Collaborative Dance
and Theater Project (PD:
Anna-Maria Vairio &
Laura Arala)
Advocating Culturally
Responsive Teaching
Practice for Indian
Classical Dance in
Australia (paper: Bindu
Rajendren)
Session 75
EMBODIMENT - Injury
and Pain (4.0.02)
11.30-13.00
Net of Multiple Identities:
How to Encourage
Dance Teachers into
Development of Their
Individual Dance
Practice (PD: Nina
Meško)
Session 80-81
separate section)
Session 79
EDUCATION Partnerships and
Networking (4.0.13)
Session 78 EDUCATION Politics and
Professionalism (4.0.32)
Session 77
EMPOWERMENT Dance and Theater
(4.0.10)
Session 76 EDUCATION Dance, Culture and
Diversity (4.0.24)
Break
11.00-11.30
Improvisation / Mark Schram Christensen & Kirstie Simson (Lundbeck Auditorium)
8.15-8.30
Thursday - 9th July 2015
Adult Program
THURSDAY
92
Twin Lab Sharing (Vesterbro Ny Skole)
Break
14.00-15.30
15.30-16.00
Embodied Poetic
Narrative as a
Curriculum Model
(interactive paper:
Kathryn Ricketts)
THURSDAY
Building Identity
through Dance: A Case
Study Examination of a
Dance Class for
Individuals with Special
Needs (paper: Nicole
Reinders, Pamela
Bryden & Paula
Fletcher)
Dance Workshops DH
95: Anna Mansbridge
96: Terry Goetz
The Art of
Collaboration (panel:
David SuttonAnderson, Avril
Anderson & Iris
Tomlinson)
Shaping Future
Directions for Dance
Education (panel: Ann
Kipling Brown, Susan
Koff, Jeff Meiners &
Charlotte Svendler
Nielsen)
The Development of
Identity in Teenage
Dancers through
Community
Engagement (paper:
Miriam Giguere)
Choreographing Identity:
Perspectives of
Adolescent Dance
Makers (interactive
paper: Barbara Bashaw)
Session 82
EMBODIMENT - From
Text to Body
(Aud.Syd)
14.00-15.30
100: Emma Redding &
Veronica Jobbins
101: Janine Strueli &
Michelle Groves
102: Mary Lynn Babcock
99: Jane Andrewartha
Cecilie Karnil
98: Marilyn Berrett &
97: Neva Kralj
Session 95-102
Dance Workshops and
separate section)
Session 86
EDUCATION Collaboration of
Professionals Across
the Arts (4.0.32)
Session 85 EDUCATION Curriculum around the
World (4.0.24)
Session 84
EMPOWERMENT Differently-abled Bodies
(4.0.10)
- Research into
Experiences (4.0.02)
Lunch
13.00-14.00
Adult Program
93
Performing Gender in
Dance Education:
Positioning through
Composition Tasks
(paper: Märtha Pastorek
Gripson)
Body Meets
Imagination
(interactive paper:
Mireia Serra)
How to Match Dance
and Assessment: An
Unlikely Pair? (paper:
Elisabete Monteiro)
The Use of Video as
Self-evaluation in
Dance Classes (paper:
Maria João Alves)
Educating Arts
Educators for Youth and
Community (PD:
Stephanie Burridge)
Extended classical ballet
with young people (PD:
Elisabet Sjöstedt
Edelholm)
Say Something: Dance
to Empower (PD:
Michelle Parkins)
The Collaborative
Break
YP Performances: Program C (see performance schedule and descriptions in separate section)
Break
17.45-18.30
18.30-20.00
20.00-20.30
20.30-22.00
Magruder)
Adolescent (PD: Ella
Identity and the
Dance of Discovery:
Session 107
EDUCATION - Learning
and Assessment
(4.0.13)
Session 106 EDUCATION
- Dance in Higher
Education (4.0.10)
Session 105
EMPOWERMENT Teaching Adolescents
(4.0.05)
Twin Lab Sharing (Vesterbro Ny Skole)
Making the Work 13 with
My Sons: A Practice-led
Choreographic Research
Process into Dance as a
Contemporary 'Rite of
Passage' (paper: Beth
Cassani)
Session 104
EMBODIMENT – Learning
Gender (4.0.02)
Session 103
EMBODIMENT - From
Body to Text (Aud.
Syd)
16.00-17.30
16.00-17.30
Adult Program
THURSDAY
117: Philip Channells
118: Sabine Kaross &
Petra Plata
119: Rachel Kimball &
Diana Timothy
Dance Workshops DH
116: Anna Mansbridge &
Terry Goetz
Session 116-119
Dance Workshops (see
separate section)
94
Meeting by Moving
Countries: Finland and
Denmark
Facilitators:
Anu Rajala-Erkut (FIN)
and Ellen Kilgaard (DK)
95: Anna Mansbridge
96: Terry Goetz
Lunch
Dance Workshops for
Young People (see
titles and venues on
separate page)
87: Carolyn Russell-
Smith
10.00-12.45
12.45-14.00
14.00-15.30
15.30-16.00
Program C (See the list
in separate section)
Twin Lab Sharings
Ages
Break
9.30-10.00
Break
Means
Jonsson & Maia
94: Vincent E.
93: Micaela Kühn
Eleni Pierides
THURSDAY
Countries: Denmark and
Brazil
Facilitator: Mark Philip
Mouritzen(DK)
Crash - a cultural
breakdown
91: Shelley Cushman
92: Fanny Dolinszky &
Childhood-Childgood
Countries: Netherlands
and Finland
Facilitators: Sonja
Pakalén (FIN) & Nele
Vandeneede (NL)
Priscila Coscarella
90: Carlos Kiss&
89: Luciana Veiga
Jimmie Huckins
88: Chara Huckins &
Performances
From 13.00 – 17.30
8.30-9.30
Twin Labs
8.15-8.30
Thursday - 9th July 2015
95
116: Anna Mansbridge &
Terry Goetz
108: Carolyn Russell-
Smith
Program C continues
rehearsals
Meeting by Moving
Break
18.30-20.00
20.00-20.30
20.30-22.00
Countries: Denmark and
Brazil
Facilitator: Mark Philip
Mouritzen(DK)
Crash - a cultural
breakdown
Break
115: Micaela Kühn
Reyes
Errboe & Sherwin
114: Signe Bach
Reyes
Marsh & Meg H.
113: Kyle Georgina
& Eleni Pierides
112: Fanny Dolenszky
Childhood-Childgood
Countries: Netherlands
and Finland
Facilitators: Sonja
Pakalén (FIN) & Nele
Vandeneede (NL)
Means
Countries: Finland and
Denmark
Facilitators:
Anu Rajala-Erkut (FIN)
and Ellen Kilgaard (DK)
Performances
From 13.00 – 17.30
Twin Lab Sharings
Jonsson & Maia
111: Vincent E.
110: Jana Shumway
Tina Curran
109: Frederik Curry &
Ages
Dance Workshops for
Young People (see
titles and venues on
separate page)
17.30-18.30
16.00-17.30
THURSDAY
96
Twinning through Movement
Diana Timothy
Shelley Cushman
Fanny Dolinszky & Eleni Pierides
Dancing in Pairs – Creativity and Improvisation: Adding
Color to Movement in Space
Walking in Another's Shoes
Class. room 2.0
Lean On Me
Play-Fight Contact Improvisation
89
90
91
92
93
94
THURSDAY
Vincent E. Jonsson & Maia Means
Micaela Kühn
Luciana Veiga
Curriculum
88
Chara Huckins & Jimmie Huckins
Carolyn Russell-Smith
How Can We Use Ring Games to Help Develop
87
Children?
Presenter(s)
Title
Session
Thursday - 9th July 14.00-15.30
81
Lynette Overby
Community Engagement and Dance - Designing and
80
Assessing Impactful Projects
Presenter(s)
Title
Session
Session 80-81: Lecture Sharings
Gymnastiksal 1
DH Studie 6
DH Studie 5
DH Studie 4
DH Studie 3
DH Studie 2
DH Studie 1
Location
NEXS - Herresalen
NEXS - Dansesalen
Location
14-18
8-13
14-18
14-18
14-18
8-13
8-13
8-13
Target group
All
All
Target group
97
Marilyn Berret & Cecilie Karnil
Jane Andrewartha
Teaching Dance Using the Power of Story Telling
Establishing a Safe and Comprehensive Movement
98
99
102
101
Learning
Merging Dance with Poetry through Collaborative
Dance Anatomy Case Study
Learners – Critical Perspectives and Exploration of a
Uncovering Issues of Identity in Dance Teachers and
as Dance Artists of the Future
Curriculum Enabling Young People to Develop Identity
Development of a Dynamic and Research- based
Basis for Technical Training
Mary Lynn Babcock
Janine Streuli & Michelle Groves
Emma Redding & Veronica
Jobbins
Neva Kralj
Harmony of Dance
97
100
Terry Goetz
96
Foundation in the Early Years of Dance Training as a
Anna Mansbridge
95
THURSDAY
NEXS – Aud. Syd
NEXS – Herresalen
NEXS – Dansesalen
NEXS – Idrætshallen
NEXS – OM-Hallen
NEXS – Karnapsalen
Gymnastiksal 2
All
All
All
Teachers
Teachers
Teachers
All
All
98
Kyle Georgina Marsh & Meg H.
Regan
Play-Fight Contact Improvisation
Class. room 2.0
21st Century Adolescent Dancer-Researchers: Building
111
112
113
Disability-Inclusive Dance Workshop: PERFECT
117
Beginners!
THURSDAY
Act and Reflect Movement Theater - Mermaids for
Processes
Sabine Kaross & Petra Plata
Philip Channells
Intergenerational Brain-Compatible Dance Workshop
116
118
Anna Mansbridge & Terry Goetz
Lean On Me
115
(im)PERFECTIONS - An Investigation Into the Creative
Micaela Kühn
Dance Foundations through Appreciation of Nature
Signe Bach Errboe & Sherwin
Reyes
Vincent E. Jonsson & Maia Means
114
to Foster Student Identity
Inquiry Habits and Skills Using Project Based Learning
Fanny Dolinszky & Eleni Pierides
Twinning Movement with the Properties of Light
110
Jana Shumway
Me, You, Us: Cultivating Global Identities Using LMA &
LOD
109
Frederik Curry & Tina Curran
Carolyn Russell-Smith
108
Children?
Presenter(s)
Title
Session
Session 108-119: Dance Workshops
18 +
Teachers
NEXS – OM-Hallen
NEXS – Herresalen
All
14-18
8-13
14-18
14-18
14-18
8-13
8-13
8-13
Target group
Gymnastiksal 2
Gymnastiksal 1
DH Studie 6
DH Studie 5
DH Studie 4
DH Studie 3
DH Studie 2
DH Studie 1
Location
99
119
Side by Side Twinning: Dance and the Classroom
Curriculum; Math and Visual Art
Rachel Kimball & Diana Timothy
THURSDAY
NEXS – Dansesalen
Teachers
100
101
ANGELA PICKARD
T
his paper examines some aspects of the social
world of ballet. Perceptions, experiences and
meanings in relation to an ideal ballet body, pain,
pleasure and how these relate to the development of
identity, from the perspective of young ballet dancers
are explored. Pierre Bourdieu’s (1980; 1984) critique
of the perpetuating social order and theoretical concepts of habitus and capital are applied as a way of
understanding the social world, as well as to examine
the dancers’ habitus. Some of the experiences of
young dancers, during their process of ‘becoming’ a
dancer, as they engage in non-residential specialist
schooling, are shared through qualitative findings
from individual, semi-structured interviews. It is argued that the desire to become a performing dancer
develops a particular belief in the body. Dominant
beliefs about the body are conveyed during the
structures of schooling where an acceptance of some
pain, the need for resilience and to view the body as
a project is assumed. Performer power, community cohesion and identity as a dancer are displayed
through an embodiment of a classical decorum and
in actively silencing the material body in pain. Alongside the pain there are also highly significant and
memorable felt bodily pleasures which have physical and psychological affect. This research provides
greater insights into the lives, identities and aspects
of embodiment of some young dancers. Implications
for practice include the need for teachers to be mindful of the structures of schooling and young dancers’
perceptions of what is valued in the social world of
ballet.
ANGELA PICKARD, Dr. has performed, created, taught and
presented dance locally, regionally and internationally in her roles as dancer, choreographer, teacher,
advisor and academic. Her research interests place
the corporeal body as central to examination. She is
particularly concerned with the relationship between
the body and identity in dance and how social worlds
shape human bodies. She is Director for Teaching
and Learning in the School of Music and Performing
Arts and Subject Lead for dance at Canterbury Christ
Church University, UK. She is also Editor in Chief for
the social citation indexed journal Research in Dance
Education.
Injury and Identity: Breaking the Negative
Physical and Mental Cycle through Changing
our Attitude and Implementing New Teaching
Tools
EVELIEN MAES
T
he way we deal with injuries is often not effective
nor supportive. The consequences of that are
underestimated, and it is time for dance teachers to
set a new example. When talking and learning about
dance, so much is focused on the upside: the lovely
movements, the wonderful expression of emotions,
the exhilarating energy and the happiness it causes
to both dancer and spectator. Nevertheless, dance is
physical, and sooner or later every dancer, teacher
or student - amateur or professional - has to deal
with injuries, where not only the body is damaged,
but also the dancer’s identity and mental strength.
Physical and mental states are inseparable, and by
neglecting the mental damage the resultant negative
cycle guarantees a slow and difficult recovery. An
effective recovery is what everyone desires, and although teachers play a major role, they unfortunately
often lack the skills to empower and coach an injured
student or colleague in order to guide them through
a difficult vulnerable process. Changes can be made
through both action and communication, as demonstrated by the sports world. Learning from their methods and implementing their knowledge and approach
can assist in creating a healthier way to deal with
injury and maximize recovery. In becoming conscious
of unhelpful attitudes and pitfalls to avoid, we can
ensure that a period of injury that usually causes
depression is transformed into a period of learning
and growth, physically and mentally, by implementing
some simple teaching tools.
EVELIEN MAES graduated in 2013 with a BA in dance and
education in the Netherlands (Tilburg, Fontys Hogeschool voor de Kunsten), and shortly after became a
boot-camp trainer. Drawing on her experience, she is
researching the connections between dance, sports,
and mental empowerment, to eventually accomplish
a holistic personal development in students. Through
critical reflection and open discussions she hopes to
bring to light often hidden concerns and use her findings to develop products to share her new knowledge
and to influence little changes in the world of dance.
THURSDAY
Pain, Pleasure and Performance: Aspects of
Embodied Identity of Young Dancers
102
Advocating Culturally Responsive Teaching
Practice for Indian Classical Dance in Australia
experience in teaching Indian classical and improvised dances based on Indian classical dance to children, privately and through dance programs offered
at schools, art galleries and museums.
BINDU RAJENDREN
THURSDAY
S
hifts and transformations in teaching cultural
dance forms are inevitable results of the demands
of teaching students living outside their traditional
place and context of learning. Educational studies
have long supported that acknowledging cultural
diversity is pivotal in teaching Indian classical dance
in multicultural settings to elevate student comprehension and enhance their learning and understanding (Loquet & Ranganathan, 2010; Melchior, 2011;
Poursabahian, 2012). This requires teachers to be conscious of the dichotomous contextual space in which
learning happens, and be inclusive and cognizant of
the contextual change to allow a shift in teaching activities, while acknowledging that a diverse teaching
context does not necessitate distancing from, or diluting, knowledge content (Stodolsky & Grossman citied
in Joseph, 2013). A transcultural environment creates
opportunities for teachers to shape their teaching
practices through their own specific embodiments of
identity that are influenced by multicultural contextual spheres, and color their teaching experiences and
perspectives (Slimbach, 2005). Transcultural teaching
approaches can prompt young people to engage in
the learning process through dialogues and debates
while experiencing and negotiating their transcultural
identities situated in a culturally responsive learning
environment. This paper will discuss the value of advocating culturally responsive teaching practices for
Indian classical dance in an Australian South Asian
diasporic setting through the frame of three case
studies. In particular, the paper will focus on how
transcultural aspects may influence the teaching of
Indian classical dance through affiliations with particular cultural identities, while negotiating the adaptations needed within a diasporic context.
BINDU RAJENDREN is a dancer and dance educator and
is currently pursuing her PhD in dance studies from
Queensland University of Technology, Brisbane, Australia. Her research focuses on how Indian classical
dance teachers engage with their teaching practices
when the interface for teaching and learning occurs
between two socio-cultural contexts, namely India
and Australia. She is a trained Bharatanatyam and
Mohiniyattam dancer, and also has over a decade of
Traditional Dances and Creativity: Sharing
and Creating Together
MARGARIDA MOURA
T
he concept that traditional choreography is a
space of composition that works on the specific
materials of traditional culture enables dramaturgies
and narratives related to the context, nature and
function of traditional dances. One obtains thereby
new processes and innovative and creative results
through the use and combination of traditional elements and motifs (songs, text, voice, music, costumes,
spaces, rhythms, movements, gestures, relationships,
among others). In this context we reflect: How can
we explore, experience and promote the creativity
of children in educational, artistic and relational dimensions using traditional dances? What creative
processes are possible? What point(s) of departure
emerge? Which creativity(ies) do traditional dances
explore and promote? For our methodological design
we used descriptive and content analysis as well as
the documentary reflection and good practices arising from our artistic and pedagogical intervention
with children aged 6 to 10 years of age in Portuguese
public schools.
Main conclusions: a) the creativity through traditional
dances allows one to discover and invent in the choreographic and performative present so that each
protagonist, in a creative process of mutual learning and sharing, brings, receives, and renews; b) the
children present themselves as co-responsible and
co-authors of creative products achieved. Together,
the children create a new artistic knowledge; c) new
arrangements (themes, ideas and proposals), pathways and orchestrations (relational, rhythmic, expressive, performative and ethno choreographic) happen;
d) the creative language intersects traditional and
contemporary composing, giving rise to new and dynamic aesthetics and ethno artistic configurations.
MARGARIDA MOURA holds a PhD in Portuguese traditional
dance and is an author of an ethno-choreographic
writing model of Portuguese traditional dance. She is
an auxiliary Professor in the Faculty of Human Kinetics, University of Lisbon (FHK-UL) where she teaches
Portuguese folkdances, techniques of expression
103
pher for Carlkiss Dance -Contemporary Black Dance
Company.
PRISCILA LUIZA APARECIDA COSCARELLA is a dancer and percussionist of Carlkiss Dance - Contemporary Black
at Faculty UNIARARAS, and works as an educator of
the state government of São Paulo.
Afro-Brazilian Contemporary Dance - Dance,
then We Exist
Fear and Power: A Collaborative Dance and
Theater Project
T
ANNA-MARIA VAIRIO & LAURA ARALA
he aim of this presentation is to make visible
the difficulties faced by Afro-Brazilian dancers
in the arts in Brazil. Brazil is designated as a racial
democracy with cultural diversity, however, the experience is completely different. In reality, the black
communities endure oppression, segregation and
invisibility. The situation is so serious, that laws have
been created to encourage and protect the Afro-Brazilian culture - laws that have been circumvented by
a group of whites. The Afro-Brazilian dance produced
by Afro-Brazilian groups has become increasingly
rare. A common practice includes the infiltration of
white college students in black communities where
they appropriate the music and dance. The students
then market the Afro-Brazilian art. This phenomenon
has occurred with capoeira and samba. The dances
have lost the Afro-Brazilian artistic features, at least
in the State of São Paulo. For example, the samba was
removed from the black community. The Samba was
a great source of education and resistance. Dance in
Brazil, is a complete act of being, thinking, philosophizing and living. Without the dance and the music,
the population of Brazil is without identity. The black
dance of Brazil should be shared and not owned. It is
necessary to remember the important contribution of
choreographers and dancers of contemporary Brazilian dance.
specialist in traditional Afro-Brazilian dance and coordinator of “Dance - Education - Self-Esteem - Pro
Reitoria de Extensão,” UNICAMP, and the project “Portal para a Cidadania,” National Secretariat of Human
Rights, Brazil. He founded the DCE PUC Dance Group
and DCE UNICAMP Dance Group. He is a choreogra-
I
n September 2013 a collaborative project in dance
and theater took place consisting of 16 young students, 9-10 year olds, from Vantaa Dance Institute.
During this project, the students took contemporary
dance lessons of 90 minutes per week (in the autumn
term for 16 weeks and in the spring term for 20 weeks).
In addition, they took theater lessons of 60 minutes
per week (ten times in the autumn term and ten times
in the spring term). This culminated in a joint performance based on the students’ ideas and proposals.
In the next teaching periods the performance aspect
will be further refined and new exercises created to
foster a deeper collaboration between dance and
theater, with the aim to give the students a feeling of
a success and build their self-confidence, team spirit
and expressive ability. This presentation will share
the process of refinement that occurred in building
to the performance, how the project was evaluated
and what can be learned and extended into future
projects.
ANNA-MARIA VAIRIO graduated from Kuopio Conservatory in 1996, and since then has been working as a
dance teacher and choreographer. She has a degree
in dance pedagogy and MA in dance (2005) and since
2011 she has been Vice Principal of Vantaa Dance
Institute. She is interested in the power of expression
in dance, what meanings movement can impart and
its effects, and maintaining a positive teaching environment.
LAURA ARALA has a degree in theater pedagogy and a
MA in theater (2012), working as a theater teacher
since 2007, as well as a dance teacher and choreographer. Her pedagogical approach is based on dialogical communication and a belief in the arts supporting
THURSDAY
and communication, sociocultural animation, and
methodology of dance teaching. She is responsible
for several studies at the Master’s and doctoral levels
in performance art / dance and dance in education
as well as being coordinator of the undergraduate
dance courses at the FHK-UL. She is a researcher in
INET-MD, Institute of Ethnomusicology: Music and
Dance Research Center, Portugal.
104
the growth and well-being of students. Working at
Vantaa Dance Institute since 2007, she has also been
responsible for the theater education in Lumo High
School since August 2012.
Movement Theater - A Concept for Cultural
Education in Schools
SABINE KAROSS & PETRA PLATA
THURSDAY
I
n cultural education projects children will usually be
introduced to only one of the performing arts of their
own culture in schools, due to lack of opportunity or
financial short cuts; either music, dance, or theater. It
would be desirable to familiarize all children with all
three art forms especially since learning and building
one’s own identity is a holistic process with the starting point in movement and play, which is integral to
the developmental process of all individuals as well as
all three arts. In the 1950s a multidisciplinary concept,
later called ‘movement theater’ was born at the German Sport University Cologne. It comprised different
performing arts activities such as playing and acting,
dancing, and making music. Its value lies in the use of
a method called ’structured improvisation’, where the
emphasis can be placed on one, two or all three ways
of expressing your ideas (and yourself) through art
that fosters the development of individual creativity,
identity, and skills. Research indicates that children in
different age groups gain widely from this approach
regarding different aspects of development, such as
creativity and, self-confidence. Hence, with movement
theater, we not only twin but triple dance with the
performing arts to enrich developmental processes
such as building identity. This is done with a twist
since you will fully understand this concept only when
you are immersed with all your senses. This presentation is therefore a tri-alogue of all three arts and also
twins science with art.
SABINE KAROSS received a Fulbright Scholarship to study
at Florida State University, Tallahassee (1985-1986)
and in 1991 graduated from the German Sport University Cologne in sport sciences (dance, gymnastics,
volleyball). In 1991 she was employed as an Assistant
Lecturer at German Sport University Cologne and
from 1991-1997 as a teaching and research assistant
at the University of Kassel. Since 1997 she has been an
academic staff member at the University of Education, Freiburg in creative dance, gymnastics, interdisciplinary projects, movement and training. Since 1988
she has published on a variety of topics in German
scientific journals and books.
PETRA PLATA graduated from the German Sport University, Cologne in 1991 in sport sciences (movement
theater and dance) and in 1996 was awarded a
degree in theatrical pedagogy. Since 1994 she has
lectured at an advanced training level in different
institutions as well as in public schools and universities (such as for the Artists in Schools’ Program).
From 1996 to 1998 she was a research employee at
the University Koblenz-Landau and since 2000 she
has been an academic staff member at the University
of Education Freiburg in interdisciplinary projects,
dance and movement theater. She has also worked as
a free-lance actress (1985-2000) in puppetry, masque,
and theater productions.
The Dancerpreneur
MAJA HOLTZE
T
his presentation examines the entrepreneurial
processes in which artists engage in order to understand and pinpoint why, in many cases, it is difficult for an artist to call him/herself an entrepreneur.
The modern entrepreneur possesses the ability to
think effectually. Imagining new ends sets her mindset
apart from traditional causal rationality, which imagines a pre-determined goal and sets out to arrive
there - preferably in the cheapest, most efficient way.
This ‘effectual reasoner’ sees deviation from the path
as a norm, as opposed to a mistake. It is in constant
interaction with, not submission to, the surroundings,
that her dreams materialize. It has taken some time to
arrive at this present understanding of the entrepreneur, who is inherently creative and able to challenge
the traditional market in pursuit of new ends. The
traditional entrepreneurial features (managerial and
strategic thinking) still apply to them, and strengthen their viability. The dancerpreneur borrows her
characteristics from the work of the artists. They too
challenge their surroundings, create new work, modify
existing cultural products, and collaborate with other
persons (artists or not) to form interdependent partnerships. Yet, when it comes to artists adapting ‘practical’ entrepreneurial competences in order to stay
viable there seems to be a biased conception of what
that entails: selling out, submitting to market rules,
having to censor your work in order to receive finan-
105
cial support, and abandoning ethical - and almost
worse, artistic beliefs. Does this have a connection to
their self-perceived identity?
learning process and find their own specific position
within contemporary dance culture.
hagen studying a Master of Arts in Modern Culture.
After undergoing a traineeship at the Danish National
School of Performing Arts where the embedment of
entrepreneurship teaching was examined, an interest
in the artist as entrepreneur arose. Furthermore, the
presenter’s long time affiliation with the Danish urban
dance environment and Dansekapellet, a cultural
activity house with a focus on community dance projects, serve as platforms for further investigation of
dance/the dancer’s position in society and within the
performing arts area.
Net of Multiple Identities: How to Encourage
Dance Teachers into Development of Their Individual Dance Practice
NINA MEŠKO
J
SKD (Republic of Slovenia Public Fund for Cultural Activities) is an institution covering all areas
of youth culture and art and has it’s headquarter in
Ljubljana with 59 branch offices all over Slovenia. This
network seeks to stimulate the development of Slovenian youth art and has from 1977 provided a constant
influx of young dancers and is, according to the number of participants, more massive than would first
appear. Furthermore it is one of the strategic foundations for Slovenian contemporary dance practice of
the past three decades. One of JSKD’s programs is a
pyramid selection process, which fosters possibilities
for presenting and sharing work, and encourages
the process of ongoing learning. The most important
part of this process is conversation after the dance
event with the purpose of developing new forms of
learning and communication, where observation
and feedback are an integral part of the teaching/
creative process. This creates space for dialogue as a
constructive conversation, fosters curiosity, emphatic
listening, questioning and exchange of methods, while
strengthening compassion, support and a sense of a
community with multiple identities. The idea is to encourage creativity and create an educational format
which directly addresses dance teachers and encourages them to think, discover, and act in a responsible
way. Such an approach focuses on self-activation of
participants so they seek their own direction in this
and dance teacher for more than 15 years, gaining
her dance education at numerous workshops both at
home and abroad. She spent a year in New York studying at Movement Research, Dance Space and Merce
Cunningham Studio, presenting works at Judson
Church, Joyce, Soho and Dixon Place. She is the recipient of two major international residential scholarships: ArtsLink (NY) and Tanzquarter (Austria). For the
last seven years she has worked as Head of the Dance
Department at the Public Fund for Cultural Activities,
influencing the development of contemporary dance
pedagogy in Slovenia.
Settings of Dance in Recife-PE-Brazil: Mapping
Networking in the Teaching of Dance for Children and Adolescents
ADRIANA DE FARIA GEHRES
T
he teaching of dance in Recife-PE-Brazil happens
in different places and times. Social projects,
dance schools, dance companies, as well as the primary/secondary schools and carnival clubs have
been responsible for this social activity. In this presentation the focus is research about the networking
identity of the dance teaching field. The aim of the
study was to describe this field as a networking. For
the description of the settings, we identified dual relations (between two people) were identified in large
scale, that make up the networking of dance. First it
will be presented how the networking is built in primary/secondary schools, and its close links to the
carnival clubs of the city. Then it will be shown how
the networking is constructed by dance schools and
dance companies. To conclude the impact of social
projects will be analyzed. Observing this field of social
intervention, it has been identified that this training,
currently, it is not in isolation, but rather in the form of
networking that are interwoven and ring through the
professionals and students who pass through different landscapes. It is proposed that this is the identity
of the dance teaching field in contemporary societies.
Developed as a survey that covered over 80 institutions and localized around 200 professionals, this
new understanding of the dance teaching identity will
THURSDAY
MAJA HOLTZE is a student at the University of Copen-
106
contribute to culture and educational policies in the
sense of strengthening the area.
ADRIANA DE FARIA GEHRES is a Professor at the University
of Pernambuco, Dr. in human kinetics from FMH/UTL,
Lisbon-Portugal.
The Identity of Dance in Schools in the Tension
Field between Art and Education
ULLA GAD (MA) is a youth Dance Consultant at Dansehallerne, Aarhus Department. Since 2000, she has
been part of a fruitful development of the youth
dance field in Denmark. She is working at many levels:
strategically, as a project developer, project manager
and facilitator, to ensure children and young people’s
meeting with dance as an art form and a means of
aesthetical expression, with the main focus on dance
in schools.
ANNA KATRINE KORNING & ULLA GAD
THURSDAY
B
y working with dance in schools, Dansehallerne
wishes to create new spaces for learning, where
pupils aesthetically express themselves as part of a
community and to put emphasis on the aesthetic dimension of movement. At the moment in Denmark, as
a consequence of a reform of the public schools, there
is a momentum for partnerships between schools and
external partners such as cultural institutions. At the
same time, in order for cultural activities to pass the
school gates, it is more important than ever that the
activities fit explicitly into the school curriculum. We,
as a cultural institution, wish to insist on an artistic
identity for dance, at the same time as we wish a
place for dance within the school system. In order to
get inside the school, we have to speak the ‘language
of the curriculum’ – but how does this affect the identity of dance? We move in the tension field between
art and education. How can we create a joint ‘third
space’? In order to investigate this ‘third space’ in
the project “Take Hold of the Dance”, Dansehallerne
among other issues make an effort to involve the artists at an early point, facilitate peer reflection during
the project, and put emphasis on the collaboration
between dance artist and schoolteacher.
ANNA KATRINE KORNING (MA) is a youth Dance Consultant at Dansehallerne - the national center for dance
as an art form in Denmark. She has formerly worked
as a contemporary dancer and dance teacher for
many years. As a Dance Consultant, her jobs revolve
mainly around the strategic development of the
field of dance among children and young people in
Dansehallerne. This incorporates the responsibility for
introducing children and young people to dance as
an activity and artistic experience, particularly with
focus being on schools. In this regard she is responsible for project management and the facilitation of
processes.
Community Engagement and Dance - Designing and Assessing Impactful Projects
LYNNETTE OVERBY
D
ance educators who work in a variety of settings
from pre-school, to private schools of dance, K-12
settings and higher education, have extended their
reach into the community through various routes
including teaching, choreography, research and
service. This is a reciprocal process, as the educator
gains knowledge and support for dance, while community members gain dance skills and appreciation.
However, not all community engagement projects are
designed to be mutually beneficial and scholarly. The
purpose of this presentation is to share with participants, a method of developing impactful and scholarly community engagement projects. The process
provided in the lecture/sharing is based on information included in the book Public Scholarship in Dance
forthcoming from Human Kinetics Publishers (Overby,
In Press). The presentation will begin with a brief history of community engagement in dance, followed by
specific teaching, choreography, research and service
examples. The second portion of the lecture/sharing
will provide opportunities for the participants to design community engagement projects using Kolb’s
theory of experiential learning (Kolb, 1984). They will
also assess their projects by using the “public scholarship in dance quadrant” (Overby, 2012), a chart that
distinguishes between low to high scholarship and
low to high engagement. By the conclusion of the
lecture/sharing, each participant will have a complete
draft of a scholarly community engagement project.
Participants should bring specific project ideas in
teaching, research, service and/or choreography to
the session.
LYNNETTE OVERBY, PhD is a Professor of theater and
dance at the University of Delaware. She is the author
107
or co-author of over 40 publications including eight
books. Her honors include the 2000 National Dance
Association Scholar/Artist, and the 2004 Leadership
Award from the National Dance Education Organization. She is a strong believer in interdisciplinary
education and community engagement. A daCi International at-large board member, she is the archivist
for the organization. She is currently collaborating
with literary historian P. Gabrielle Foreman on a long
term “Performing African American History” research
project.
Twinning Vignettes: Exploring Personal and
Social Identities
DIANA TIMOTHY
Embodied Poetic Narrative as a Curriculum
Model
KATHRYN RICKETTS
T
his performative presentation explores the connections to autobiographical and embodied
forms of inquiry excavating and expressing stories
within our lives. Ricketts integrates arts-based methods of Embodied Poetic Narrative (EPN), to construct
a shared pedagogical space rich in the details of our
shared lives through a triangulation of body, story,
and object in creative and shared play. With these
imaginative explorations, Ricketts invites the body’s
centre of gravity to shift and thereby provoke the axis
of knowing to be disrupted. This process results in
lived experiences re-interpreted, re-storied, and then
re-imagined with others. Central to this work is the
relationship to the personal and universal, private and
public, and how we collectively utter one another’s
stories. Questions which may arise are, if I am a museum of lived experiences what are my artifacts? What
is embodied literacy in the curriculum of the world?
How can co-authoring personal stories cultivate compassion within a community of practice and further a
global community? This presentation will invite participants into playful interactions exploring their own
embodied narratives. EPN is a tool to create powerful,
dynamic pedagogic environments whereby forgotten
or suppressed memories, can activate personal agency and self politicized action towards transformative
learning.
KATHRYN RICKETTS ran Ricketts Dance Co in Copenhagen between 1997 and 2007. She completed her
Masters at the University of British Columbia. Her
Doctoral degree at Simon Fraser University furthered
THURSDAY
T
his lecture sharing project will explore the dancers’ personal and social identities through movement and creative writing, while using technology as
an avenue for building artistic cross-cultural relationships.
Leading up to the daCi congress, faculty and students from the Children’s Dance Theater will ‘twin’ to
create choreographic ideas in collaboration with a
participating dance group from a different country.
Dialogue will be initiated by asking the dancers to
think about the following personal statements: I am a
person who… I am afraid of… I think it is important to…
I hope to become… Dancers will also share ideas that
encapsulate their social culture, and how interactions
with others influence their perspectives, behavior
and artistic language. Dancers from both groups will
create and share movement sequences via Skype or
Face Time. Through this back and forth process, a
series of vignettes will be created based on the identities expressed. This project will focus on the following
questions: How do we approach a new artistic relationship with someone from another culture? How is
the creative process affected by technology and the
absence of in-person contact between twinning partners? Will the experience shift our personal and social
identities? Students will take on a leadership role in
the creation of choreography with faculty guidance,
and they will be asked to journal and video throughout the experience. The lecture sharing will include
the presentation of the Twinning Vignettes and a
discussion about the process.
108
this research into areas of literacy, embodiment and
cultural studies with a method she coined Embodied
Poetic Narrative. Recently an associate member of
the Faculty of Education and Faculty member in the
Teacher Education Department at the University of
Fraser Valley, she is now an Assistant Professor at the
University of Regina with her focus in dance in the
arts education area of the Faculty of Education.
Summer Dance Conservatory. She is PK-12 certified
in dance in NY and NJ and worked in multiple school
contexts across NYC before founding the dance
program at PS 295 in Brooklyn. She serves on the
writing team for the new NCCAS dance standards, is
the 2003 recipient of the NDEO Emerging Visionary
Award and serves on the board of DanceNJ. She is
an alumna of SUNY Brockport, the Laban/Bartenieff
Institute and Columbia University.
Choreographing Identity: Perspectives of Adolescent Dance Makers
BARBARA BASHAW
The Development of Identity in Teenage Dancers through Community Engagement
MIRIAM GIGUERE
THURSDAY
I
n 1940 Margaret H’Doubler outlined a theory of
dance development in her seminal text, Dance, A
Creative Art Experience. This remains one of the few
U.S. texts that acknowledge the occurrence of developmental shifts as choreographers mature. While
literature on teaching choreography ranges from
creative dance books to college level texts, it rarely
addresses how human development influences the
choreographic process. Dance educators meanwhile
encounter an array of questions and issues: should I
let students use pop music? Why do students want to
mash styles together? Why is the ending the hardest
part for students to make? This interactive paper is
based on the findings from an ethno-phenomenological study of 22 adolescent choreographers between
the ages of 10 and 18 years old (Bashaw, 2011). Results
showed that while some of H’Doubler’s theories were
on target, this could be expanded upon given contemporary resources in developmental and cognitive
psychology. Three phases of choreographic development were identified, demonstrating that shifts in
identity formation are a major factor to be considered
when teaching and facilitating choreography. The
paper aims to present the perspectives of adolescent
dance makers so as to engender understanding of
how and why adolescents make choreography and
how this compares to adult interests for our adolescent students. Participants will engage in dialogue
groups, gentle movement activity and an inquiry process. An outline of the research findings will be shared
in a visual presentation with implications for facilitating the work of adolescent choreographers.
BARBARA BASHAW, Ed.D., CMA is the Graduate Director of
dance education and teacher certification at Rutgers
University and the Director of the Rutgers Pre-College
T
his paper looks at the impact of community engagement through dance on the development
of identity in late teen dancers. The research investigates dancers from ages 14-21, both private studio
trained dancers, and dancers in an undergraduate
dance program, who volunteer on an ongoing basis
with students in community settings. The community settings include teaching dance and developing
choreography with low-income teens in an urban
community center in Philadelphia, and a wheelchair
dance class at a residential school for 14-21 year olds
with cerebral palsy. The data under analysis includes
interviews, observations and surveys of 25 dancers
who each volunteered more than 40 hours with a
community population in teaching dance, developing
choreography, or performing alongside youth in an
urban setting. Four different projects in particular
are examined. The first two are weekly dance classes
that result in a performance between able-bodied
dancers and wheelchair bound teens. One group of
dancers partnering the wheelchair students are high
school students from a local private pre-professional
training studio, and the second are dance majors at
a local university. The second two projects analyzed
take place at an urban community center. One group
of dancers taught technique classes as an after
school activity, the second developed choreography
with local teens. Data analysis is still ongoing, but the
preliminary results speak to four areas of impact:
1) career choice, 2) definitions of dance, 3) views of
themselves as agents of change and 4) development
of empathy.
MIRIAM GIGUERE holds a BA (psychology) and MS (education) from the University of Pennsylvania and a PhD
109
Building Identity through Dance: A Case Study
Examination of a Dance Class for Individuals
with Special Needs
NICOLE REINDERS, PAMELA BRYDEN & PAULA FLETCHER
D
ance is both an art and a form of physical activity that can be adapted to suit participants
of any ability, including those with special needs. It is
estimated that 4% of Canadian children between the
ages of 4 and 15 are affected by a disability (Statistics Canada, 2008). Research has shown that dance
improves psychological and physiological function
(Frazer, Beattie, Redding, Quin & Butler, 2007), as
well as social skills and relationship building (Lobo
& Winsler, 2006) in typically-developing individuals;
however, there is little research about the benefits of
recreational dance for individuals with special needs.
The purpose of this study was to explore the lived
experience of a 21-year-old with Down’s syndrome
as he participated in a recreational dance program
specifically designed for children and young adults
with special needs. The theoretical orientation of phenomenology (Patton, 2002) was used to explore Luke’s
lived experience from his own perspective, as well as
the perspectives of his parents and dance instructor. Participants completed two interviews with the
principle investigator, one before and one after Luke
took part in the six week dance session. Four salient
themes emerged upon analysis of the data, which
were (1) Luke at dance, (2) Luke at home, (3) creating
the dance program, and (4) Becoming a dancer; however, only the fourth theme will be discussed in this
presentation. Overall, participants agreed that the
dance program was a fun and enjoyable activity that
allowed Luke to build relationships, gain confidence,
and learn new dance steps.
of Kinesiology and Physical Education with an under-
graduate degree in health science. Her primary area
PAMELA BRYDEN, Dr. is a full Professor in the Department
of Kinesiology and Physical Education, with a background in psychology. Her primary research interests
are the cognitive, perceptual, and motor determinants of behavior in normal and clinical populations
across the lifespan, and in particular examining the
mechanisms underlying lateral dominance.
PAULA FLETCHER, Dr. is a full Professor in the Department
of Kinesiology and Physical Education, with a background in health & gerontology. Her primary research
interest involves the examination of the lived experiences of individuals faced with a chronic illness and/
or disability. She also studies the impact illness and/or
disability has on the family unit.
Shaping Future Directions for Dance Education
ANN KIPLING BROWN, SUSAN KOFF, JEFF MEINERS & CHARLOTTE
SVENDLER NIELSEN
T
he relationship between curriculum development
and the teacher’s practice is often diminished
through political and cultural agendas as well as
changing trends in teacher education and students’
interests and experiences in dance. The ongoing research and forum presentations by Dance and the
Child International (daCi) colleagues on international
curriculum developments have identified that many
countries have developed meaningful dance curricula that reveal that identity development is closely
linked to learning and education. Unfortunately, the
implementation of those curricula have been impeded by many barriers, such as the lack of respect and
understanding of the role of dance education for all
young people; the adequate training for dance artists,
specialist and generalist teachers; and a clear set of
standards for dance education. It is evident that the
need for advocacy and collaboration is essential for
the maintenance and implementation of dance curricula in our schools. In this presentation ideas and
successes may provide a platform from which to support and guide dance experiences for young people.
THURSDAY
(dance) from Temple University. She currently directs
the Dance Program at Drexel University. Her research
on children’s dance and creative process has been
published in Arts Education Policy Review, Journal of
Dance Education, Selected Dance Research 6, Arts &
Learning Journal and Research in Dance Education,
among others. She received the 2009 AERA Arts and
Learning SIG national dissertation award and was the
keynote speaker for the Dance Education Conference
2010 in Singapore. She is the author of the textbook
Beginning Modern Dance (2013).
110
Firstly, an outline of the results of a survey that was
sent to dance educators in selected countries will be
provided, offering insight into how dance is experienced and about the deeper personal meanings for
people staying involved in dance. Secondly, identifying the major learning outcomes of the dance curricula and relating them to what young people have said
about their experiences may convey what is needed
in future curricula development for both young students and teacher education.
and her teaching areas are dance and the educational science of movement. In 2013-2014 she was
contracted as researcher for the Danish Ministry of
Education’s research project “Learning in Movement.”
She is co-editor of Dance Education around the World
(Routledge, 2015). She is an executive board member
of daCi, chair of the research committee of the daCi
& World Dance Alliance Global Summit 2012 and program chair of daCi 2015.
ANN KIPLING BROWN, PhD is Professor Emerita in dance
THURSDAY
education from the Arts Education Program in the
Faculty of Education at the University of Regina. She
works extensively with children, youth and adults and
leads classes in technique, composition, and notation.
Her research and publications focus on dance pedagogy, the integration of notation in dance programs,
the application of technology in dance education, and
the role of dance in the child’s and adult’s lived world.
SUSAN R. KOFF is a clinical Associate Professor and
Director of the Dance Education Program in the
Steinhardt School at New York University. She previously was at Teachers College Columbia University,
Louisiana State University in Baton Rouge, University
of Denver, Pennsylvania State University, and the Jerusalem Rubin Academy of Music and Dance in Israel.
Her academic and service activities are in the area
of dance education, within the United States and in
the international arena. She currently serves as the
secretary of the board for Dance and the Child International (daCi).
JEFF MEINERS works at the University of South Australia.
He has taught extensively in schools, universities, as
leader of a dance education team in London, and with
Ausdance to support dance development. He works
with the National Advocates for Arts Education, government and education departments plus overseas
projects and as movement director for children’s
theater. He was the Australia Council Dance Board’s
Community Representative (2002-7), 2009 Australian Dance Award winner for Outstanding Services to
Dance Education and dance writer for the new Australian national curriculum’s Arts Shape paper. His
doctoral research focuses on dance in the primary
school curriculum.
CHARLOTTE SVENDLER NIELSEN, PhD, is an Assistant Professor at the University of Copenhagen. Her research
focuses on embodiment of learning and teaching,
The Art of Collaboration
DAVID SUTTON-ANDERSON, AVRIL ANDERSON & IRIS TOMLINSON,
I
n the pairing of composer and choreographer, is the
identity of each enriched through a collaborative
process? Sound Moves, the model devised in 2000
involving composer/musicians from a junior music
conservatoire and choreographer/dancers from a
pre-vocational dance school, set out to explore and
answer this question. The panel will outline the development and evolution of the Sound Moves project
over its 14 years. Each year a theme was chosen to
stimulate the young artists’ imaginations from an art
form other than music or dance (e.g. literature, fine
art and sculpture). The working process was intensive
and public performances of the works created were
presented at both institutions. Elucidation of best
practice working methods in an interactive creative
learning environment will be examined. From a wider
perspective, more general conclusions will be drawn
about the nature of collaboration as a concept for social as well as artistic self-development and personal
identity. Audio visual material will provide examples of
the working process of Sound Moves.
DAVID SUTTON-ANDERSON has worked extensively in
dance as composer, musical director, teacher and
pianist with Hilde Holger Dance Group (1980-2002);
Northern Ballet Theater and Birmingham Royal Ballet Education Departments; Amici Dance Company;
Young Place (1988-97); directed/taught courses for
accompanying contemporary dance class (London
and Caracas). Currently resident dance rehearsal pianist Royal Opera, Covent Garden, he regularly plays
class for dance companies, including Mark Morris
and Michael Clark. He works extensively in dance as
composer, musical director, teacher and pianist. He
is Head of Composition at the Royal College of Music
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directing workshops for Unicorn Childrens’ Theater,
composer-in-education for the Performing Right Society. Before teaching composition at the Royal College of Music Junior Department, she was composer
in residence for the Young Place. She has worked with
Contemporary Dance Theater’s touring workshop
unit (1970’s) she has created over 40 original works
with and for young dancers, many in collaboration
with Sound Moves’ co-directors, Avril and David Sutton-Anderson.
Children?
CAROLYN RUSSELL-SMITH
R
ing games/play are important as they help children grow strong and healthy. This happens when
children run, jump, roll, throw, catch, or swing and they
are building muscles. Children can also learn about
the meaning of things in the world: Games help children learn what words mean like “stop” or “go” and
to collect and use information. Ring games also help
children learn about people: while playing, children
will learn to take turns and share. And children learn
and grow in a way that helps them feel good about
themselves: it is easier to learn when we are relaxed.
We remember things we have done when the things
were fun. It is also practice for being grown-up: children at play learn to pay attention and to stick with
a job. They learn to face problems and solve them. All
these skills will be important when children become
adults. The workshop will introduce specific ring
games from Jamaica such as (a) songs (b) movements (c) combining songs and movements. Participants will be asked to demonstrate their ring games
to show any similarities to the Jamaican form. Each
group will be given the task to choose a ring game
and perform it at the end of the workshop.
CAROLYN RUSSELL-SMITH is a dance educator, consultant
and adjudicator for the Jamaica Festival of Arts’ Annual Competition. As the founder and Artistic Director
of Khulcha Theater School of Dance, she is the Jamaican Representative and presenter at several daCi
conferences, a member of CID and the Jamaican
Association of Dance and Drama Educators (JADDE).
She is one of the pioneer teachers of the Caribbean
Examination Council’s (CXC) Theater Arts (dance)
examination. A Diploma graduate of the former Jamaica School of Dance (now Edna Manley College of
the Visual and Performing Arts), she also studied at
the Laban Centre, Goldsmith College.
Curriculum
CHARA HUCKINS & JIMMIE HUCKINS
T
he arts are one of the most significant ways by
which we understand the world and ourselves.
By integrating kinesthetic learning into the demands
of the daily curriculum, teachers can provide an
all-inclusive learning classroom to meet the needs of
their students through embodied learning. Through
twinning, two teachers connect professionally as an
elementary educator and a performing dance artist
and personally as a mother and a daughter team.
They have collaborated for many years together to
integrate dance into the learning environment of the
classroom curriculum. Through the creative process,
students learn, connect to others and share movement ideas that celebrates their cultural identity.
These collaborations culminate with a showing for
the parents. In this workshop, participants can expect to move creatively through the creative process.
Participants will be encouraged to work with others
using movement to promote understanding about
THURSDAY
Junior Department and Associate Professor at the
University of Notre Dame.
112
themselves by moving, investigating, creating, and
contextualizing.
CHARA HUCKINS started dancing at the age of three
with Virginia Tanner’s Children’s Dance Theater. She
graduated with a BFA in modern dance from the University of Utah. She earned an M.Ed. in curriculum and
instruction, creative arts in learning from Lesley University. She performed professionally with Repertory
Dance Theater. She is a certified Movement Specialist
in the Utah Artist-in-Education Program. She has
brought the magic of dance to student and teachers
with her performances, teaching classes, chorography, and professional development workshops. She
currently teaches and choreographs for the Children’s Dance Theater and throughout the Utah school
system.
Dancing in Pairs – Creativity and Improvisation: Adding Color to Movement in Space
LUCIANA VEIGA
THURSDAY
T
his workshop aims at broadening the possibilities of bodily movement using materials such as
tapes, hula hoops and fabrics of different textures.
The use of materials in itself encourages children to
carry out several movements, which they perceive in
a concrete manner. They are able to visualize their
space, rhythm and possibilities. The starting point
will be the work of Rudolf von Laban and his basic
principles of movement. Furthermore, the workshop
will have a playful approach. Pair work will involve
movements inspired by everyday life and by the children’s visual repertoire, such as animals and geometric shapes, and bodily movements will be stimulated
in this improvisation. Verbal communication among
peers will be the focus of this workshop. The children
are taught to stimulate the possibilities of their bodies
and to respond with them. This will also enable participation by children of different nationalities and
therefore a ‘mingling through dance.’
T
PRISCILA LUIZA APARECIDA COSCARELLA is a dancer and percussionist of Carlkiss Dance -Contemporary Black
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Walking in Another’s Shoes
Class.room 2.0
SHELLEY CUSHMAN
FANNY DOLINSZKY & ELENI PIERIDES
I
C
SHELLEY CUSHMAN, MA, LMT, NCMTB, is a Professor at the
University of North Texas where she has worked for
38 years. She performed with the Sara Rudner Dance
Ensemble and the Theater Vanguard Improvisational
Company in Hollywood, California. A prolific choreographer with well over 160 works, her collaborative film
work, Cinematic Caricatures, involving 30 dances,
has been presented in competitions, conferences, and
performances throughout the world. She was awarded the NDA 2010 University Dance Educator of the
Year award. Between her professional research and
teaching interests is the investigation into the fusion
of bodywork and performance to create body clarity
and purpose.
lass.room 2.0. ’twins’ the curiosity of an artist
and the identity searching process of teenagers
into a productive meeting point for movement creation. Both are curious to know and analyze who they
are, what they want to do and why. In The Arts and
Human Development, Howard Gardner (1973) talks of
”making, perceiving and feeling” and these aspects
we will bring into our workshop. The students will have
space for their own ideas from which to ”make”; we
will ”perceive” our way of expressing ourselves and
”feel” the results of our collaborative mini-experiment.
Bring your colors to the movements and a physicality
to your drawings.
FANNY DOLINSZKY studied at the Budapest Contemporary Dance School, Salzburg Experimental Academy
of Dance and is currently on the Post-graduate Dance
Partnership program at the Danish National School of
Performing Arts. She has been focusing on the teaching of creative dance in public schools and working
on her own creations. Her interests lie also in choreographic projects, among others ”Class.room 2.0”
(2015). She has also collaborated with other artists including Eleonore Valere, Andrea Gunnlaugsdottir, Lea
Pischke, Vita Osojnik and Doris Ulich. Furthermore
Fanny is a qualifies BASI Pilates instructor.
ELENI PIERIDES is a freelancing artist in the diverse scene
of dance. Working simultaneously nationwide in her
home country Finland as well as internationally, she
is a full time student in The Danish National School of
Performing Arts, Copenhagen doing a Post-graduate
program in dance pedagogy and partnership.
Lean on Me
MICAELA KÜHN
T
he departing point for this workshop will be recognizing each other as a first step for a dialogue
dance. We need to physically experience from the
other side to be able to start a conversation. It is
about proposing, agreeing and disagreeing, finding
solutions together and recognizing yourself and the
others through movement. The focus will be on find-
THURSDAY
n this session, participants will learn about their bodies and ways of interacting through the habitual patterns of the way they walk. In 1974-75, Dr. Ida Rolf was
conducting research with Dr. Valerie Hunt at UCLA on
the impact of Rolfing, a technique manipulating connective tissue, which effected performance quality.
Cushman became a Rolf Institute Model in her school
in LA while at UCLA, which meant she was a subject
for her students to learn from. During those sessions,
she began to somatically embody an understanding
of how profoundly our individual bodies affect our
way of perceiving the world and interacting with others. Changing your body changes how you perceive
time and space and how much effort is involved in
going from point “A” to point “B” while negotiating life
whether walking across the room or problem solving.
After Rolfing sessions, the experience of herself was
very different and she felt she was literally walking in
someone else’s shoes. In this session, participants will
team up with a partner with significant differences:
different generations, body types, gender, cultures,
etc. Participants will teach and learn each other’s
walk and way of being in that walk. After performing
their partner’s walk, they will have the opportunity to
share what they have learned about their own bodies
through this process. Becoming another’s walk brings
insight into one’s own self and way of being, and at
the same time brings perspective and empathy and
develops tolerance toward others.
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ing efficient and organic forms of using another body
acknowledging who and how the other is in the frame
of guided explorations and creative tasks.
ANNA MANSBRIDGE
Play-fight Contact Improvisation
VINCENT PETTER EINAR JONSSON & MAIA MEANS
THURSDAY
T
he class takes its starting point in the use of
weight; its distribution and properties, and how
we can influence it. We will work with partnering, in
groups and duo constellations where we will explore
different stimuli to affect how weight reacts. We will
go from building trust and sensitivity into more challenging and playful tasks by exploring giving weight,
lifting, pushing, pulling and principles inspired by
martial arts.
VINCENT PETTER EINAR JONSSON is from Sweden and started dancing through street dance. He studied at Lunnevadsfolkhögskolas preparatory program in dance
in 2012/13 and is about to be a 3rd year student at
the Danish National School of Performing Arts in the
Dance program. He is involved in an ongoing movement-research where he is investigating dance and
movement through different forces, like gravitation,
the centrifugal force and the g-force amongst others.
Play-fight contact improvisation is a part of this research.
MAIA MEANS is a student at the Dance Performance
program at DOCH in Stockholm. She is from Denmark,
where she studied at Copenhagen Contemporary
Dance School. She is working in several collaborations
and projects next to school with current main interest
in contact, translation, play and communication.
T
his multi-generational “Historical Dance Workshop” will focus on how dance in European history
was fundamental to people’s lives: how it was through
dance that people communicated and shared their
culture and formed their identities, and how dancing
together as a community created opportunities for
deep personal connections. The workshop begins with
an overview of dance in its cultural context during
the sixteenth through eighteenth centuries, both in
the court and in the cottage. It will look at how and
why everyone danced, examining both the social and
theatrical role of dance. There will be selections of
costumes so participants can appreciate what people
wore, and the spaces in which they lived, affected how
they danced and interacted with each other. Participants will then learn selected dances reconstructed
from original source material, for example the branles
popular during Renaissance times, and the minuet
which was the Queen of Dances in European courts
during the eighteenth century. The workshop will look
at the early eighteenth century Beauchamps-Feuillet
notation system, which originated at the French court
and was published in collections to be distributed
throughout Europe. The distribution of this notation
offered opportunities for collaboration between dancing masters, choreographers, dancers and musicians
in new ways. In summary, participants will come together to share ideas and create knowledge and understanding about the fundamental role of dance to
human connection and identity in sixteenth through
eighteenth European history.
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Brain Dance: Twinning Variations
Harmony of Dance
TERRY GOETZ
NEVA KRALJ
I
I
Teaching Dance Using the Power of Story
Telling
MARILYN BERRET & CECILIE KARNIL
D
ance teachers and children 6-12 years are invited
to learn of two different approaches to teaching
and choreographing in dance using story telling as a
tool to captivate and motivate students. Participants
will first explore how a story intertwines with dance
moves. They will engage in the process of making up
a story, using pop choreography appropriate to ages
6-12, learn how this approach to dance instruction
has captured many students (especially beginner
dancers) in Denmark and has empowered teachers.
Participants will then explore classic folk tales and
beloved stories from children’s books to inspire dance
choreography. This approach, used by dance specialists and classroom teachers in the USA motivates
students of all ages and dance abilities to create
original group choreography and engaging perfor-
THURSDAY
n this session, we will learn how the BrainDance is
a powerful tool for self-discovery. When done with
others, it is a journey of social-emotional engagement
that can lead to deep explorations surrounding identity. BrainDance with partners is an efficient way to
warm up and lay the foundation for a collaborative
atmosphere at the beginning of a class, rehearsal, or
project. Leading, following, and compromise are skills
that can be refined through the balance of repetition and novelty which the BrainDance provides. As
we practice these skills, they are ingrained into our
neural networks allowing us to call upon them when
needed. The BrainDance is a body-mind movement
tool and can be tailored to all ages and abilities. Benefits include improved alignment, connectivity, and
expressivity; brain oxygenation for clarity and focus;
body-mind integration; broad assessment of students; and reorganization of the neurological system.
The BrainDance gives us visual, cognitive, social-emotional, and kinesthetic feedback. It opens a window to
perceiving, sensing, and understanding identity. When
we facilitate observation during a BrainDance and
peer reflection after, we open ourselves to communication and understanding important collaborative
skills. Twinning BrainDance variations will be done
with partners, trios, and small groups. The workshop
ends with creating a collaboratively choreographed
BrainDance. The BrainDance gives a framework for
establishing self-awareness, trust, and cooperation.
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mances. The workshop will conclude with participants
combining both approaches in a creative process.
Marilyn Berrett (USA) and Cecilie Karnil (Denmark)
will re-unite after 20 years apart to present this teamtaught workshop. They worked as dance professor
and student at Brigham Young University in Provo,
Utah USA from 1995-1998.
THURSDAY
CECILIE KARNIL received her BA from Brigham Young
University in dance in 1998. She has taught dance
in Denmark for 15 years, including her own private
school of dance: “Dans på Hjul” (“Dance on Wheels”).
The dance school does not have its own studio, but
she reaches out to smaller towns and places where
dance instruction is not available. She teaches creative and popular dance for ages 3-15. Her newest
project: “Dans & Bevægelse i Skolen” (“Dance & Movement in the Schools”), reaches out to schoolteachers
and students with movement and dance as a learning
tool in the school.
tive preparation for the demands of technical training. Furthermore, this system may be adapted to suit
the requirements of student groups, individuals, and
teaching circumstances with full flexibility to allow
each set of conditions to be addressed accordingly,
while remaining firmly connected to previous experiences and the benchmarked, achievable outcomes
of the complete system. Participants will experience
a complete example class at the selected level. For
teachers, the essential elements and aspects of
dance to be included in lesson plans and programs at
all levels of training can be identified, with examples
of sequential progressions, giving an understanding
of the complexity and wide-ranging content of a
comprehensive preparatory dance training program,
and an appreciation of the creation and adaptation
of learning pathways to suit individual needs.
JANE ANDREWARTHA works with development and management of teacher registration systems, teacher
training, on-going professional development and
assessment for teachers and student teachers; student training and the assessment program – Laurel
Martyn Dance Teaching System; teaching and training resources. She works as a Lecturer at the Box Hill
Institute Dance Department (1996 – 2007, and 2011 onwards). She participated on the Steering Committee
for Reaccreditations of Certificate IV and Diploma of
Dance Teaching and Management in 1997, 2000, 2003
and 2006. She has 35 years of teaching experience
from age 5 to adult. She has been an assessor for 15
years, both nationally and internationally.
Establishing a Safe and Comprehensive Movement Foundation in the Early Years of Dance
Training as a Basis for Technical Training
Development of a Dynamic and Research
Based Curriculum Enabling Young People to
Develop Identity as Dance Artists of the Future
EMMA REDDING & VERONICA JOBBINS
JANE ANDREWARTHA
T
his dance workshop is based on a holistic system
for early dance training which incorporates the
broad range of essential components of dance, their
interdependence, and correlated progression. The
system, developed for 5 to 9 year olds, is divided into
four basic stages, which are each divided into further
progressions. This holistic approach ensures that all
the elements of dance are included in every lessons,
with progressions clearly correlated to physical and
cognitive development, resulting in a safe and effec-
T
rinity Laban Conservatoire of Music and Dance
(TL) has developed a Center for Advanced Training (CAT) for young people aged 13-18 years that
complements and is additional to their secondary
education. As part of a national, government-funded scheme, the purpose of the CAT is to identify
and train young people with exceptional potential
in dance. This presentation will share and reflect on
the process of developing a dynamic and research
informed curriculum model which aims to provide a
positive learning environment for young people from
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Uncovering Issues of Identity in Dance Teachers and Learners – Critical Perspectives and
Exploration of a Dance Anatomy Case Study
JANINE STREULI & MICHELLE GROVES
T
Laban Conservatoire of Music and Dance. A trained
dancer, she teaches contemporary dance technique
at Trinity Laban and lectures in exercise physiology
alongside her management and research work. She
was principal investigator of a government funded
3-year dance talent research project involving over
800 young people across England. She has managed
several large-scale research projects involving undergraduate dance and music students and has published in several academic journals. She is a member
of the board of directors and past president of the
International Association for Dance Medicine and
Science.
his lecture sharing provides a platform to reflect
on formation of identity either as a learner or
teacher of dance. Drawing on Charles Cooley’s notion
of “the looking-glass self” (1902), Dorothy Holland’s
view that individuals are agents as well as subjects of
culturally imposed ‘worlds’ (2001), and Ron Barnett’s
concept of the “educational being” (2007), participants will consider factors which have the potential to
impact on identity formation in learning and teaching experiences. There will be opportunities to share
thoughts and experiences of how dance contributes
to identity formation within and outside the dance
classroom.
The dance anatomy case study explores a teaching
model that places each student’s artistic and creative
identity at the heart of the learning process whereby
teachers facilitate learning through multi-method,
experiential tasks rooted in problem-based learning. The proposed educational model (Streuli 2014)
challenges the notion of dance anatomy as scientific
theory by encouraging participants to do, feel and
apply anatomy in artistic, creative and somatic contexts. Informed by medical anatomy education, we
illustrate how teachers and learners can overcome
the theory/practice dichotomy by embedding anatomy in all aspects of dance education. Participants will
have the opportunity to explore practical activities,
share their experiences of learning and teaching and
evaluate how these have influenced their attitudes,
values and beliefs of identity.
VERONICA JOBBINS is Head of learning and participation
(dance) at Trinity Laban Conservatoire of Music and
Dance where she directs a program of education
and community activities including a Center for Advanced Training (CAT), and lectures in dance education. Originally trained as a dance teacher she was
instrumental in the formation of the National Dance
Teachers Association, being chair for many years. She
regularly writes for dance and arts journals, presents
at conferences in the UK and abroad and serves on
various panels concerned with dance education and
policy development. Special interests include training
of artists working in participatory settings.
JANINE STREULI has been a full-time academic at the
RAD since 2010 and tutors across a range of undergraduate, postgraduate and professional programs.
She has managed both the BA (Hons.) ballet education as well as the postgraduate certificate in education “dance teaching,” and was recently promoted
to Head of learning and teaching. Prior to joining the
RAD, she had an extensive freelance career teaching
dance in private and state sector education. During
that time, she also taught yoga and Pilates in numerous contexts. She trained in ballet and contemporary
dance and her research interests cover health, safe
practice and innovative pedagogy.
EMMA REDDING, Dr. is Head of dance science at Trinity
THURSDAY
diverse cultural, ethnic and socio-economic backgrounds to grow and form their identity as dance
artists of the future. It will consider the following: 1)
Challenges of balancing sector wide norms and expectations with needs of young people 2) Research
including TL Passion, Pathways and Potential in
Dance; an interdisciplinary longitudinal study into
dance talent development (2009 - 2010); investigation
included psychology, physiology, anthropometry, injury, adherence and creativity with CAT students aged
10-18 years 3) Ways the curriculum evolves through
dialogue between teachers, managers and dance science researchers and how new methods of teaching
practice are interrogated through continual professional development 4) The need to implement access
and outreach activities to ensure recruitment from
male students as well as those from diverse backgrounds 5) How students on the scheme are enabled
to develop their own artistic voice and in turn shape
the program. The presentation will involve contributions from CAT teachers and students ars well as a
facilitated audience discussion.
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MICHELLE GROVES is Dean of the Faculty of Education,
Royal Academy of Dance. Having gained professional
dance experience in both Australia and the UK, she
spent some time training as a Labanotation practitioner and teacher with Anne Hutchinson Guest.
Before joining the Faculty of Education in 2000, she
taught extensively as a freelance tutor and dance
teacher. In her role as dean, she works closely with
faculty of education tutors and students throughout
the world and is proactive in raising the profile of
dance teachers. Her research interests are in dance
teacher education and higher and professional education.
Merging Dance with Poetry through Collaborative Learning
MARY LYNN BABCOCK, dance Professor at the University
of North Texas is a choreographer, teacher, and is
certified in Laban Movement Analysis. She is national representative for daCi USA. She holds a MFA
in dance and PhD in American studies from Case
Western Reserve University. Her work has been presented across the U.S and in Portugal, Jamaica, The
Netherlands, Brazil, and Egypt. She created a unique
digital media learning studio allowing novel interactions between theory and practice to be explored. Her
primary influence in contemporary dance has been
with Bill Evans, Erick Hawkins, Clay Taliaferro and
Claire Porter. Presently she teaches modern dance,
improvisation and introduction to composition, Laban
studies, and dance and technology. She brings dance
to the community through outreach events benefiting
victims of domestic violence. She is founder/artistic
director of Satellite-Dance, an interdisciplinary, interarts/intermedia dance collective.
MARY LYNN BABCOCK
THURSDAY
T
his is a lecture sharing session on in-class experiences that extend our notions on how learning
about dance can deepen through group collaborations in creative problem solving through dance making. The work will bring to light a progressive strategy
that creates integrated and collaborative learning environments which merge dancing with Japanese Haiku. This presentation is structured into four sections.
Section 1 introduces the work with a discussion on
collaborative learning; what it is and the significance
of working in groups in the 21st century. Section 2 focuses on metaphor in poetry with specific attention to
Japanese Haiku. Section 3 looks at how metaphor can
translate into movement. Section 4 concerns strategies for ‘assembling’ the final work together. Within
this section we identify how the group finds and identifies a Haiku metaphor, how students collaborate
to capture that essence in a dance, how the process
extends meaning and relevance to these students,
and how they tap into creative group problem solving.
Two varied lesson plans are provided. The session
concludes on reflection. Reflections allow learners to
recall, process, analyze and understand knowledge
acquired, and can be in the form of the group with
brainstorming reflection questions addressing how
they worked in a group, and new knowledge that was
created in the process. This work is useful for the
dance student and teacher because they find and
participate in a variety of ‘partner approaches’ in
learning. They learn group building skills, listening
skills, and the significance of working together.
Body and imagination
MIREIA SERRA
T
he purpose of this paper is to reflect upon how
body awareness work and movement practice
can provide potential for creative thinking and aims
at opening up a discussion about how body practices
can enhance knowledge- and language-producing
processes. Both knowledge producing professionals,
devoted to theorizing practices, and research in the
field of humanities, and professionals devoted to
artistic text production, can benefit from body consciousness work and movement practice. A number of
phenomenological oriented perspectives on thinking,
and other contributions to building bridges between
bodily practice and knowledge production, support
this assumption. These constitute the theoretical
basis for the presentation and give tools to define the
knowledge-generating body, that is, a body no longer
confined to privacy, which, instead of serving as an
instrument of cognition, emerges as a creative and
thinking body. This notion of the body as a non-separated entity enriches our approach to identity and
brings us closer to the notion of ‘sameness’. The presenter will refer to a recent experience of working
with writers/thinkers/artists on training kinesthetic
presence in generating, writing and reading texts or
producing art. Practicing presence is conceived as a
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MIREIA SERRA lives in Copenhagen, but comes from Barcelona. She holds a degree in comparative literature
and literary theory (UAB Barcelona), another in psychomotricity (UCC Copenhagen) and has worked as
a dancer, actress and body awareness teacher since
1999. As a mover, she has a background in modern
dance, improvisation, butoh, body weather technique,
authentic movement, anatomy for movement and
Alexander technique. Since moving to Denmark, she
has been using her experience and knowledge in all
these different fields to help Danish children from
Catalan-Danish families improve their second language through a wide range of activities that include
body awareness work, movement, singing and telling
stories. She is also leading Open Training at Kitt Johnson-X-act.
Performing Gender in Dance Education: Positioning through Composition Tasks
MARTHA GRIPSON
T
his study consists of video recorded material
from schools where Swedish children, aged 9 to 12
years, take part in mandatory dance education. The
focus is on gender construction, mainly through bodily actions. The children engage in composition tasks
in multiple ways and reconstruct as well as break
traditional gender patterns. The schools where the
education takes place are ‘ordinary schools’; they do
not offer pre professional training, but rather focus on
creative dance. The pupils come from well-educated
homes and live in attractive areas in three different
cities. The schools in which they study are regarded
as successful and have good reputations. A social
constructionist perspective is employed where the
subject is regarded as an agent but limited by structures and discourse (Burr, 2003; Walkerdine, 1998;
Davies, 2003; Lenz-Taguchi, 2004). The pupils are
influenced by values they have encountered in different contexts such as school, family, among friends,
in after school activities and through media, social
networking and advertising. Identity is developed
from a broad perspective in dialogue with expectations communicated from individuals, institutions and
the surrounding setting, and those expectations are
closely linked to gender issues. The pupils use body,
time, space and effort in diverse ways and orient
their dance compositions to explore narratives about
violence, sport, execution, jazz dancing and cooperation. From a pedagogical view it is important to
understand how children are performing gender as it
can assist teachers to widen their possibilities beyond
traditional views on femininities and masculinities,
and an essentialist gaze on the body.
MARTHA GRIPSON is a PhD student in aesthetics, (focusing on educational science) at the University of Gothenburg, funded by University West in Trollhättan. Her
former career was as a specialist teacher in creative
dance in educational settings such as preschools, primary and secondary schools, special education and
municipality culture schools that offer dance subjects
as extracurricular activities. Currently she teaches
courses in aesthetics and didactics in the Teacher Education Program and belongs to a Swedish national
network of doctoral students focusing on dance education, as well as serving as a member of the theater,
drama and dance board of the Teacher’s Union.
Making the Work ‘13’ with My Sons: A Practice-Led Choreographic Research Process into
Dance as a Contemporary ‘Rite of Passage’
BETH CASSANI
‘13’
is an internationally touring contemporary dance performed by two boys aged 12
and 14, made in collaboration with their mother. The
practice-led research methodology draws a set of
conclusions from three phases of research activity: a
collaborative choreographic making process, the embodied activity of performance, and the application
of Butler’s performativity of gender as a theoretical
framework to interrogate the emergent material from
the first two phases. This paper extrapolates findings gleaned from this methodological framework,
employing Schön’s reflection-in and reflection-on
practice as a model for dance making with children
to explore, how to be a man in the 21st century? The
boy’s iterate their experience of their developing embodied identities, social relations with father, mother
and wider societal contexts. This dance praxis may
creatively intervene with the ‘making’ of masculinity
in the everyday/domestic influenced in part by models established by their father’s and mother’s masculinities. Schechner’s theory of twice performed gender
is applied; through performing traits of masculinity
the performance emphasizes, and then destabilizes,
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way of presenting oneself and thus closely linked with
identity construction and expression.
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the performance of gender, leading to consideration
of what happens when children do this. The children
here learn masculinity not as an ontological part
of their bodies but as a performed characteristic.
Does the apparent authenticity of children’s bodies
dancing legitimate a simultaneous reframing of the
objectifying gaze while empowering children as selfaware subjects with creative potential? It is proposed
that dance practice can empower young people in
asserting embodied communicative skills and in determining ownership of authentic and non-limited
representations of their bodies.
BETH CASSANI is Senior Lecturer in dance at Leeds
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Beckett University and an independent choreographer. Recently curating the ongoing Thinking Dance
Research Project and the symposium “Questioning
the Contemporary in 21st Century British Dance
practices” in collaboration with Yorkshire Dance, her
practice includes a National Critics Choice Award
(2003) for work with Scottish Dance Theater, a Herald
Angel Award (2007) for ‘13’ which was performed by
her sons and toured to London, Italy and the US. She
also works as a choreographic mentor and company
class teacher. She has twenty years of experience
working in community dance practice with all ages
and abilities.
Say Something: Dance to Empower
MICHELLE PARKINS
“S
ay Something” is a dance that tells the story
of a team of 30 girls who use dance as a vehicle to overcome personal obstacles and become a
sisterhood. This project was created with 30 girls on
a drill team struggling through poverty, abuse, and
language barriers to succeed in their educations at a
Title 1 high school in rural Texas. The project reflects
the dancers’ experiences performing and rehearsing
together as a way to become empowered and carry
each other along the road to academic success. This
presentation also reflects on how a successful dance
program was developed at the high school, which
had a violent history, and how the students gained
recognition from the neighboring professional dance
community. Through her experiences teaching, the
researcher came to the realization that although
technique was always a focus in the classroom, what
she had to offer her students came from her own ex-
perience with dance as a vehicle to overcome personal trauma. She learned to teach using dance as a tool
for life skills, developing communication skills, and
building supportive communities. The question is, how
do we build successful dance programs that engage
at risk youth on multiple levels while maintaining a
professional dance environment? This presentation
will discuss the approaches that were successful, as
embodied in “Say Something”, and on those that were
not.
MICHELLE PARKINS received her MFA in dance at the University of Texas, Austin in 2012. Her graduate research
explored disembodied versus embodied choreography, integrating technology in the choreographic
process. In 2012 she was artist in residence at AZALA
and ZAWP in La Sierra and Bilbao, Spain where she
performed more advanced technology integrated
dance works. She currently teaches dance at Manor
High School in Manor, Texas.
The Collaborative Dance of Discovery: Identity
and the Adolescent
ELLA MAGRUDER
C
ollaboration is the key to forging personal and
group identity in the young adolescent and
teenager in creative dance. Teachers frequently discontinue creative dance after their students reach
adolescence because evoking creative responses
from teens can be difficult: formerly confident and
freely moving young dancers can change overnight
into immobile strangers with uncooperative attitudes.
Adolescents feel awkward when asserting personal identity through creative dance because their
self-expression may run counter to what they believe
others of the same age would approve. Peer pressure
takes control over the unique expression of individual
identity. Belonging to a group (or gang) and thereby
gaining peer approval takes precedence over guidance of parents and teachers. Using a collaborative
approach with students in creative dance and improvisation class, for example by twinning partners
and groups, helps alleviate embarrassment. Collaboration turns the desperate need of the adolescent
to belong to a group into an opportunity for growth
and nurtures a positive social environment. It helps
the teen forge both a personal and a group identity,
and opens a path to the divergent responses that are
necessary for self-discovery in creative dance and in
creative problem solving beyond the world of dance
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ELLA MAGRUDER, Professor of dance at Sweet Briar College in Virginia and author of Dancing for Young Audiences: A Practical Guide to Creating, Managing and
Marketing a Performance Company (2013, McFarland
Press) teaches choreography, modern dance, aesthetics /dance criticism, pedagogy, and directs the dance
education program. Formerly a faculty member at
University of Montana and Ripon College in Wisconsin, she danced with the Mimi Garrard Dance Company in New York City and toured for fifteen years with
her husband and partner, Mark, in their duet dance
company, Menagerie; performing for over 100,000
students and adults.
Educating Arts Educators for Youth and Community
STEPHANIE BURRIDGE
T
he presentation will cite examples from Singapore
that look at the efforts being made by the National Arts Council, the Ministry of Education and a new
Artist Educator initiative at LASALLE College of the
Arts to address the gap between practitioner training
and working as an arts educator in school and communities. It takes special skills and training to utilize
the experience and talents of our performing artists
and develop teaching skills that makes them able to
transmit to students and be agents of transformation. Passive, didactic ‘follow me’ methods are too
commonly found as young dancers, often unskilled in
pedagogy methods and research, continue to be the
main source of dance teachers and educators working in schools and communities. Training in developing a “community of practice” (Wenger, 1998) with an
egalitarian approach to creative teaching and learning, combined with research and reflection can yield
exemplars of best practice that can be shared.
STEPHANIE BURRIDGE (PhD) lectures at LASALLE College
of the Arts and Singapore Management University.
Teaching and research areas include “Dance: East
and West”, interdisciplinary contextual studies, artist education, dance aesthetics and criticism. She
is Series Editor for Routledge Celebrating Dance in
Asia and the Pacific –currently this includes books
on Cambodia, India, Malaysia, Taiwan, Australia, the
South Pacific and Singapore. She is the Research
and Documentation Network Co-Chair for WDA Asia
Pacific and is co-editor of Dance Education around
the World: Perspectives on Dance, Young People and
Change, (foreword by Ken Robinson), with Charlotte
Svendler Nielsen (Denmark).
Extended Classical Ballet with Young People
ELISABET SJÖSTEDT EDELHOLM
T
his paper focuses on three twisted and twinned
concepts in classical ballet: exploration, improvisation and composition, in a dance studio setting with
10-13 year old ballet pupils. This research has been
developed through collaborations with young dance
pupils over many years with the aim of extending
the teaching and learning process with peers and
the dance teacher. As the children themselves are
involved in twisted processes of exploration, improvisation and composition their dance identity can be
enhanced through their own choices and preferred
movements, as well as their movement qualities and
personal expression. In performances, pupils are involved in choreographic processes as well as choice
of costumes, lightning and title of the work. Exploration is used as a tool to investigate and discover possible ways of moving and expression, together with
improvisation as a tool to raise awareness of their
preferred actions and how they are linked. The resultant composition is a combination of their movement
investigation plus learned skills, and incorporates
substantial input of the students’ personal ideas, thus
reflecting their identity. A qualitative research method incorporating children’s interview techniques was
employed for the study and results demonstrate that
early practice in exploration, improvisation and composing twinned into ballet is interesting, exciting and
accessible to young students This presentation will
include a summary of the interviews and a showing of
excerpts of compositions created by the dance pupils.
ELISABET SJÖSTEDT EDELHOLM, Senior Lecturer at the University of Dance and Circus in Stockholm, Sweden,
has been teaching children and young people for
over 35 years in creative dance and classical ballet.
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and art. Approaches derived from twenty years of
public school summer arts workshops in dance K-12,
and from a university sponsored community youth
dance program at Sweet Briar College, provide working methods, curriculum models, and examples. Discussion includes the far reaching benefits to society
that come from teaching students how to collaborate
creatively and effectively.
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She has written a book with Anne Wigert, Att känna
rörelse- en danspedagogisk metod, (2005), Carlsson.
She holds a bachelor in dance from the University of
Dance and Circus and in education from Stockholm
University. A daCi member since 1981, she is also a
member of the editorial board of the Nordic Journal
of Dance Practice, Education and Research (NJD).
How to Match Dance and Assessment: An Unlikely Pair?
ing dance technique, choreography, fundamentals
and practices of expression and communication,
dance pedagogy, didactics of dance and evaluation.
In addition to being the Masters and PhD adviser of
dance studies, she was responsible for the Dance
Intensive Project (2002-2004 Belgium, Germany, Portugal). She has led several workshops and brief courses all over the country as well as abroad. The author
of several dance articles, she also was responsible
for the international seminar “Discover Dance” (2011).
Finally, she is a daCi national representative member
and a choreographer.
ELISABETE MONTEIRO
THURSDAY
O
ur case study, a practice-based research project, presupposes the assessment of dance not
as a regulator, but as a learning strategy facilitator,
and therefore able to be used as a tool for knowledge
in the making of choreography. Over the last three
years, from 2012 to 2014, we implemented several
strategies, procedures and evaluation tools with
dance graduates in order to achieve a positive impact
on creative skills in choreography making, according
to each student’s identity. Analysis of the qualitative data collected with each of the 3rd grade dance
graduates primarily through their learning portfolios, logbooks and the application of items in specific
matters showed results consistent and common to
all three study groups. We concluded that students
demonstrated a high and elaborate level of analysis
though their creative process, evincing reflective skills
in their choreography making. The initial embarrassment and difficulty associated with the restrictive
strategies that we implemented, were shown to
promote innovation, daring and research for original
answers. Using metacognitive strategies also proved
to be of primary importance. We intend to contribute
to the enhancement of creative possibilities for the
students through exploring the subjacent information
that exists between the modes of perception given
by the teacher and the perceptive product created
by the students, their awareness and self-control. We
defend a peer relation among students and cooperation between them and the teacher through a learning contract.
ELISABETE MONTEIRO holds a PhD in dance and a MA in
educational sciences. She is a research member of
the Ethnomusicology Institute – Music and Dance
Center Studies (INET-MD) and a dance Professor in
the Human Kinetics Faculty, Lisboa, Portugal, teach-
The Use of Video as Self-evaluation in Dance
Classes
MARIA JOÃO ALVES
F
eedback on competence in dance performance is
essential for the improvement in dance technique,
acquisition of motor patterns and development of
quality of movement. In the educational context, this
feedback is provided from an external reference usually the dance teacher, but technological tools such
as video can complement these educational aims.
Based in our practice of students’ self-evaluation
using video performance records and comments, our
goal is to define the guiding principles that we pursue
in higher education: the use of a global perspective,
the use of critical components for acquisition of motor topology (focus attention on relevant aspects of
the task), and the use of past performance reflections
(analysis, comparison, replay, abstracted replay, and
spatial reification (Collins & Brown, 1988)). Assessment
and grading can be quicker and more accurate with
digital movement analysis (Trout, 2013), plus this assessment strategy permits a whole new dimension to
self and peer analysis. As stated by Mansvelder-Longayroux, Beijaard, and Verloop (2007) practical reflection is concerned with constructing personal knowledge and developing awareness of one’s own identity,
beliefs and development. Video movement analysis
for assessment gives independence to students from
the teacher’s feedback, and has a significant impact on students’ self-perception, encouraging the
development of objectivity. It contributes to the engagement of the internal and external performance
perceptions, guiding the dance student to a closer
connection between the kinesthetic body sensation
when in motion and the visual perception of it.
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Children?
CAROLYN RUSSELL-SMITH
Ring games/play are important as they help children
grow strong and healthy. This happens when children
run, jump, roll, throw, catch, or swing and they are
building muscles. Children can also learn about the
meaning of things in the world: Games help children
learn what words mean like “stop” or “go” and to collect and use information. Ring games also help children learn about people: while playing, children will
learn to take turns and share. And children learn and
grow in a way that helps them feel good about themselves: it is easier to learn when we are relaxed. We
remember things we have done when the things were
fun. It is also practice for being grown-up: children
at play learn to pay attention and to stick with a job.
They learn to face problems and solve them. All these
skills will be important when children become adults.
The workshop will introduce specific ring games from
Jamaica such as (a) songs (b) movements (c) combining songs and movements. Participants will be
asked to demonstrate their ring games to show any
similarities to the Jamaican form. Each group will be
given the task to choose a ring game and perform it
at the end of the workshop.
CAROLYN RUSSELL-SMITH is a dance educator, consultant
and adjudicator for the Jamaica Festival of Arts’ Annual Competition. As the founder and Artistic Director
of Khulcha Theater School of Dance, she is the Jamaican Representative and presenter at several daCi
conferences, a member of CID and the Jamaican
Association of Dance and Drama Educators (JADDE).
She is one of the pioneer teachers of the Caribbean
Examination Council’s (CXC) Theater Arts (dance)
examination. A Diploma graduate of the former Jamaica School of Dance (now Edna Manley College of
the Visual and Performing Arts), she also studied at
the Laban Centre, Goldsmith College.
Me, You, Us: Cultivating Global Identities Using
LMA & LOD
FREDERICK CURRY & TINA CURRAN
R
elationships, whether mediated face-to-face or
digitally, are fundamental to our sense of identity.
In an era of global citizenship, relationships that affirm individual human identity and dignity while cultivating an appreciation of diverse ways of thinking,
behaving, and creating are seen as critical to educating global citizens. How we understand ourselves and
build relationships with others is important in dance,
to the ways we learn, and how we perceive and interact with the world around us. By making explicit what
is implicit in movement, Laban Movement Analysis
(LMA) and the Language of Dance (LOD) frameworks
can be foundational to understanding ourselves and
cultivating relationships with others. Participants in
this workshop will learn to use LOD and LMA concepts
to understand and develop relationships that affirm
the self, others, and the various communities (cultural,
social, religious, educational, online, geographic, etc.)
to which they belong. Participants will actively explore
ways of relating through movement exploration, by
observing and analyzing dances for insights and ideas, and by collectively creating a group dance in ways
that promote self-awareness, build connections and
create community.
FREDERICK CURRY MA, CMA, is an Assistant Professor in
the Department of Dance, Mason Gross School of the
Arts, Rutgers University (New Jersey, USA), where his
focus is on dance pedagogy and Laban Movement
Analysis. He has taught at the Laban/Bartenieff Institute of Movement Studies and the Dance Education
Laboratory at the 92nd Street Y in New York City, and
serves on the board of directors of the National Dance
Education Organization (USA). As a Laban/Bartenieff
specialist, he has led workshops and presented at
conferences internationally including throughout the
USA, in the United Kingdom, Switzerland, Belgium,
Canada, and Uganda.
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MARIA JOÃO ALVES is an auxiliary Professor of dance in
the Faculty of Human Kinetics, University of Lisbon.
With a Masters degree in performing arts-dance
and a PhD in human kinetics - dance (teaching and
learning methodologies), she teaches technique of
theatrical dance, technique of social dance (international dances), didactics of dance and dance laboratory. She currently is adjunct Coordinator of the
undergraduate dance course at the FMH – UL and a
research member of INET-MD, Instituto de Etnomusicologia - Centro de Estudos em Música e Dança, a
multidisciplinary research center.
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TINA CURRAN PhD, MFA, is an Assistant Professor in the
Department of Theater and Dance at the University
of Texas at Austin (USA) where her research focuses
on dance literacy, legacy and pedagogy. Additionally,
she teaches on the faculty of the Dance Education
Laboratory - 92nd Street Y in New York City. As a Language of Dance (LOD) certification specialist, she has
conducted LOD certification courses in the United
States, Mexico, United Kingdom, and Taipei. With Dr.
Ann Hutchinson Guest, she is co-author of Your Move:
The Language of Dance Approach to Movement and
Dance.
Twinning Movement with the Properties of
Light
Conferences.
Play-fight Contact Improvisation
VINCENT PETTER EINAR JONSSON & MAIA MEANS
T
he class takes its starting point in the use of
weight; its distribution and properties, and how
we can influence it. We will work with partnering, in
groups and duo constellations where we will explore
different stimuli to affect how weight reacts. We will
go from building trust and sensitivity into more challenging and playful tasks by exploring giving weight,
lifting, pushing, pulling and principles inspired by
martial arts.
JANA SHUMWAY
THURSDAY
T
his session is a follow up of “Collaborating with
a New Twist: Electrical Engineers and Dancers
Unite” presented by Brigham Young University’s interactive dance company KINNECT. Light . . . it’s all
around us but do we really understand it? Sixth grade
students and other secondary education science
students need to understand the properties and
behavior of heat, light and sound. Come and learn
specifically about the properties of light by dancing
the following: how light reflects, transmits or absorbs
when it hits an object; how light refracts; how white
light separates into the colors of the rainbow; what
type of light goes beyond visible light; what features
are in a light wave; how fast light travels; how light
reflects color; and finally learn about bioluminescent
creatures that reflect their own light. Participants will
dance, twist and twin these properties of light which
will ensure a deeper understanding of these science
principles.
VINCENT PETTER EINAR JONSSON is from Sweden and started dancing through street dance. He studied at Lunnevadsfolkhögskolas preparatory program in dance
in 2012/13 and is about to be a 3rd year student at
the Danish National School of Performing Arts in the
Dance program. He is involved in an ongoing movement-research where he is investigating dance and
movement through different forces, like gravitation,
the centrifugal force and the g-force amongst others.
Play-fight contact improvisation is a part of this research.
MAIA MEANS is a student at the Dance Performance
program at DOCH in Stockholm. She is from Denmark,
where she studied at Copenhagen Contemporary
Dance School. She is working in several collaborations
and projects next to school with current main interest
in contact, translation, play and communication.
Class.room 2.0
FANNY DOLINSZKY & ELENI PIERIDES
C
lass.room 2.0. ’twins’ the curiosity of an artist
and the identity searching process of teenagers
into a productive meeting point for movement creation. Both are curious to know and analyze who they
are, what they want to do and why. In The Arts and
Human Development, Howard Gardner (1973) talks of
”making, perceiving and feeling” and these aspects
we will bring into our workshop. The students will have
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FANNY DOLINSZKY studied at the Budapest Contemporary Dance School, Salzburg Experimental Academy
of Dance and is currently on the Post-graduate Dance
Partnership program at the Danish National School of
Performing Arts. She has been focusing on the teaching of creative dance in public schools and working
on her own creations. Her interests lie also in choreographic projects, among others ”Class.room 2.0”
(2015). She has also collaborated with other artists including Eleonore Valere, Andrea Gunnlaugsdottir, Lea
Pischke, Vita Osojnik and Doris Ulich. Furthermore
Fanny is a qualifies BASI Pilates instructor.
ers and learners in the project-based inquiry process
(Ladson-Billings, 2009; Oyler, 2001). The goal of this
workshop is to unpack how inquiry habits and skills
can support a synthesis of student identities within
dance curricula, and may serve to address desired
student outcomes in comprehension, collaboration,
communication, and creation (NDEO Standards, 2005;
NCCAS Standards, in progress; CCSS Standards,
2009).
KYLE GEORGINA MARSH holds a Masters in dance educa-
KYLE GEORGINA MARSH
tion with a PK-12 Teaching Certification from Rutgers
University, and a BFA in dance from Mason Gross
School of the Arts. As a graduate student, she completed a full-time teaching internship at Middlesex
County Vocational and Technical School where she
successfully implemented her own oral history and
choreography curriculum. She currently works as a
teaching artist, choreographer and performer for
Georgina Dances all across the tristate area. For the
last four years she has worked as full-time faculty for
the Rutgers Summer Dance Camp and Conservatory.
Meg H. Regan is a PK-8 dance educator in Alexandria, New Jersey and Lecturer for Rutgers University
Online. She holds an EdM in Dance Education and a
BFA in Dance from Mason Gross School of the Arts,
Rutgers University. Regan has presented at state and
national conferences on anti-bullying in dance and
problem solving for first year teachers. She is choreographer for Meg Hebert Dance. Regan has taught
dance to learners in South African township schools.
She is a member of the National Association of Professional Organizers.
T
ELENI PIERIDES is a freelancing artist in the diverse scene
of dance. Working simultaneously nationwide in her
home country Finland as well as internationally, she
is a full time student in The Danish National School of
Performing Arts, Copenhagen doing a Post-graduate
program in dance pedagogy and partnership.
21st Century Adolescent Dancer-Researchers:
Building Inquiry Habits and Skills Using Project
Based Learning to Foster Student Identity
his participatory workshop will address the ways
in which project-based learning, within the context of secondary dance studio-classrooms (ages
14-18), can foster the development of adolescent identity through the formation of active inquiry habits and
skills (Schultz, 2008). Participants will simulate a condensed version of a project that engages adolescent
students in conducting interviews, generating memoirs, and transferring this information into choreography. The workshop will reveal how the following key
operations can support 21st century adolescent dancer-researchers in their inquiry process: 1) question
(habit)/investigate (skill), 2) reflect(habit)/assess(skill)
and 3) respond(habit)/create(skill). Project-based
learning is adaptable to different studio-classrooms;
the workshop facilitators will briefly share model
projects. Student culture, community, and historical
context will be examined as critical lenses for teach-
Dance Foundations through Appreciation of
Nature
SIGNE ERRBOE & SHERWIN REYES
T
he aim of this class is for the students to acquire
methods and techniques to create their own
movements and motifs. As inspiration, we will use
nature and look at what it means to appreciate it. We
will use pictures to support the movement goals: we
will explore how to translate the images into movement and thereby practice abstraction and synthesis. In particular, the students will practice different
balances, giving and taking of weight and look at the
different shapes and forms in nature. All inside the
framework of exploration of movement within the an-
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space for their own ideas from which to ”make”; we
will ”perceive” our way of expressing ourselves and
”feel” the results of our collaborative mini-experiment.
Bring your colors to the movements and a physicality
to your drawings.
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imal and plant realm, and the different geographies
that nature offers. Furthermore, we will experience
different ways of showing our own material to each
other.
SIGNE ERRBOE studied dance, improvisation and perfor-
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mance at Bewegungs-Art, Freiburg, Germany from
2009 until 2011. She has taken classes and workshops
with a number of internationally recognized teachers and performers, focused mainly in the practice
of contact improvisation. Signe is also educated as
a yoga teacher. She is today studying “Dance Partnership” at the Danish National School of Performing
Arts in Copenhagen and has thereby gained experience in teaching children in creative dance.
SHERWIN REYES was born and raised in Copenhagen,
with Philippino parents. She is currently studying on
the Post-graduate Dance Partnership program at the
Danish National School of Performing Arts and also
teaches at Sceneindgangen in Copenhagen. Prior to
this She studied the 3-year program at the Iwanson
Dance Center in Munich and also took a one-year
education at Gaardbo Dans from 2006-2007. She
then travelled to Paris to study “house” and became
inspired to follow a professional career in dance.
She also has a background in the Korean martial
arts, Taekwondo and achieved her 1st dan black belt
in 1999. Furthermore, she has also won the Danish
championship.
Lean on Me
MICAELA KÜHN
T
he departing point for this workshop will be recognizing each other as a first step for a dialogue
dance. We need to physically experience from the
other side to be able to start a conversation. It is
about proposing, agreeing and disagreeing, finding
solutions together and recognizing yourself and the
others through movement. The focus will be on finding efficient and organic forms of using another body
acknowledging who and how the other is in the frame
of guided explorations and creative tasks.
Intergenerational Brain-Compatible Dance
Workshop
ANNA MANSBRIDGE & TERRY GOETZ
T
his fun and informative Intergenerational
Brain-Compatible Dance Workshop will engross
participants of all ages in learning and sharing ideas through dance. Using world renowned American
dance educator Anne Green Gilbert’s conceptual
approach to teaching dance, Terry Goetz and Anna
Mansbridge from the Creative Dance Center in Seattle, WA, will ‘twin’ to bring participants together to
experience dance technique, improvisation and creation. The lesson format will be structured using Anne’s
five-part lesson plan, a comprehensive methodology
for dance teaching that encourages problem solving,
skill development, technical growth, cognition, social
and emotional connections with peers and adults,
and nurtures creativity. Class will begin with Anne’s
BrainDance, a sequence of eight developmental
movement patterns humans move through in the first
year of life that wire the central nervous system, enhance lifelong learning, and integrate body and mind
for optimal brain function; then we will explore the
dance concept, develop skills, create, and reflect.
Seattle, Washington. She first trained with CDC found-
127
er Anne Green Gilbert in 1997. She danced with Pacific
PHILIP CHANNELLS is Australia’s leading expert in disability-inclusive dance practice. As the Creative Director
of Dance Integrated Australia, he is fiercely committed to the development of thriving artistic cultural
groups, backgrounds and life experience. In 2013, he
was appointed Ambassador to Bundanon Trust’s Artist in Residency program. His latest work “Perfect (im)
Perfections – stories untold” was commissioned by
DansiT – Senter for Dansekunst i Sør-Trøndelag for
the Multiplié Dansefestival 2014. Through photography, dance education and performance work in Australia, Europe and Asia, he builds a collaborative environment conducive to creativity and social inclusion.
Disability-inclusive Dance Workshop: Perfect
(im)Perfections – an Investigation into the
Creative Processes
PHILIP CHANNELLS
Act and Reflect Movement Theater – Mermaids
for Beginners!
SABINE KAROSS & PETRA PLATA
I
n this workshop, we would like to introduce the participants to Movement Theater. It is a pedagogical
(and artistic) concept, which comprises different
performing arts activities such as acting and playing,
dancing, and making music - its core being movement. Hence, all participants will be actively trying out
this concept using the Little Mermaid as example. For
more than one hundred years, the Little Mermaid has
been one of Copenhagen’s most famous attractions.
We will work with different methods used in Movement
Theater to explore the life of the Little Mermaid. Do
not expect a replaying of the more than well-known
fairy tale, but a story made up by the participants
themselves induced by teachers’ assignments, which
might bring surprising twists to the mermaid’s tale:
How did she get on that stone? How does she get off
it? Can she speak? What does “mer-speak” sound
like? What about twinning her with a prince of the
Royal Danish Family? Which is her favorite anti-dandruff-shampoo? How would she campaign for it?
Sabine Kaross received a Fulbright Scholarship to
study at Florida State University, Tallahassee (19851986) and in 1991 graduated from the German Sport
University Cologne in sport sciences (dance, gymnastics, volleyball). In 1991 she was employed as an
Assistant Lecturer at German Sport University Cologne and from 1991-1997 as a teaching and research
assistant at the University of Kassel. Since 1997 she
of Education, Freiburg in creative dance, gymnastics,
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“P
erfect (im)Perfections - an investigation into
the creative processes” is a workshop which is
suitable for dancers and physical theatre performers
spanning across different age groups and cultural
background.
For many young people without a dance background
and especially people with disabilities, participating
in a dance workshop can be alienating, overwhelming
and terrifying, particularly when the dance instructor lacks self-awareness and has limited experience
of working within different community contexts.
Movement and dance plays an important role in the
development of young people’s minds and promotes
life-long learning that permeates into other aspects
of their daily life. As a tool to influence, foster and
promote healthy well-being and positive self-awareness, dance has the ability to effect significant
change in our attitude to people living differently. This
open workshop provides participants opportunities
to access their creativity through understanding
the choreographic processes used in the making of
Dance Integrated Australia’s latest work, “Perfect (im)
Perfections - stories untold”. This collaborative work is
an intergenerational, disability-inclusive performance
project that merges dance, theatre and poetry with
Norway’s premier hip hop artist, Trond Wiger. Led by
Australian director/choreographer, Philip Channells, it
promotes positive role modelling in an inclusive environment.
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interdisciplinary projects, movement and training.
Since 1988 she has published on a variety of topics in
German scientific journals and books.
SABINE KAROSS received a Fulbright Scholarship to study
THURSDAY
at Florida State University, Tallahassee (1985-1986)
and in 1991 graduated from the German Sport University Cologne in sport sciences (dance, gymnastics,
volleyball). In 1991 she was employed as an Assistant
Lecturer at German Sport University Cologne and
from 1991-1997 as a teaching and research assistant
at the University of Kassel. Since 1997 she has been an
academic staff member at the University of Education, Freiburg in creative dance, gymnastics, interdisciplinary projects, movement and training. Since 1988
she has published on a variety of topics in German
scientific journals and books.
PETRA PLATA graduated from the German Sport University, Cologne in 1991 in sport sciences (movement
theater and dance) and in 1996 was awarded a
degree in theatrical pedagogy. Since 1994 she has
lectured at an advanced training level in different
institutions as well as in public schools and universities (such as for the Artists in Schools’ Program).
From 1996 to 1998 she was a research employee at
the University Koblenz-Landau and since 2000 she
of Education Freiburg in interdisciplinary projects,
dance and movement theater. She has also worked as
a free-lance actress (1985-2000) in puppetry, masque,
and theater productions.
Side by Side Twinning: Dance and the Classroom Curriculum: Math and Visual Art
RACHEL KIMBALL & DIANA TIMOTHY
I
n this workshop, participants will experience how a
dance teaching artist and elementary (Kindergarten-6th grade) classroom teacher work together in a
side-by-side collaboration to support both dance and
classroom curriculae. The workshop will explore the
University of Utah Tanner Dance Program/Children’s
Dance Theatre’s Side-by-Side (SBS) Dance Residency
model, which has been recognized by the National
Endowment for the Arts. Classroom teacher, dance
teaching artist, and students twin with the artwork
of Swedish artist, Karl Momen. Students, artists, and
teacher connect and collaborate using math and
visual art concepts of line, shape, and form to create original dances. This twinning experience brings
about understanding of identity and culture through
the process of mutual and collaborative learning.
Workshop participants will engage in movement
exploration, collaboration, and dance creation, with
a culmination of a short dance study. Participants
will view video and written examples of dance and
classroom curriculum twinning. In the 1960s, Virginia Tanner established one of Utah’s first Arts in
Education Programs to demonstrate and promote
the essential role of the arts in the development of
every child by incorporating dance into academic
curriculum. In 1994, the organization began its SBS
Program at Washington Elementary in Salt Lake City.
Since that time, the program has grown to serve over
3,000 scholarship students annually in 15 elementary
schools.
RACHEL KIMBALL is a choreographer, artist and educator.
She is currently the Director of the University of Utah’s
Tanner Dance, Arts in Education Program (Outreach).
She teaches and oversees dance specialists in four
Utah school districts and 14 elementary schools. As a
teaching artist, she has taught in numerous communities throughout the western United States. She holds
a BFA in modern dance from the University of Utah.
She continues teaching and choreographing as faculty for the Children’s Dance Theater and the Tanner
Dance Studio Programs.
FRIDAY
TH
JULY 10 2015
Empowerment through
Dance: Taking a Turn
(Paper: Ann Kipling
Brown & Cara
Calibaba)
Service Learning and
Dance Education: A
Pilot Project for
Emerging Teachers
(PD: Marissa Nesbit)
10.00-11.00
11.00-11.30
11.30-13.00
Lunch
Creative Meeting Points Tour of Showings (audience meet at the info desk in Dansehallerne 13.45 for instructions)
Break
Closing Event and Farewell Party (Boblepladsen, Dansehallerne)
14.15-17.15
17.15-18.00
18.00 -
Initial Investigation into
Implementing Periodized
Training in a Dance
Company: A
Director's/Choreographer'
s Perspective (PD: Ditte
Egholm)
13.00-14.00
Dance Competitions
and Children
(PD: JuanAnn Tai)
Where Are You From?
Creative Dance
Crossing Boundaries
(PD: Evelin Keller)
The Twists and Turns
of Dance Pedagogy: A
Dual Perspective (PD:
Joni Wilson & Alyssa
Wilson)
Session 120
EMPOWERMENT Building Elementary
Teacher Identity
(4.0.05)
9.30-10.00
126: Katrina Cluff
127: Brooke Charlebois &
Amanda WiliamsYeagers 128: Alice Lee
Holland & Jacinta
Larcombe
125: Marilyn Berrett &
Cecilie Karnil
International
Collaboration in
Dance Teacher
Education – Sharing
Best Practice with a
Focus on Dance in
Secondary Schools
(project panel: Maria
Speth, Janine Streuli,
Susan Koff & Sheila
deVal)
Dancing Empathy (PD:
Mette Møller Overgaard)
Dance Context in
Private Schools in Rio de
Janeiro - Challenges
and Proposals (PD:
Luciana Veiga)
When Your Dance and
My Dance are
Entwined (PD: Clare
Battersby & Liz
Battersby)
Break
8.30-9.30
Meeting Myself: I Sense, I
Move and I Dance (PD:
Ming-Fei Hsieh)
Session 125-128
Dance Workshops and
separate section)
Session 124
EDUCATION Secondary Teacher
Education (4.0.24)
Session 121
EMPOWERMENT Teaching Experiences
(4.0.02)
Break
Keynote: Empowering Dance in Our Communities: Making the Connections Visible / Ralph Buck & Erica Rose Jeffrey (Lundbeck Auditorium)
- Sense and Empathy
(4.0.10)
Session 122 EDUCATION
- the Significance of
Dance in Different
Sectors (4.0.13)
8.15-8.30
Friday - 10th July 2015
Adult Program
FRIDAY
130
Lunch
Creative Meeting Points Tour of Showings (audience meet at the info desk in Dansehallerne 13.45 for instructions)
Break
Closing Event and Farewell Party (Boblepladsen, Dansehallerne)
10.00-12.45
12.45-14.00
14.00-17.15
17.15-18.00
18.00-22.00
FRIDAY
Break
9.30-10.00
Keynote at NEXS (10-.00-11.00) / Twin Labs evaluation
8.30-9.30
Ralph Buck & Erica Rose Jeffrey (Lundbeck Auditorium)
Empowering Dance in Our Communities: Making the Connections Visible /
8.15-8.30
Friday - 10th July 2015
131
Katrina Cluff
Brooke Charlebois & Amanda
Williams-Yeagers
Alice Lee Holland & Jacinta
Larcombe
StudioInstaFace
The Changing Identity of Dance Education: Exploring
Free to be Me
126
127
128
Marilyn Berrett & Cecilie Karnil
Teaching Dance Using the Power of Story Telling
125
Inquiry in Dance
Presenter(s)
Title
Session
Session 125: Dance Workshop Session 126-128: Lecture Sharings
Friday - 10th July 11.30-13.00
FRIDAY
NEXS - Karnapsalen
NEXS - Herresalen
NEXS - Dansesalen
NEXS – OM-Hallen
Location
All
All
All
Teachers
Target group
132
133
Empowerment through Dance: Taking a Turn
ANN KIPLING BROWN & CARA CALIBABA
M
any have written on the power of dance to
heal, to educate, and as a catalyst for personal
growth. This paper presents a project, undertaken by
a community schoolteacher and a university dance
education professor, in which students from grades
3 to 5 were paired with pre-service university students in dance sessions over several weeks. Reflective
practice, collaboration and interactive experiences
are of paramount importance to both pre-service
educators and community school students. The goals
of the project were: for pre-service teachers; to establish their identity as future educators and to prepare
them to work effectively in dance with students they
encounter in today’s classrooms; and, for the community school students to understand and value arts
expressions throughout life. Through such experiences all students were able to connect with their heritage, explore personal ideas and express themselves
in more holistic ways. Together, the students explored
dance tasks, created dances and carried out reflective dialogues and writings led by the professor and
teacher. Interviews were also conducted to assess the
impact of the project. Applying Hycner’s model (1999)
the reflections and interview comments were bracketed to identify recurring themes, and then delineated
into units of meaning relevant to the research question. Responses indicate that these were worthwhile
experiences in generating a sense of pride in the
work, an understanding of the power of dance to get
to know about themselves and others, a development
of knowledge about dance and dance education, and
the courage to share their ideas with others.
ANN KIPLING BROWN, Ph.D. is Professor Emerita at the
University of Regina, having worked for many years in
the arts education program in the Faculty of Education. She works extensively with children, youth and
adults and leads classes in technique, composition,
and notation. Her research and publications focus on
dance pedagogy, the integration of notation in dance
programs, the application of technology in dance
education, and the role of dance in the child’s and
adult’s lived world. She is committed to research and
networking in arts education with a focus on dance
education in the public and private sectors.
CARA CALIBABA is an arts education teacher at Arcola
Community School in Regina, Saskatchewan and is a
graduate of the University of Regina’s arts education
program, where she studied dance education. She is
committed to giving her students ample opportunities
to explore, create and genuinely appreciate dance.
In addition to a curriculum focus, she is passionate
about creating a culture of movement in her school
by offering daily dance fitness and yoga classes.
Through the power of movement, she also strongly believes dance can be a cathartic and truly life
changing experience.
Service Learning and Dance Education: A Pilot
Project for Emerging Teachers
MARISSA NESBIT
D
ance educators’ professional identities are often
complex and overlapping with their identities as
artists, scholars, and collaborators. University dance
education coursework should facilitate undergraduate students’ adoption of multiple professional
identifications while they are still immersed in the
study and reflection processes that are hallmarks
of the student experience. Service learning dance
courses can provide an important avenue for supporting this transition. Service learning is a pedagogy of experiential learning that combines service
with deliberate planning and reflection to support
understanding of course content, engagement with
social issues, and preparation for future pursuits. A
university course, Creative Dance and Drama for the
Elementary School, was restructured as a service
learning course, allowing the students to apply their
on-campus coursework in an elementary school
setting and providing an important opportunity to
develop their identities as teachers and collaborators
prior to their fourth-year internship. Dance education
students were asked to share their thoughts regarding their engagement in this course, including how it
related to their identities as students, teachers, and
dancers. Their experiences help illuminate ways that
structured service learning projects can help dance
education students achieve course objectives while
as they gradually take on the identity of professional
dance educator. This project dialogue will introduce
key aspects of service learning in higher education,
demonstrate how they were applied in this dance education course, share excerpts from students’ reflections, and offer considerations for future development
of this work.
FRIDAY
134
MARISSA NESBIT, Dr. is Assistant Professor at East Carolina University, where she coordinates the dance education program and teaches dance pedagogy, modern dance, improvisation, and dance appreciation
courses. She is also a Service Learning Faculty Fellow,
working with colleagues to investigate the application
of service learning pedagogy across the university.
Her research interests include dance education curriculum, dance literacy, and teacher education; her
creative interests include collaborative choreography
and the creation of works that resonate with young
people. She earned her PhD in art education from the
Ohio State University and MFA in dance from Texas
Woman’s University.
When Your Dance and My Dance are Entwined
CLARE BATTERSBY & LIZ BATTERSBY
FRIDAY
H
ow can an emerging dance identity enhance a
child’s awareness and sense of belonging in the
world? This project dialogue presents research that
explores my long-held belief that children’s emerging
sense of self can develop and be empowered through
their experience of an inclusive approach to dance
where they are challenged, and experience joy and
success. The approach to teaching a community
dance class comprised of 4-7 year-old girls and boys
of diverse cultures and backgrounds at TAPAC, a
studio in Auckland, Aotearoa, New Zealand will be
shared. Interviews with some of the children and their
parents, have revealed what brings them to dance,
what perceptions they have about dance, who the
children are when they come into the shared dance
space, and how a community dance class might
contribute to their emerging dancing identity over
time. Photographs and video that focus on my teaching reveal how the children’s dance develop through
the inter-relationship between the individual children,
other children in the class, the dance space, and me
as the teacher. The work reveals the ‘twist’, that as a
class the link between the child’s home and the studio
creates a ‘third’ space and a fluid liminal space that
is not restricted by its physical environment and that
offers the child a context for expression and embodied awareness through which their moving identity
finds its coordinates.
CLARE BATTERSBY holds a Dip T: Graduate Diploma in
movement and dance, University of Melbourne. She is
known across New Zealand for her expertise in young
children’s dance. She is also widely known as her alter
ego, FairyClare, developing shows for children about
nature, which she has performed in Botanic Gardens
around the world. She regularly presents at conferences in Australia and New Zealand and presented at
daCi in Finland in 1997. She teaches dance to children
in a range of settings in Auckland and trains teachers
from around New Zealand, previously being on staff
at the University of Auckland.
LIZ BATTERSBY, MA, Hons., Dip. Tchg., Education Consultant, Auckland, New Zealand. She was a primary
school teacher before becoming a primary school
Principal for 22 years. She now works as a consultant,
assisting families with their children’s learning, and
mentoring teachers with integrating a Reggio Emilia
approach into their practice. She writes reviews of
speakers’ presentations for the website of Reggio
Emilia, Aotearoa New Zealand (REANZ). She is very interested in learning more about children’s dance education and what connections there might be between
the pedagogy of Reggio Emilia and that of creative
contemporary dance.
The Twists and Turns of Dance Pedagogy: A
Dual Perspective.
JONI URRY WILSON & ALYSSA WILSON
W
ith many years of teaching and assisting together, the co-authors have documented their
experience into this project dialogue that exhibits
the difference and value of two perspectives when
teaching dance; teacher and assistant. The teacher,
as the designer of the class has a prominent role,
while the assistant has a twinned, and equally valued
role. Both positions play a vital part in the construction and content of the class and the experience for
the students. This helpful and widely applicable dialogue of how teachers’ model and train assistants
are uniquely underscored by the reverse prospective
for assistants. How can two voices train into one for
the benefit of the student dancers and what are the
essential components in making a teaching and assisting standard successful? The authors will present
and lead discussion to highlight this essential teaching twinning tool while elucidating the intricate dance
that occurs within the arch of each class and lesson.
A successful model of this teaching and assisting duo
twists together one purpose with two perspectives: a
unique, insightful, and fulfilling dance experience for
135
each and every child. This project dialogue will outline
personal experiences, as well as detail specifics about
twinning and connecting life lessons using dance as
the art form. The project will include examples as well
as lesson plan ideas created for twinning experiences. Ultimately, each dance class becomes a twinning
experience between the teachers and students, a
unique occurrence where life lessons are learned,
dance is created, and joy is experienced.
taken away from children and also teachers, who find
themselves oppressed within the pedagogical team.
On the other hand, families see the activity as recreation. Dance graduation is in Brazil since 1950 but
most of school chairs in Brazil ignore that fact. The
topic concerns all dance teachers in Brazil, as there is
a strong need to prepare chairs, directors and pedagogical leaders in order to manage dance education
properly.
JONI URRY WILSON has taught hundreds of children and
LUCIANA VEIGA has studied classical ballet since 1980.
adults the art of dance over the span of two decades.
She received her degrees in dance from the University
of Utah and Mills College, Oakland, California. She
has devoted time to serving on her national daCi
board as well as her local chapter and brings her joy
for dance to all populations.
She is a teacher and choreographer of classical
dance since 1994 (private schools). She has served
as a dance educator in dance curriculum since 2011
(Mesquita Educational Department) and a Purna
Yoga Master since 1998. She graduated with a dance
degree in 2003, and received a specialty in arts
teaching in 2007. She has served as a volunteer panelist in educational institutions and worked as a high
school teacher for dance. Currently she is a teacher in
a special education school for teens and adults.
ALYSSA WILSON has grown up dancing since the age of
2 and now brings that experience into her life as an
international scholar. She is multi-lingual and is pursuing a degree in international relations allowing her
to incorporate adventure and integrity into all areas
of her life.
Where Are You From? Creative Dance Crossing
Boundaries
EVELIN KELLER
LUCIANA VEIGA
T
his presentation includes observations based on
20 years of dance teaching experience in private
schools in the city of Rio de Janeiro. A discussion of
the roles in dance education inside and outside of the
school curriculum will be included. Dancing can be
found in many schools in the city. In private schools
it is mainly an extra-curricular elective subject or an
after school activity. Within private schools’ curricula,
dancing is little known as a subject in the field of arts,
which has been regulated by law since 1996. However,
it is commonly used to ‘brighten up’ commemorative
days in the school calendar. In Brazil, very few school
managers have read the Arts Parameter (the national
reference for education), but these are the ones who
determine the pedagogical implementation of dancing in schools. Dancing classes at school take place
amidst a lack of knowledge of its role in education
and artistic training, which means they are not seen
as pedagogical activities relevant to a child’s education. In this way, dancing is quite often underused and
F
rom the curriculum to classroom practice, the
focus of this study is on the teaching and learning process involved in creative dance workshops
with multicultural children aged between two to ten
years, both in Hong Kong, the author’s home base for
the last ten years and in Brazil, her country of origin.
This presentation interrogates: 1) What is creative
dance? 2) Why is it an appropriate form of dance for
young children? 3) What are the teachers’ roles in
this process? 4) How do the students’ and teachers’
identity and cultural background interact and influence this learning experience? One example and the
most relevant in this investigation is the introduction
of dance elements through primary school subjects;
stimulating children’s enquiry via an interdisciplinary
approach. The International Bachelorette (IB) curriculum was chosen as the subject of exploration and
practice, specifically the IB Primary Years Program,
unity of inquiry which covers: “How we express ourselves; the ways in which we discover and express
ideas, feelings, nature, culture, beliefs and values; the
ways in which we reflect on, extend and enjoy our
creativity; our appreciation of the aesthetic.” Through
an action-research methodology, various challenges
were documented and analyzed, and teaching strat-
FRIDAY
Dance Context in Private Schools in Rio de Janeiro - Challenges and Proposals
136
egies reviewed and applied through cycles of practice-as-research. This study suggests that dance as
an art form has a valuable place in the education of
children within a holistic curriculum and can provide
young children with fruitful dance experiences. Dance
education can also enhance a learning pathway for
children to express themselves, as well as understand
and embrace their own identity or a collective cultural
identity.
and dance education from New York University, and
a BA in dance from Hunter College, CUNY. She is a
member of World Dance Alliance-Asia Pacific (WDAAP) and is currently Taiwan’s national representative
of Dance and the Child International (daCi).
Dancing Empathy
EVELIN KELLER trained in classical ballet at the Ballet
Rosana Abubakir in Bahia-Brazil, from an early age
until becoming a member of the teacher’s board in
1990. She holds a dance degree from University Federal of Bahia-Brazil (1999) and completed a Master of
Fine Arts from Hong Kong Academy for Performing
Arts in 2011. As a dancer and choreographer she has
worked with Gisela Rocha Dance Company, Switzerland (2001-2002); Stromereien (2003); Tanz Haus,
Zurich(2003); Danca Brasil, Rio de Janeiro (2000);
Almada Dance Festival, Portugal (2001) and Dance on
Screen, London (2003). She founded Motive for Motion
Dance Work and promotes dance classes and workshops for children, youths and adults.
Dance Competitions and Children
JUANANN TAI
FRIDAY
D
ance competitions are an important component
for students in Taiwan’s dance education field,
and the National Student Dance Competition is the
most popular event among students from all age
levels. However, dance educators in Taiwan have different opinions about dance competitions, with many
solely involved in this particular competition since it
is sponsored by the Ministry of Education. This presentation uses the National Student Dance Competition in Taiwan to investigate why children participate
in dance competitions, whether participation in such
competitions is intrinsically or extrinsically motivated,
and how outcomes reinforce existing dance practice
in Taiwan. The study also seeks to show how students
develop their dance identity and how participation
in competitions such as this one adds to or detracts
from developing a creative disposition.
JUANANN TAI (ANN HAYWARD) (
) is an Associate Professor in the Department of Dance at Tainan University of Technology in Taiwan, specializing in dance education and dance history. She holds a PhD in Dance
Studies from the University of Surrey, an MA in dance
METTE OVERGAARD
A
qualitative research with a phenomenological
approach to how we experience empathy in
dance, the research takes point of departure in an
artistic approach to empathy and how this informs
the author as a dance artist and develops into a more
pedagogical anchored action research informed
by the experiences made by participants described
through small poetic passages. The interest derives
from a social context, a feeling that we embody an
understanding of each other when watching and
doing dance, which is something very central and
important in the author’s understanding of dance
encounters. For the research design the author used
both performance and embodiment in form of a
workshop in which she asks: How do I as a performer
and facilitator foster sensitivity and empathy? The
presentation discusses the concept of kinesthetic
empathy with a focus on embodied knowledge shared
by watching dance and immersing in movement
exercises. On the basis of the findings in the practical case study, empathy is an embodied experience
co-created in relationship. In the process of dancing
empathy an intersection of self and relational other is
created wherein communication happens on a kinesthetic and cognitive level. The presentation explores
how dancing empathy creates cohesion in a group
where the participants can explore the topic in a
fruitful environment, which support social interaction
and development of empathic skills. This study may
have implications for the way we foster social interaction in artistic practices and how we can benefit from
merging artistic and pedagogical processes.
METTE OVERGAARD works as a freelance dance artist and
facilitator. She has a diploma from Iwanson School
of Contemporary Dance 2006-2009. She studied at
the postgraduate program Dance Partnership at the
Danish National School of Performing Arts in Copenhagen (graduated 2014). Through her work as choreographer and dancer she has created pieces that
137
Meeting Myself: I Sense, I Move and I Dance
MING-FEI HSIEH
L
ife Pulse is a course created by the Cloud Gate
Dance School in 1998. Its title comes from a desire
to broaden people’s perception of dance and to give
young people space to explore different concepts
through dance, and then take that experience into
other areas of life, now and in the future. In this way,
the meaning of dance is expanded. Traditionally, ideas about dance education have emphasized dancing.
But, while dance, movement and physical well-being
is integral to Life Pulse, the focus of the course is not
the development of dance skills, but the development
of the personal, social and cognitive development
of the young people taking part. This presentation
examines the course through the experience of four
teenage students, and some of the classes that they
have taken over a period of ten years. Consideration
is given to how the classes, which focus on processes,
ideas and thoughts behind movement rather than
the movement itself, facilitate the development of the
young people’s personal identity and well-being. The
investigation also looks at how teachers nurture the
young people’s creativity at the school; their self-expression, willingness to offer opinions, take risks and
solve problems; in other words, their interpersonal
and social skills. These are all things that transfer to
other areas of life, at school, at home, anywhere. Finally, the research considers how Life Pulse, through
the study and discussion of dance from around the
world, develops a deeper and more meaningful understanding and appreciation of one’s own culture.
MING-FEI HSIEH graduated from the National Institute
of the Arts (now Taipei National University of the Arts)
with a BA in dance. She joined Cloud Gate Dance
Theater, performing as a soloist in the company’s
renowned repertoire for six years. She began teaching full-time at the Cloud Gate Dance School in 2002,
where she is now Director of Research and Development. In 2008 she received her MA in dance training
and education from the London Contemporary Dance
School.
Initial Investigation into Implementing Periodized Training in a Dance Company: A Director’s/Choreographer’s Perspective
DITTE EGHOLM
T
he injury occurrence in dance has been reported
as high as 84% with the perceived cause being
fatigue and overwork. Dancers have been reported
to have lower physical fitness compared to other
athletes and while periodization has been widely recognized for the positive effects on athletes it has yet
to be implemented in dance settings. The intention
of periodized training is to maximize performance at
a specific time, usually during main competitions or
performances, which is often the case for dance. For
the athlete the preparedness for competition or performance must increase at the appropriate time to
ensure greater potential for high-level performance.
To prepare an athlete for optimal performance at a
specific time is complex interactions of developing
skills, biomotor abilities, psychological traits and the
management of fatigue. It has been suggested that
periodization may be of use within dance settings
and will potentially help prevent overtraining, underperformance and injury occurrence. This is however
under researched and the present study will aim to investigate perceived barriers and/or benefits from the
perspective of dance company directors and choreographer. According to findings from this study dance
company directors and choreographers identify the
benefits to be mainly for the dancers. For choreographers periodization was reported to lack in flexibility
and this could potentially be a disadvantage in a
creative working process.
DITTE EGHOLM has previously studied dance in Copenhagen, and has a diploma in dance studies and a
MSc in dance science from Trinity Laban in London,
UK. The focus throughout her studies has been on
the well-being of dancers and the possibility of preventing the high injury occurrence in dance. She
has taught contemporary, ballet and creative dance
abroad in community settings and was the receiver of
the Mary Zemke prize from Trinity Laban in 2012.
FRIDAY
have been shown in Denmark and abroad. Co-founder of MeDeHELe dansekompagni, she has done many
creative dance projects for children and youth in
Denmark, Colombia, Maldives and Brazil.
138
International Collaboration in Dance Teacher
Education – Sharing Best Practice with a Focus on Dance in Secondary Schools
MARIA SPETH, JANINE STREULI, SUSAN R. KOFF & SHEILA DEVAL
T
FRIDAY
he presenters of this panel consist of 4 dance
educators with extensive teaching experience
in secondary schools as well as dance teacher education across 4 countries/continents. All of them
are actively involved in the provision of high quality,
specialist dance teacher education; each in a different political, cultural and geographical context and
all within the context of higher education programs
that focus on educating specialist dance teachers
for secondary schools. The panel provides a critical
overview of the role and position of dance in secondary education across UK, USA, The Netherlands and
Denmark. The overview further explores opportunities
and challenges that are faced by dance education
nationally and internationally with a view to share
and discuss best practice. The role of dance from a
learning perspective will be considered and also the
position of dance within different countries’ secondary school curricula alongside the challenges faced to
ensure and further high quality dance provision, both
in an educational and artistic sense. Most importantly, this panel aims to highlight the numerous opportunities that arise from international collaboration in
dance across teacher and secondary education with
a view to further best practice and enhance dance
opportunities for young people internationally.
MARIA SPETH studied theatrical and educational dance.
She is a Senior Lecturer at the Fontys Academy for
Dance Education, with responsibility for the Dance
in School Education program, which concerns both
primary and secondary schools. She does extensive
work with professionals in dance education around
the world. In developing methods for dance education she has become involved in (educational) dance
projects worldwide. She is the author of three books
plus matching CDs about dancing with young people
from 4 to 18 years old called “Dance Spetters”. She
currently is the Chair Elect of Dance and the Child
International.
JANINE STREULI has been a full-time academic at the
Royal Academy of Dance (RAD) since 2010 and tutors
across a range of undergraduate, postgraduate and
professional programs. She has managed both the
BA (Hons) ballet education as well as the Postgraduate Certificate in Education: Dance Teaching and
was promoted to Head of learning and teaching in
2014. Prior to joining the RAD, she had an extensive
freelance career-teaching dance in private and state
sector education. During that time, she also taught
yoga and Pilates in numerous contexts. She trained
in ballet and contemporary dance and her research
interests cover health, safe practice and innovative
pedagogy.
SUSAN R. KOFF is a clinical Associate Professor and
Director of the Dance Education Program in the
Steinhardt School at New York University. She previously was at Teachers College, Columbia University
Louisiana State University in Baton Rouge, University
of Denver, Pennsylvania State University, and the Jerusalem Rubin Academy of Music and Dance in Israel.
Her academic and service activities are in the area
of dance education, within the United States and in
an international arena. She currently serves as the
secretary of the board for Dance and the Child International (daCi).
SHEILA DEVAL is currently employed at the Danish National School of Performing Arts where she is Center
Leader for acting and dance with responsibility for
the Dance Partnership Education. The program is a
two-year, post-graduate education for professional
dancers focusing on teaching, facilitation and project
development. She worked internationally as a professional dancer before taking up a teaching career
and gaining a MA in education from the University of
Exeter. The development of dance in Denmark, and
in particular the introduction of creative dance into
schools has been an area of particular interest to her
during her time in Denmark.
Teaching Dance Using the Power of Story
Telling
MARILYN BERRET & CECILIE KARNIL
D
ance teachers and children 6-12 years are invited
to learn of two different approaches to teaching
and choreographing in dance using story telling as a
tool to captivate and motivate students. Participants
will first explore how a story intertwines with dance
moves. They will engage in the process of making up
a story, using pop choreography appropriate to ages
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6-12, learn how this approach to dance instruction
has captured many students (especially beginner
dancers) in Denmark and has empowered teachers.
Participants will then explore classic folk tales and
beloved stories from children’s books to inspire dance
choreography. This approach, used by dance specialists and classroom teachers in the USA motivates
students of all ages and dance abilities to create
original group choreography and engaging performances. The workshop will conclude with participants
combining both approaches in a creative process.
Marilyn Berrett (USA) and Cecilie Karnil (Denmark)
will re-unite after 20 years apart to present this teamtaught workshop. They worked as dance professor
and student at Brigham Young University in Provo,
Utah USA from 1995-1998.
perfects and presents for the world of Facebook and
Instagram. What is the difference? The student can
receive up to 800 ‘Likes’ in 1 hour on InstaFace (Instagram/Facebook) and can walk out of the dance studio having not received one obvious and clear ‘Like’
from their teacher or peers. How does this pre-programmed mentality affect how our students perceive
their talents, consider their strengths and weaknesses
and develop a strong sense of self in the dance studio? What is our role as dance teachers with this new
emerging trend of self-perception and image?
KATRINA CLUFF has been teaching elective dance at the
College for the past 6 years and has been the coordinator of co-curricular dance since 2011. Before moving
to Sydney, she completed a BA in communications
theater/media and a diploma of secondary education.
Whilst completing her degree she established a dance
school in Central West NSW. In 2010, she was the recipient of a professional development scholarship,
which assisted her in attending an intensive course in
New York studying the Horton pedagogy at Alvin Ailey
American Dance Theater. Many of her elective dance
students have achieved excellent results in their HSC
dance examinations and continue to be nominated
and selected for the HSC showcase of exemplar work
“Callback.”
StudioInstaFace
KATRINA CLUFF
I
n 1 hour in a dance studio a dance student views,
imitates, perfects and presents for their peers and
teacher. In 1 hour the same student views, imitates,
The Changing Identity of Dance Education:
Exploring Inquiry in Dance
BROOKE CHARLEBOIS & AMANDA WILLIAMS-YEAGERS
I
n 2009, Ontario, Canada released a revised elementary arts curriculum that included dance as a standalone subject. Prior to this, dance had been embedded in the drama curriculum at the elementary level.
School boards and teachers have struggled over the
last few years with how to implement the revised curriculum, as few generalist elementary teachers have
training in creative dance. More recently, education
in Ontario has begun to shift to include more inquiry
based-learning in the classroom. As a result, teachers
are refining and evolving their teaching practices to
decipher where and how inquiry and dance education
fit together. This lecture sharing will explore our journey, as we grapple with our role as dance teachers in
an inquiry-based grade 5 classroom. It will examine
our teaching practice as we work towards redefining
our identity as teachers to become co-learners and
FRIDAY
CECILIE KARNIL received her BA from Brigham Young
University in dance in 1998. She has taught dance
in Denmark for 15 years, including her own private
school of dance: “Dans på Hjul” (“Dance on Wheels”).
The dance school does not have its own studio, but
she reaches out to smaller towns and places where
dance instruction is not available. She teaches creative and popular dance for ages 3-15. Her newest
project: “Dans & Bevægelse i Skolen” (“Dance & Movement in the Schools”), reaches out to schoolteachers
and students with movement and dance as a learning
tool in the school.
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co-questioners with our students. This presentation
will provide insight into the methodology and documentation used in our action research project over
the course of a term. We will share video excerpts of
the work done with the students, as well as our reflections as teachers, co-learners and researchers and
our plans for next steps.
BROOKE CHARLEBOIS is the Past President of the Council
of Ontario Drama and Dance Educators, the provincial subject association for Ontario, Canada teachers
who teach drama and dance. She has taught dance in
the public school system for more than 10 years and
was the lead writer for the Ontario elementary dance
curriculum. She has written numerous dance resources for the Ministry of Education and worked internationally as a curriculum writer, resource developer
and teacher trainer in the field of dance education.
She is currently working on her master of education,
focusing on the place of inquiry in dance education.
AMANDA WILLIAMS-YEAGERS is the Executive Secretary of
the Council of Ontario Drama and Dance Educators.
She has written several resources to assist teachers
with the implementation of the dance curriculum in
Ontario schools and has presented to teachers across
the province. The bulk of her teaching experience
has been at the primary and junior level, where she
is pioneering inquiry and arts-based learning in her
school board.
Free to Be Me
ALICE LEE HOLLAND & JACINTA LARCOMBE
FRIDAY
“F
ree to Be Me” is a research presentation of
STEPS Youth Dance Company as a youth company that offers a truly extraordinary experience for
young dancers – a unique and alternative approach
to dance, which prioritizes the development of young
dancers as independent, imaginative, expressive and
confident individuals. Dance participation for young
people often involves a high level of conformity and
the enforced discipline of a teacher/director. Combined with an environment focused on structured
technique, this often leads to the molding of young
people into a form of dance at odds with their desire
to express themselves through movement. Dance can
become a technical exercise to be mastered rather
than a vehicle for expression and development of
identity. At STEPS the Artistic Director, Alice Lee Holland, engages young dancers in an experience that
promotes dance as a means for them to be free to
be themselves – to explore, to fail, to share, to learn,
to shift and grow. The lecture sharing focuses on
how STEPS encourages and enables this in its young
dancers. The importance of this will be discussed
through a case study of senior STEPS dancer, Jacinta
Larcombe, and her journey through the company to
find her own adult identity.
ALICE LEE HOLLAND trained at the Western Australian
Academy of Performing Arts (BA) and the University
of North Carolina, Greensboro (MFA). As Artistic Director of STEPS Youth Dance Company since 2009,
she has created a number of full-length works, toured
regionally, and internationally. Independently, she has
created works for companies and organizations in
Western Australia, across Australia and in the US. She
has been engaged as a sessional lecturer in contemporary dance technique at WAAPA since 2006. She
creates immersive and entire dance experiences that
are relevant, responsive and evolutionary.
JACINTA LARCOMBE has been a member of STEPS Youth
Dance Company since 2006 and is now a young and
emerging contemporary dance artist and performer.
In 2013 she featured in physical theatre work “The
Little Mermaid” and subsequently “Best Newcomer”
at the 2014 Performing Arts Western Australia Awards.
Since then, she has worked with Barking Gecko
Theater Company and Perth Theater Company. She
has become a young ambassador for STEPS, and has
been invited to share her experiences with the company publicly on a number of occasions, most notably
as the opening speaker for the APACA Conference in
2013.
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Closing Event & Farewell Party
Friday July 10th 2015
18.00-19.00 Closing Event on Boblepladsen, Dansehallerne.
After an eventful week, we will all meet at the outdoor premises of Boblepladsen, Dansehallerne, for a big and festive closing event. Initiatively there
will be various closing speeches, including the announcing of the host country of the next daCi congress. Thereafter everyone has the chance to join
the ”Big Dance Off,” with the daCi dance, by choreographer Signe Frydenlund.
19.00-21.00 Farewell Party
The rest of the evening we invite you to mingle, dance and have a party
with your daCi friends. So while the DJ plays great tunes, get together and
dance, eat and enjoy the last of this year’s congress with all the other participants.
Be aware that tickets for food should be bought during the congress week.
21.00 Goodnight and thank you for this year’s daCi congress.
FRIDAY
Shuttlebusses to the Danhostel will leave between 21.00-21.00
ACTIVITIES
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Dance Flavours
Dance Flavours are daily warm up classes which invite
all congress participants to enter the dance floor. We
have invited local dance teachers to teach Dance Flavours to give a taste of the Danish dance community
and to give you the possibilities to experience different
dance styles and ways of moving. It is also a way of
meeting other participants at the congress through
moving together. Dance Flavours will be provided at the
two different congress sites. See the program on the
notice boards at the info desks.
Yoga
EVA SCHOU (DK)
T
he class is Anusara inspired, with focus on bringing the body and the mind back into alignment.
Anusara is a yoga style intended for creating balance
in the body and at the same time generating strength,
with focus on the meditative part. The intention is to
prevent injuries and create a harmonious body as well
as becoming more content and strong human beings.
EVA SCHOU is founder and artistic director of the dance
crew Werkaholics, C.E.O. of the urban dance education
Flow Dance Academy and choreographs for the Danish
music group Infernal. She is a technically well-founded contemporary dancer. Recently she added the title
‘yoga teacher' to her CV (a 200 hour YAC teacher training from Hamsa Yoga Studio, Copenhagen).
Hatha Yoga: The Breathing Body
JEAN-HUGUES MIREDIN (FR/DK)
D
uring this workshop of Hatha Yoga we will work into
harmonizing breath and asana in order to release
the body as well as the mind.
JEAN-HUGUES MIREDIN is a dancer, choreographer and
certified Hatha Yoga instructor from the Swami Sivananda’s school. He has been in the performing arts for
nearly 30 years. He has been teaching across Europe,
Asia and the United States. In 2012 he became the
co-founder of the dance company ART&FACT based in
Martinique where he was born.
Surya Yoga
MARIA ALLINGHAM (DK)
S
urya means sun in Sanskrit. In this yoga class we
focus on warming up the whole body through vibrant dynamic movements in the spine, core strength
and creative flows. There will also be an element of play
doing challenging arm balances and partner poses. All
poses are embraced by staying connected to the breath
in the present moment with loving attention for body
and mind.
MARIA ALLINGHAM has been teaching since 2007. Yoga has
become her great passion and an important source of
strength. She specializes in pre- and postnatal yoga,
but also loves to teach hot yoga, vinyasa flow and classes for teens. She is educated from Hamsa Yoga, Satva
Yoga, Yogini Yoga and Nalini Yoga.
Incore Pilates
ANJA HUMMEL (DK)
Y
ou will learn to work from your core, using the six Pilates principles of centering, concentration, control,
precision, breathing, and flow. The exercises build upon
and complement each other, in order to train all muscle
groups of your body harmoniously. Everyone from beginners to professional athletes and dancers can participate and benefit from the training. With a dynamic
physical approach and progression, body awareness
and understanding are key elements of the training.
ANJA HUMMEL has 25 years of experience as a professional
dancer, dance teacher and Pilates instructor. As studio
owner in Berlin and now Copenhagen, she is passionate
about helping clients attain substantial improvement
in shape and well-being as well as guiding dancers in
training and rehabilitation. She holds comprehensive
certification from the Pilates Zentrum Berlin.
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Open Training
Contact Improvisation: Mass in Motion
KRISTINE KYHL ANDERSEN (DK) & TORA BALSLEV (DK)
JEAN-HUGUES MIREDIN (FR/DK)
O
T
KRISTINE KYHL ANDERSEN holds a BA in choreography and
dance from the School for New Dance Development
(SNDO) in Amsterdam, 2004. That same year she founded the dance company / band WE GO, in collaboration
with composer Niels Bjerg, and together they seek ways
to merge dance and music into new collaborative forms.
JEAN-HUGUES MIREDIN is a dancer, choreographer and
certified hatha yoga instructor from the Swami Sivananda’s school. He has been in the performing arts
for nearly 30 years, teaching across Europe, Asia and
United States. In 2012 he became the co-founder of the
dance company ART&FACT based in Martinique, where
he was born.
pen Training is for anyone wanting to increase
their body awareness. It is a dynamic, powerful
training across the floor. It works every part of the body
effectively, strengthening your endurance, mobility,
coordination, focus and balance. Awareness of center,
alignment, grounding, breathing, time and space is
enhanced. Open Training is a mixture of Western dance
forms and MB training: The physical training component
of butoh dancer Min Tanaka’s Body Weather approach.
TORA BALSLEV creates and performs stage art in a crossover between dance and performance art, focusing on
physical transformation, presence and humour. She
graduated from the School of Stage Arts and Danish
Development Centre of Performing Arts and has a
background in Japanese butoh dance and physical
theatre.
Contemporary Ballet Class
ARINA TROSTYANETSKAYA (RU/DK)
I
n this contemporary ballet class we will work on the
main principals of ballet. Arina will teach a barre class,
combined with dance phrases across the floor. She will
combine traditional ballet ideas and her experiences as
a contemporary dancer to help you find more freedom
in your movement and a better understanding of your
body. The goal of the class is to learn new things, stay
challenged and enjoy dancing!
ARINA TROSTYANETSKAYA studied at the Vaganova Ballet
Academy in St. Petersburg and Rudra Béjart Lausanne.
She has worked at the Netherlands Dance Theater 2
and the Danish Dance Theater. Danced in pieces by
Jirí Kylián, Paul Lightfoot, Alexander Ekman, Hans van
Manen, Ohad Naharin, Tim Rushton, Örjan Andersson,
Maurice Béjart and many others.
his workshop will explore ways in which we can
move fluidly into and out of connection, centred and
in multi-directional contact with different moving bodies in space. We will find out how to work with softness
and subtlety whilst remaining direct and clear and cultivating a state of readiness for every possibility: pause,
action, speed, softness, force etc. The work will include
solo, partner and trio exploration.
Moving through Cooperation
QUIM BIGAS BASSART (ESP/DK)
F
or this 60 minutes session we will cooperate as a
group in order to create a good environment and
experience for everyone. Many of the exercises during
the session will consist of partner work and other constellations such as trios or quintets. Practically, we will
be working with weight, leaning and other approaches
towards trust in order to dive into different ways of moving and being moved together.
QUIM BIGAS BASSART focuses on choreography and dance
as a tool to generate a certain discourse or discussion
during theater works and movement classes. Since 2005
he has been teaching as well as sharing various dance
techniques. Currently, he teaches the professional training classes in Dansehallerne and at the Copenhagen
Contemporary Dance School.
Modern - Floor and Phrases
VIOLA DRÖSE (DK/DE)
T
he class is a mixture of floor work, standing technique exercises and dynamic, traveling phrases. The
floor work will engage the core strength and develop
fluidity and flow in the movement. It will build up and
bring the body standing, with a focus on using the floor.
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The class is inspired by release technique and works a
lot with momentum, gravity and the use of weight.
Flamenco (modern)
SELENE MUÑOZ (ES)
VIOLA DRÖSE graduated in 2010 from the Ballet Academy
in Gothenburg and in 2014 got her Postgraduate diploma from the Danish National School of Performing Arts.
She works as a freelance dance teacher, choreographer
and dancer/performer, among other places for Dansehallerne, Åben Dans in Roskilde, Tivoli Ballet Skole and
Stands & Dans.
T
echnique, stamina, flexibility and the ability to
emerge ourselves in the music and our movements
to become rhythmically stronger. We will focus on our
breathing and on letting go mentally and physically so
we are able to perform and tell a story with our bodies.
We will be applying a modern approach to flamenco,
along with history and tradition still being in focus.
Everybody can join, dancers from all backgrounds.
Improvisation and Contemporary Floorwork
VERONIKA TYBELL (SE)
F
loor, flow and play are the keywords for this class.
You will get the chance to wake up, get to know and
have fun with your body through improvisational tasks
and set material. We are going to use our own imagination and inspiration of the others in the room to explore
bodily movements. This will involve doing some basic
floor work using your own weight against the floor and
working with a partner.
VERONIKA TYBELL graduated in 2014, with a Bachelor degree in dance pedagogy, from the University of Dance
and Circus, Stockholm. Veronika’s main focus is to teach
contemporary dance. Currently she is freelancing as a
dancer and pedagogue, most actively with Dagvatten, a
Stockholm based dance company she co-founded.
Danish Folk Dance
ANNETTE THOMSEN (DK) & JØRGEN HANSKOV (DK)
SELENE MUÑOZ has received several awards for her work
as a dancer and choreographer. She performed at venues around the world from Guggenheim Museum (NYC)
to the Citadel (Jerusalem). She has given workshops
and classes worldwide, and taught artists from Cirque
du Soleil and dancers from the Royal Danish Ballet.
Gaga
SIRI WOLTHOORN (DK)
G
aga is a new way of gaining knowledge and
self-awareness through your body. Gaga provides
a framework for discovering and strengthening your
body and adding flexibility, stamina, and agility while
lightening the senses and imagination. The work improves instinctive movement and connects conscious
and unconscious movement, and it allows for an experience of freedom and pleasure in a simple way, in a
pleasant space, in comfortable clothes, accompanied
by music, each person with oneself and others.
I
n Danish folk dance there are different styles with
many variations of steps and rhythms.
The folk dances consist of both couple and group dances. This means that cooperation is very important to
make the dances work. The dances can be traced back
to the late 18th and 19th centuries and they were collected and described in the first half of the 20th century by
young students.
SIRI WOLTHOORN is educated from Hogeschool voor de
ANNETTE THOMSEN is educated as a pedagogue and folk
dance instructor. She has taught folk dance since 1965.
Jazz
JØRGEN HANSKOV plays the violin and viola and teaches
music in high school. He plays folk music at various
Danish folk dancing courses, and he also plays Irish and
Scottish folk music.
T
Kunsten in Amsterdam, and has worked with Batsheva
Dance Company, Yossi Berg and Oded Graf Dance Theatre, Recoil Performance Group, Danish Dance Theatre,
Mute Dance Company, Ari Rosenzweig, Edhem Jesenkovic and Itzik Galili. Siri is freelancing as well as teaching gaga and Pilates.
STEFFEN HULEHØJ FREDERIKSEN (DK)
he class will take you through a warm up containing
technique, strength and stretching, which will make
your body ready for the exercises across the floor and
a choreography which will make you happy. Dancing
is the best workout and source of fun and joy! Steffen
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believes that having a good basic technique is the way
forward and what makes you the best dancer you can
be. Most important for him is; learning should be fun!
STEFFEN HULEHØJ FREDERIKSEN graduated from the Danish
Musical Academy in 2007. He started dancing when he
was two years old and has been doing so ever since.
Steffen is so happy to have his greatest joy and passion
as a profession and feels he has been blessed with all
the musical jobs in his career.
House
Hip-Hop (Alternative)
STINE MILLE ANDERSEN (DK)
E
very class starts with a thorough yoga inspired
warm-up including hip-hop foundation techniques
such as grooves and isolations. Depending on the focus
of the class, there can be shorter across the floor combinations based on the phrase that will be taught in the
end of the class. She likes to combine different dance
genres, which means that her classes can be very varied, but you will experience that each class has a main
focus.
TONE REUMERT (DK)
T
he class will introduce you to house; a social dance,
focusing on communicating with our bodies. It has
roots in the salsa, capoeira, tap, foxtrot and ballet. It
emphasizes fast, complex footwork and fluid movements in the upper body. The class focuses on musicality, the accents within the movements, the basic house
techniques, building a strong foundation and warming
up the body simultaneously.
STINE MILLE ANDERSEN lives in Copenhagen, where she
works as a professional dancer. She has been training a
lot abroad, where she for periods of time has been living in L.A. and London with the aim of getting intensive
dance training. In addition she graduated from Danseuddannelsen by Sara Gaardbo.
Floor Work - Grounding and Flow
KRISTIAN TIRSGAARD (DK)
TONE REUMERT graduated from Danseuddannelsen in 2012
and has worked as a professional dancer since then.
She lived in Paris for six months, dancing on two prestigious dance schools. She has been performing and
worked with artists such as Rihanna, Kim Cesarion, Lucy
Love, Nabiha and Medina.
Waacking
A
perfect beginning of a new day. You will start by
tuning in on your breath and gently warming up by
integrating all body parts. As you are melting and releasing into the floor you are building up to soft, smooth
transitions and dynamic changes. A playground to
explore new opportunities. The class ends with a short
phrase to focus on functionality and efficiency, grounding and flow.
EVA SCHOU (DK)
KRISTIAN TIRSGAARD is based in London and works interna-
W
aacking is a disco based dance style, danced
to funk or disco music. Attitude, performance,
self-confidence and body control are paramount to the
style. The class is based on exercises in 'posing', party dances (basics), technique and we will do phrases
across the floor and finish off with a short choreography.
EVA SCHOU is founder and artistic director of dance crew
Werkaholics, C.E.O. of the urban dance education Flow
Dance Academy and choreographs for the Danish music group Infernal. She is a technically well-founded,
contemporary dancer, with a rare versatility in urban
dance styles like hip-hop, house, and salsa. She has
performed, taught and practiced Waacking around the
world.
tionally as performer, teacher and choreographer. He
holds a BA in dance theater and an MA in choreography
from Laban, London. His ability to create a focused, yet
fun, work environment makes him a popular facilitator
within the field of dance.
New Dance (Experimental Contemporary &
Commercial Dance)
MARLUZE DA CRUZ (DK/BR)
N
ew Dance is a class for everyone who wants to try
something new, with an experimental and innovative movement vocabulary that mixes the best qualities
from different dance styles.
Marluze’s personal expression and taste from her main
background in both contemporary dance and commer-
148
cial hip-hop are influencing the experimental classes.
Musicality and precision are given high priority with a
focus on a safe and creative environment, where it first
and foremost is fun to dance.
MARLUZE DA CRUZ has danced, taught and choreographed
in many different countries in Europe as well as in Brazil
and Russia. With her versatile competences and experience she is now focused on indulging herself deeper into
her own artistic work and expression, which involves
more experimental and interdisciplinary collaborations
across the arts.
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Creative Meeting Points (CMP)
The daCi 2015 congress emphasizes the creative processes through dance
and the unique opportunity to exchange dance experiences between the
young participants (the dance groups). By integrating our experiences from
the last daCi and WDA Global Dance Summit in Taiwan and by adjusting
them to the congress in Copenhagen, we welcome you all to the Creative
Meeting Points - as a participant or as an audience.
CMP in Copenhagen
The participants of CMP are divided in groups – across nationalities and
ages. Each group is assigned with a dance facilitator and an assistant.
During the four workshop days the focus is on the participants’ meeting
through dance and the process - not on finishing a perfect product. We
regard the final showing Friday, not as a performance, but rather as a manifestation of the meeting and the work that has been going on.
The CMP take place in site specific settings in the outdoor congress venue
Dansehallerne. The facilitators and the participants are working with the
congress theme “Exploring Identities in Dance” during the week.
Thomas Eisenhardt, Danish choreographer and Anamet Magven, Danish
community dance artist, have been our partners in developing the concept
of the Creative Meeting Points.
Showing
All other participants at the congress, the chaperones and the parents are
invited to see the CMP – showing Friday afternoon at the venue Dansehallerne. If you would like to see the showing there will be a meeting point
at Dansehallerne (info desk) at 13.45 Friday afternoon. The audience will be
divided in groups and led through a journey of dancing identities. The tickets are free.
Dance facilitators
Dance facilitators from different countries and with different dance backgrounds facilitate the workshops in CMP. Look at the presentation of the
facilitators on the following pages.
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Annasara Yderstedt (SE/NO)
David Mead (UK/TW)
DANCER, CHOREOGRAPHER AND TEACHER
Annasara Yderstedt currently lives in Stavanger, Norway, where she graduated from the University in 2014.
She works as freelance dancer and choreographer and
teaches at two dance studios. She has choreographed
for children in the project “Danseballaden”, Denmark,
for four years, danced in several productions and experienced the dance traditions in many countries such
as China, Cambodia, Israel and Palestine. This summer
she is going to Namibia to dance with the OYO Dance
Troupe.
CHOREOGRAPHER AND WRITER
David Mead teaches and choreographs regularly at
universities and schools in Taiwan and the UK, including
the Chinese Culture University, Taipei, and the pre-professional dance department at the city’s Shuang Yuan
Junior High School, where he is a visiting choreographer. He also writes for several international publications and is editor of Critical Dance. He holds a MA in
ballet studies from Roehampton University and a PhD in
dance studies from the University of Surrey, UK.
Deirdre Tarrant (NZ)
Anne Nyboe (DK)
DANCER, CHOREOGRAPHER AND TEACHER
Anne Nyboe is based in Copenhagen. Since graduating from the Danish National School of Contemporary
Dance she has performed in various dance and theatre
performances, and she is currently working with Uppercut Dance Theater and Cantabile 2. She has been
facilitating the project “Danseballaden” since 2010 and
taught dance for children through the project “Dansebanden”, Dansehallerne. She is an engaged teacher and
choreographer, who is searching for new ways of facilitating creative processes.
CHOREOGRAPHER, COMPANY DIRECTOR, TEACHER AND EXAMINER
Deirdre Tarrant founded Footnote Dance, a national
professional company, in 1985. She made many works
and led creative change as the company evolved to celebrate 30 years this year. She has a degree from VUW
and is an examiner for the Royal Academy of Dance
as well as being director of her own studios and youth
company. Among other prestigious awards Deirdre was
made a “distinguished alumni” of Victoria University
(2006) and a “companion” of the New Zealand Order of
Merit for her work in contemporary dance (2013).
Erik Kaiel (NL/USA)
Bo Madvig (DK)
CHOREOGRAPHER, PHYSICAL PERFORMER AND ACTOR
From Cirque d´Hiver in Paris to a field on the Danish
islands, from the jungle in South America to Volks Bühne
in Berlin, from the Royal Danish Theatre to Melbourne
Arts Festival, Bo has performed across most of the
world.
CHOREOGRAPHER AND DANCE TEACHER
Born in Austria, raised in Oregon, now based in the
Netherlands after 10 years in New York. Erik has been
choreographing and teaching for over 20 years. Both
on stage and in public spaces. He and his dance group
Arch 8 tour globally: performing, creating and teaching in Africa, Australia, North America, and extensively
throughout Europe, primarily working for and with
young people.
Christina Brøndsholm Andersen (DK)
COMMUNITY DANCE ARTIST AND CHOREOGRAPHER
Christina Brøndsholm Andersen holds a MA in choreography and a Postgraduate degree in community dance
from Laban Conservatoire of Contemporary Dance in
London (now: Trinity Laban). She is based in Copenhagen and works as community dance artist and choreographer for art institutions such as Dansehallerne,
Dansekapellet and Arken Art Museum. Her work focuses
on creating opportunities for everybody to participate
in dance.
Hanne Stubberup Randel (DK)
DANCER AND DANCE EDUCATOR
Hanne Stubberup Randel studied in Copenhagen at the
School of Contemporary Dance, first to become a dancer and years later to become an educator in dance. As a
contemporary dancer and educator in dance she finds
the work with young dancers so fulfilling and exiting.
She likes finding new ways of moving and exploring the
world of dance and storytelling. Music and atmosphere
go hand in hand together with the need of expression.
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Ingrid Tranum Velásquez (DK)
Tali Rázga (DK)
CHOREOGRAPHER, DANCER AND AUTEUR
Ingrid Tranum Velásquez is artistic director of the company NextDoor Project (previously Saga Collective) and
is educated at London Contemporary Dance School in
England. She has created many productions for children, youth and adults, Paolo & Money, which was nominated for a Danish performing arts award in 2012 as
children- and youth performance of the year 2012.
CHOREOGRAPHER AND DANCE TEACHER
Tali Rázga is artistic director of Gazart – a dance company creating performances for an audience ranging
from toddlers to teenagers and adults with funding from
the Danish Arts Foundation, touring extensively nationally and abroad. She is educated as a dancer from
Fontys Dance Academy in Tilburg, the Netherlands, in
2001 and in 2003 she received the diploma from the
one-year dance pedagogy course from the Danish National School of Performing Arts. She is an experienced
teacher in creative dance.
Lars Bjørn (DK)
DANCER, CHOREOGRAPHER AND DANCE EDUCATOR
Lars Bjørn is a dance educator from the Danish National
School of Performing Arts. Studying art and culture development for children and young people at Odsherred
Theatre School. Working as dance educator for Dansehallerne and Åben Dans in Roskilde (Dance-Lighthouse
ROK).
Marylise Tanvet (FR)
DANCER AND DANCE TEACHER
Marylise Tanvet is educated as modern and classical
dancer in Paris. Her teaching is characterized by flow,
softness and originality. She challenges her students on
creativity and development of their movement repertoire. Since 2012, she has been head of the dance studies at Gymnastikhøjskolen in Ollerup and Ollerup Dance
Company (DK), where she teaches contemporary dance,
physical training and coaches students. She also works
as subject specialist in modern dance at the Royal Ballet Theatre School in Odense.
Sophie van Heesewijk (NL)
DANCE TEACHER
Sophie van Heesewijk graduated from Fontys Dance
Academy and Codarts Rotterdam. During internship in
Suriname and work in the slums of Rio de Janeiro, she
experienced the impact of dance on children growing
up in rough environments. Since her return to the Netherlands she feels fortunate to be able to use this experience in her work in a professional dance company, at
the Fontys Dance Academy and in special education.
She loves the fact that dance, at all levels, can make
people feel good.
Tatjana t’Felt (DK/BE)
PERFORMER AND TEACHER
Tatjana t’Felt worked as a performer in Paris for several
years doing theater, street theater and performance.
She has been teaching astanga yoga in Copenhagen
and is also a social worker and worked with young
people in Copenhagen. Tatjana is a certified acroyoga
teacher and has been teaching for many years. She is
now living in Bruxelles.
Thomas Nørskov (DK)
DANCER, CHOREOGRAPHER AND DANCE TEACHER
Thomas Nørskov graduated from the Danish National
School of Performing Arts 2003. He has danced in many
productions for all ages and choreographed several
performances. He has toured Jutland and the Faroe Islands and is teaching in high schools. Besides performing he is engaged in the Danish Contemporary Dance
Council, has a leading position in the contemporary
dance association Stands & Dans and since august 2014
he has worked part time as project coordinator facilitating dance across the island of Zealand.
Ulla Krebs Bille (DK)
CHOREOGRAPHER AND COMMUNITY DANCE ARTIST
In her choreographic work with young people, Ulla Krebs
Bille mixes her choreographies with material that young
people themselves create through various tasks she
sets up. A process where young people are challenged
on many levels, where they learn how to create their own
material, to be open to others’ material and use improvisation as a tool. She has worked with site specific performances since 1996.
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Young People’s Performances
Dance groups of young people from 12 countries have
been invited to participate in the daCi congress 2015.
35 dance groups are bringing their own performances small pieces of dance work that brings the theme “Identity in Dance” to life. The dance pieces will be presented
at the venue Dansehallerne for all the participants at
the congress. It will take place Monday, Tuesday and
Thursday evening. Every group will perform twice with
different audiences. The audience is primarily the participants of the congress, but parents are also welcome
as long as tickets are available. Tickets (for parents) are
possible to buy in Dansehallerne (info desk). The performance program will be announced at the website and
at the info desk. Come and see a firework of dance pieces from different countries all over the world.
The groups are mentioned in random order, the actual
program will be published on www.daci2015.dk and at
the information desks.
Monday July 6th – Performance Program A
1. dAb kompagniet, Stands&Dans, DK
2. Soisalo-tanssikoulu, FIN
3. Carousel Dance Company, CAN
4. Wagana Aboriginal Youth Dancers, AUS
5. KIPP NYC College Prep “K-crew”, USA
6. Kuopion Tanssiopisto, FIN
7. Northern Lights School of Dance,CAN
8. Dance group QUARS, KD Qulenium, SLO
9. Vapaa Tanssikoulu, FIN
10. The University of Utah Children’s Dance Theater, USA
11. Edna Manley College of the Visual & Performing Arts,
JAM
12. FadaDance Youth Company, CAN
Tuesday July 7th – Performance Program B
1. Fouette Dance Ensemble/LEK studio, SWE
2. Khulcha Threatre School of Dance, JAM
3. ESTo dance4, FIN
4. STEPS Youth Dance Company, AUS
5. Lahden Tanssiopisto, FIN
6. Junior Dance Ensemble of Tainan University of Technology, TWN
7. Kaleidoscope Dance Company, USA
8. Dance Institute Tamara Rasmussen, FIN
9. TanzTheaterschule HEEG, GER
10. Dance Imagination, CAN
11. Centre for Advanced Training, Trinity Laban Conservatoire of Music and Dance, UK
Thursday July 9th – Performance Program C
1. Talentværkstedet, Stands og Dans, DK
2. Vantaa Dance Institut, FIN
3. Cloud Gate Dance School, TWN
4. Young dance on the Riversides/Kurjenpolvet from
Pyhäjärvi, FIN
5. The Asteroids Dance Company, DK
6. Kompani-M, SWE
7. Kuopion Dance Studio, FIN
8. Rainbowdancers, GER
9. La Jeune Troupe DansEncorps, CAN
10. Modern Dance SRD, J
11. Campion College, JAM
12. Kajaani Dance, FIN
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Wagana Aboriginal Dancers
Country: Australia
Titel: Sum of My Ancestors
Director: Jo Clancy
Music: Jo Clancy & Jacinta Tobin
Dancers: Jacklyn Chalker, Chantae Cohen Olivia Eynon,
Shakira Parker and Kirrily Wood.
A
s Francophones living in an Anglophone environment, we will explore what makes us different and
how it translates into our dancing. We will portray two
concepts underlining our Acadian culture with no territory but with a strong sense of belonging. We will use
space and expressive energy for the abstract of the
concepts. The ultimate objective is to create a significant piece that allows the 12 dancers to express who
they are historically, culturally and territorially.
Y
ou can't measure our spirit, our connection to culture or our Aboriginal identity by the shade of our
skin. We dance, we weave, we sing and we share stories.
We are the sum of our ancestors. The children dancing
identify with their Aboriginal culture through their families and their community, but their strongest connection
to culture is through dancing with Wagana. The piece
was developed through the dancers to their families
about their background. Wagana means 'to dance' in
Wiradjuri language.
Dance Imagination
Country: Canada
Title: Swimming in Stillness
Directors: Dawn Howey & Chris LePage
Music: Nature Sounds & Tibetan Chakra Music
Dancers: Michelle Belisle, Heidi Fenton, Savannah Fierro,
Brittany Howey, Lizzie Morrison and Gabi Spence.
“S
Country: Australia
Title: You Be My Mirror.
Director: Alice Lee Holland
Music: Sascha Budimski
Dancers: Emma Hutchinson, Jack Jenkins, Rhiana Katz,
Alex de Prazer, Otto Pye and Tessa Redman.
wimming in Stillness” allows dancers to explore
self-discovery, inner calmness and uniqueness
by finding a safe peaceful place from which they can
connect movement and celebrate their body as a guide.
Beginning with a time of sadness in their life and creating their own authentic movement in response to it and
creating images and patterns that reflect their journey
towards a peaceful outcome. Choreography created by
Trevor Klushin and Dance Imagination.
T
Northern Lights School of Dance
STEPS Youth Dance Company
his work is about identification through conversation – engaging in dialogue with ourselves and
others to understand who we are at our very core. It has
been created collaboratively with the six performers
age 9-17, in search of difference and distinction. We began with improvisation and imitation, for each dancer
to develop an understanding of their own unique movement identity. Then, the team shared their discoveries
– engaging in a movement dialogue, in search of commonalities, contrasts, obstructions and possibilities.
La Jeune Troupe DansEncorps
Country: Canada
Title: French Twist
Director: Chantal Cadieux
Music: “Kid A” by Punch Brothers
Dancers: Marie-Gabrielle Comeau, Catherine David,
Sara DeGrâce, Zoé Després, Emma Doiron, Roxanne Dupuis, Sabrina Dupuis, Claudie Forbes, Diana Iancu, Ève
Mallet Gauthier, Olivia Marcotte and Amélie Ouellet.
Country: Canada
Title: Distinguishing
Director: Christina Lilley
Music: “The Tears of Many” by Oliver Schroer
Dancers: Keltie Balsillie, Nastasia Burton, Destiny Clennett, Sadie Elek, Kylee Fernandes, Samantha Ruddy,
Trisha Schamber and Dorothée Tölgyesi.
C
haracteristic of one’s dance, so serving to identify
them.
FadaDance Youth Company
Country: Canada
Title: Riddles of Space
Directors: Fran Gilboy, Heather Cameron & Misty Wensel
Music: “Once Again” by Hang Massive
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Dancers: Emily Bartlett, Lena Bowen-Diaz, Madeleine Bowen- Diaz, Andrea Bredin, Prairie Brown, Belle
Brown-McEwen, Matisse Campbell-Buteau, Cloe Campbell-Buteau, Jade Chow, Erin Cibart, Emily Craddock,
Kieran de Jong , Jacob Fritz, Manni Gilboy Bashutski,
Kelsea Jordens, Savannah Larden, Asja Libke, Desirae
Libke, Hannah Marsden-Beck, Sahcia Mortin, Emma
Petit, Bella Petrovitch, Destanee Phillipi, Brina Rosenberg Alexander, Zenaya Semple, Renee Wahl, Katie Walter, Isabella Wishlow and Claire Wright.
Music: “Me/Us/Here/Now” by Dave Black and with contribution of the dancers
Dancers: Hannah Strøbech, Freja Ytting Lambert, Laura Trap-Lind, Rikke Skødt, Angela Bundal, Ida Mariboe
Nielsen, Josefine Kirk Jakobsen, Anne Sofie Lindeberg,
Elvira Delfs, Clara Bang, Nina Vergmann, Selma Sandhagen, Kalliopi-Elena Kolia, Nikita Thigpen and Alberte
Riemann.
T
dentity is gradual, cumulative; because there is no
need for it to manifest itself, it shows itself intermittently, the way a star hints at the pulse of its being by
means of its flickering light. But at what moment in this
oscillation is our true self manifested? In the darkness or
the twinkle?" (Sergio Chejfec). “Riddles of Space” studies
the dynamic and playful conundrum between dancer
and space.
his piece investigates how bodily knowledge travels
from individual to individual, in explicit and tacit
ways. The dancers have investigated how the movements they encounter through their dance training and
in everyday life resonate in their bodies, influencing and
shaping their choreographic choices. Through compositional tasks, they have developed movement material,
which has been allowed to resonate, transfer and morph
into the accumulation of actions and reaction that is
Me/Us/Here/Now.
Carousel Dance Company
Talentværkstedet, Stands & Dans
Country: Canada
Title: Being [Me]
Director: Kalene Ticknor
Music: “Beautiful Night” by Ani Defranco and “Bourne on
Land” by John Powell
Dancers: Tanis Alexander, Alyssa Churchill, Angela Dietz, Kara Dietz, Franziska Eisenhuth, Sarah Elop, Avery
Francq, Audrey Kompter, Dana Kompter, Amanda Krmpotic, Chloe Kruis, Rosaleigh Martin, Adie Mason, Avery
McCorkell, Patricia Owen, Claire Petro, Corrina Petro,
Madeline Richards, Rachel Strassburger and Christina
Wolf.
Country: Denmark
Titel: Moving Time
Directors: Viola Dröse and the performers
Music: “Gush” by Trentemøller and “Juli” by Kim
Hjorthøy
Dancers: Martha Airlund, Coco Baunø, Martha Wallstrøm, Rebecca, Emily Hinman and Frida Begstrup Solberg.
"I
“B
eing [Me]” explores the current, past and potential identity of each dancer within the work.
Gertrude Stein sums it up perfectly: "The minute you
or anybody else knows what you are you are not it, you
are what you or anybody else knows you are, and as
everything in living is made up of finding out what you
are, it is extraordinarily difficult really not to know what
you are and yet to be that thing." This is us now.
dAb kompagniet
Country: Denmark
Titel: Me/Us/Here/Now
Directors: Laura Navndrup and the performers
D
o you notice what is happening around you in this
moment? Stop doing, just listen, see and feel. Write
down what you notice. The choreography "Moving Time"
is inspired by the constant movement and life around
us; moving with an ungoing pulse. The time keeps moving even when we stop or hold our breath. How can we
keep honest to our own individual paths and traces
when time takes over. Stop, listen, see and dance.
The Asteroids Dance Company
Country: Denmark
Titel: Dreams
Directors: Lene Bonde
Music: Mads Emil Nielsen, Parov Stelar, Lykke li, John
Mayer and others
Dancers: Thea Dyrberg Nielsen, Olivia Sommer, Sidsel
Boye Rasmussen, Julie Christensen, Maja Feil, Cecilie
155
Jensen, Thea Lausen, Kristina Illum, Cecilie Illum, Teade
Amba and Sebastian Sund.
"S
ometimes I daydream about the future. Will it be
just as I imagine? Filled with love, laughter and
clarity, or will mistakes, fear and destiny turn it all in
different directions? In my daydreams I create a love
story, during the night I dream about the rain, and for
the future, I just dream as big as I can". Dreams is based
on research among the dancers, focusing on, what you
think most about being a teenager living in Denmark.
Soisalo-tanssikoulu
Country: Finland
Titel: Vedenneidot (Naiads)
Directors: Anna Savolainen & Salla Pakarinen-Räsänen
Music: “Little Universe” by Chen-Chen Ho
Dancers: Laura Aali, Viivi Heinimö, Vilhelmiina Iivanainen, Inka Isoniemi, Wilma Kainulainen, Nella Kräkin, Saimi-Sofia Pirinen and Ronja Ropponen.
V
edenneidot (Naiads) is based on Finnish national
epic Kalevala. In Kalevala Vedenneito is a mythical
creature, who wants you to swim further and further
and wants you to dive into their world. We have used
movement improvisation in relation to the subject of
water and how it will reflect on our bodies. What kind of
world is under the water and what does water mean to
Finnish people and dancers? Choreography is made by
the dancers' movement flow.
Vantaa Dance Institute
Country: Finland
Titel: Fear and Power
Directors: Laura Arala & Anna-Maria Vairio. Assistant
Riikka Niemistö. Costumier Virpi Lehtinen
Music: “Mombasa” by Hans Zimmer and “Driwing with
the Top Down” (Iron Man) by Ramin Djawaldi
Dancers: Kerttu Aarnio, Hulda Allinen, Isabel Brigo, Ira
Helminen, Ella Huovinen, Himma Koivunen, Aada Marttunen, Nanna Mustaniemi, Nuppu Mustaniemi, Milja
Räisänen, Linnea Sillanpää, Eerika Sohkanen, Lotta
Toivonen, Salla Valkama and Enni Viljanen.
T
he performance is about ordinary citizens transforming into superheroines, who then rescue the
citizens from the regime of the Baddies. This project has
been created together with 9-11-year old girls. They have
created their own characters and designed their own
costumes for the performance. They have also come
up with dialogue, short rhymes, movements, gestures
and choreography for the whole performance. Teachers
have been guiding the group towards the finished performance, based on the skills and needs of the group.
Kuopion Dancestudio
Country: Finland
Titel: Sampon Helmet (eng. Sampos pearles)
Music: Finnish folkmusic: Värttinä
Dancers: Wilma Rissanen, Polina Lipatova, Leena Pitkänen, Venla Muhonen, Meeri Tuppurainen, Ida Paukkonen, Lotta Aholainen, Viivi Pieviläinen, Ronja Kulmalahti,
Ira Villikka, Taru Pennanen, Peppi Timoskainen, Siri Leppäsaari and Pinja Jäntti.
S
aga of Sampo tells the story of Sampo, a part from
the Finnish saga Kalevala. Sampo was a machine
able to create all the goods a man could ever want.
Blacksmith Ilmarinen built this mill as a gift for the
mistress of North when she wed her daughter to him.
We interpret this story through dance and convey the
knowledge of Kalevala to the world. Ilmarinen created
this magnificent machine with the help of the North,
East, West and South winds.
Lahden Tanssiopisto
Country: Finland
Titel: Pepit
Director: Johanna Stenlund
Music: Peppi Pitkätossu: J. Johansson-Astrid Lingren,
Kari Tuomisaari, E. Linnavalli - Mari Laurila
Dancers: Vilma Aalto, Sani Hannula, Helmi Heikkinen,
Karoliina Karppanen, Emmi Lampinen, Emmi-Liia Sistonen, Mea Peltovako, Ella Peräjärvi, Hertta-Angeliina
Pohjonen, Laura Pulkkinen, Roosa Sairanen, Selina
Somero, Lyydia Tervonen, Siiri Tiikkaja, Mimmi Varama
and Elina Widmeyer.
T
he choreography was made in collaboration by
Johanna Stenlund (teacher) and the children. It tells
a story of Peppi, who is a happy, friendly, but also exceptionally strong and powerful girl. The teacher together
with the children made the material of movements. Expressing a lot of strong movements, joy and play, working with pairs, solo and ultimately with a group, the aim
is to express friendship and togetherness.
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Kajaani Dance
Vapaa Tanssikoulu
Country: Finland
Title: Keko (Ant hill)
Directors: Sonja Pakalén
Music: “Keko” by Kimmo Pohjonen
Dancers: Victoria Leinonen, Heta Berg, Jenni Heikkinen,
Saimi Keränen, Alina Komulainen, Irinja Karttunen, Ilona
Sumala, Aino Toivanen, Verna Piiroinen, Laura Alatalo, Heta Tuikka, Unna Leskinen, Anna Mepham , Aino
Piipponen, Essi-Emilia Eskelinen, Vilma Karvonen,Sani
Kemppainen, Mona Immonen and Kia Immonen.
Country: Finland
Titel: Trash!
Directors: Pirkko Ahjo
Music: 1. Deep Forest 2. SoundEffects
Dancers: Susanna Haapkylä, Ellen Heinaro, Anna Ihamuotila, Saara Lampela, Matilda Lehtonen, Anni Lipsanen, Julianna Mäkelä, Ina Oittinen, Ellen Syrjä and Ida
Westerlund.
T
he starting point of “Keko” was the community, the
group. For young people the group can be a matter
of pressure or a strength. Individuals work hard as a
part of a group trying to find their own place amongst
the others.The whole group participated in creating the
choreography. The piece is like a jigsaw puzzle constructing and deconstructing patterns on the stage.
Each individual is as important as the other.
T
he choreography is based on the undeniable
amount of junk killing our planet. We wanted to
make a political statement through dance. We dancers
invented moves and small choreographies, and were
a big part of making the whole performance, giving
opinions and ideas. We made it to be awakening and
dramatic. The performance is our group's political stand
against polluting the earth!
ESTo dance4
Kurjenpolvet from Pyhäjärvi/ Young Dance on
the Riversides
Country: Finland
Titel: Surprises in the Winter Forest
Directors: Choreographer (concept)- director Marketta
Viitala, the visiting artist Soili Huhtakallio and director´s
assistant Hanna Ahnger
Music: “Paroni Paakkunainen” by Kimmo Pohjonen &
“Karelia-yhtye” by Heikki Sarmanto (collage)
Dancers: Aida Ahnger, Saara Ahnger, Tapani Alatalo,
Vilma Jokela, Eeli Lapinkoski and Emilia Lappalainen.
O
ur performance plays with nice, beautiful and
funny fantasies. Finnish Winter, nature and everyday life are very inspiring. Our dance identities are to
become familiar with ourselves, many kinds of dancing,
and also appreciating other people´s work. We guide
everyone to experience, in their own way, the challenges,
the joy of movement, working together and the great
feelings on stage. We try to feel dance deeper than a
matter of age or skills.
Country: Finland
Title: Dear Diary...
Directors: Sara Gurevitsch and The group
Music: “Haloo Helsinki” by Beibi
Dancers: Kaarre Anni, Kettukangas Iisa, Kimonen Aino,
Kotiluoto Ronja, Mäkeläinen Pilvi, Nissinen Alma, Oksa
Siiri, Paasonen Venla, Poikolainen Meea, Poikolainen
Nonna, Pulkkinen Iitu, Salonen Elli, Sormunen Iina and
Viitakoski Maisa.
W
e are playing with the dynamics of the group. We
start to give space to the different personalities
and voices, which are forming the group. The piece is a
loud, raw net of personalities which hits like a storm.
Kuopion Tanssiopisto
Country: Finland
Titel: The Spectrum of Memories
Directors: Karoliina Lahdenperä & Jaana Hämäläinen-Korhonen
Music: “One” by Apocalyptica
Dancers: Emilia Kosianova, Freya Rutonen , Enna Lauronen, Seita Nykky, Anastasiya Bauskova , Inka Savolainen, Jutta Miettinen, Saimi Miettinen, Johanna Nissinen,
Margit Marjokivi, Liisa Nousiainen, Manti Kangas, Aura
Koistinaho, and Merihelmi Koistinaho.
157
T
he performance tells about memories, individual
and shared ones, from different periods of life. There
is a big age spectrum of dancers in this performance
ranging from 7-18-year-olds. Our performance combines different dance genres. We have developed the
performance together with students by using for example improvisation exercises. We collect memories in our
bodies, from immediately after we are born. Our identity
builds up from memories. The young dancers´ memories consist of movements and thoughts they have gone
through.
Dance Institute Tamara Rasmussen
Country: Finland
Titel: Common Responsibility
Directors: Vivianne Budsko-Lommi
Music: “A Little Party Never Killed Nobody”, Fergie, Q-tip,
GoonRock
Dancers: Siiri Arhinmäki, Olivia Azerrot, Diana Ebrahim,
Matilda Kauste, Mira Kokko, Isa Korhonen, Ella Leppälä,
Julia Leppänen, Maria Majava, Emma Mansner, Helmi
Niemi, Mari Salomaa and Heidi Vierumäki.
T
he idea behind this dance piece is that girls, who are
dressed in heavy ball gowns, have a right to change
the role of young women being traditionally presented
to the public through strict social norms. It is an empowering dance about girls, who take their own right to be
themselves on their own terms.
Rainbowdancers
Country: Germany
Titel: Who am I? And if so, how many?
Directors: Helga Chernenilov
Music: “Against the Tide” by Milow
Dancers: Selene Chernenilov, Sabina Dunkel, Johanna
Förschler, Maike Freundt and Josefine Hölzlwimmer.
O
ur process began with each individual dancer
establishing a mind map. How do I view myself in
different aspects of life? Since early childhood all five
dancers have modern-creative dance as a consistent
part of their life. At the verge of adulthood we explored
the importance of dance in their life - past and present.
Using current dance material we explored the expressive impact different moves have on the audience and
personal movement repertoire unique to each individual.
TanzTheater HEEG
Country: Germany
Titel: Pressure of Prettiness
Directors: Sonja Heeg & Helena Kunkel
Music: “Hungarian Dance No. 5” by Johannes Brahms
Dancers: Camilla Kunkel, Chiara Goedert, Hannah Laibacher, Lea Kempf, Melanie Schmidt, Miriam Bergmann,
Nina Bayer, Sina Reichel, Solveig Schuessler and Zoe
Trasoruk.
T
eenagers are idolizing some famous models. Advertising slogans are pushing the ideals of beauty.
Young girls waste a lot of money on numerous make-up
products and clothes. But they recognize the game and
identify again with their own bodies. The performance
portrays the extreme focus on beauty and good looks
in our society and the social pressure to be pretty. It is
based on choreographic ideas of the group, depicting
scenes at a hairdresser or a beauty salon.
Edna Manley College of the Visual & Performing
Arts
Country: Jamaica
Titel: Unmask?
Directors: Dr. Nicholeen DeGrasse-Johnson & Miss Sophia McKain
Music: “Jonkonnu drumming” by unknown artist & “Bumaye” by Busy Signal
T
he piece showcases Jamaican identity: jonkonnu
and dancehall. Jonkonnu is a masquerade dance,
first practised as entertainment by enslaved Africans,
including characters like horse head, cow head, pitchy
patchy among others. Dancehall is the current popular
dance form, an offshoot from reggae, which also has its
type of masking, though not as obvious, as it is demonstrated through performance. The dance demonstrates
the interrelation between the past and present and how
we identify with traditional culture in creating popular
culture.
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Campion College
Dancers: Yuki Yosida, Momo Mikami, Maki Hibino,
Momoko Komizo
Country: Jamaica
Titel: The Journey Continues...
Director: Dwright Wright
Music: “Many Rains Ago” (Oluwa) by Quincy Jones feat.
Letta Mbulu
Dancers: Gillian Steele, Aaliyah Hall, Tiffani Smith, Roslyn Henry, Jillian Edwards, Mishka Williams and Nadani
Dixon.
Y
T
Dance group QUARS, KD Qulenium, Slovenia
he project was designed to have the participants
understand aspects of Afro-Caribbean identity. In
an attempt to understand who they are as individuals
it is very important for them to understand where they
came from. The project introduced participants to the
Middle Passage. Participants were then required to use
dance to highlight aspects of their African identity and
how it has shaped who they are today as a people.
ou came out into this world crying, then crawled,
and struggled to your feet; and you took the first
step, the sensational first step. Do I want to do it or not?
What is right and what is wrong? My feelings are so
fleeting and also elusive. You live true to the feelings of
the moment. You live two different days in one day. You,
too, have such “moments.“
Country: Slovenia
Titel: Different
Director: Saša Lončar
Music: “Touch” by Daft Punk
Dancers: Jerca Gril, Ajda Jenkole and Filip Štepec.
D
Khulcha Theatre School of Dance
Country: Jamaica
Title: Spring Fusion
Directors: Carolyn Russell-Smith
Music: Unknown
Dancers: Abigale Newman, Osezim Ukula, Jhanelle
Crawford, Kaysi-Ann King, Shola Ismail and Ajanee Anderson.
“S
pring Fusion”, the dance piece embraces the
creativity of the dance students along with the
teacher's input in relation to the congress theme: “twist,
twinning and identity.” The piece shows a fusion of nature in a Caribbean sense depicting the colors, rhythm
and vibrancy of spring. With the excitement of their own
discovery of movements, the process mushrooms into
interactive individual expressions. Although adhering
to the congress theme, emphasis of the importance as
Caribbean individuals must be evident in our presentation.
Modern Dance SRD
Country: Japan
Title: The Days in a Day
Director: Kumiko Mikami
Music: “Kyousoukyoku” by Les Freres, “I miss you” by
Bjork
ance material was developed through different
issues addressed to each dancer: what would happen to the values, if we would live unrestricted? What
attracts us in life and what repels? What in life does
really matter to you? What fulfils you? Within the myriad
of issues the individual dancer activates and defines
certain values. Each dancer presents her/his own piece
most important in shaping identity. This way we achieve
an individual approach of the young dancers and encourage their own research.
Fouette Dance Ensemble / LEK studio
Country: Sweden
Title: Building bridges
Music: "Eine cleine nachtmusic" by Mozart, "Fanfare" by
Grieg Copland, "Viima" by Hedningarna, "Nightclubbing"
by Iggy Pop, "I feel pretty" by Bernstein/ Soundheim,
"Flashdance" by Moroder
Choreography: Same as dancers
Dancers: Elvira Bennarsten, Rebecca Wesström, Linn
Kuhlman, Alice Kuhlman, Linnvecchiattini, Alva Borgentun, Emilia Sävinger, Linn Loh Lindholm, Vilma Connant,
Linnea lagerlöf, Linnea Fagher, Magdalena Hagman,
Emmy Gustafsson, Frida Holmér Sposato, Lovisa Werner,
Fanny Skogsfors, Ada Magnusson, Jasmine Larsson,
Saga Sjödahl, Petronella Persson, Ellen Arnetorp, Klara
Nilsson
Assisting: Martina Erlandsson, Madeleine Erlandsson,
Kristina Erlandsson and Linnéa Hagesjö.
159
F
inding your identity; the child growing into an adult
and enemies finding friendship. We use the Danish
story of “the Little Mermaid”, wanting to be a human
and leaving her family and the Swedish, Romeo and Juliette story of Ronja the Robber's Daughter, also about
children trying to find themselves in adulthood. As the
parents in both stories, want to find their children, they
need to unite, even across borders (Sweden-Denmark),
and so these stories bring to mind today's refugees and
immigrants.
Kompani-M
Country: Sweden
Titel: ...in the beginning I am...
Director: Magnus Anderson
Music: “...in the beginning I am...” by Jesper Nielsen
Dancers: Isabella Backman, Vendela Bexander, Ellen
Dahlqvist, Ella Ekbäck, Maja Fagerberg, Myra Fallqvist,
Ellen Jenefors, Tindra Nygård Strååt, Paula Olsson,
Smilla Rosén, Wilma Sahlén, Nora Taguchi, Alexandra
Talavera Lundin, Carl Zethrin and Elsa Zethrin.
T
he choices I make will show me who I am. By using
movement and dance analysis as points of focus,
the young dancers have explored how sense of self is
formed through creation, association, and copying and
through conscious change. Movement and dramatic
content has been created in a collaborative process
between the dancers and the choreographer to form
a story based on the young dancers' ideas of identity,
awareness and transformation.
Junior Dance Ensemble of Tainan University of
Technology
Country: Taiwan
Titel: Ilha Formosa
Director: JuanAnn Tai
Music: “Formosa” by De-fu (Kimbo) Hu
Dancers: Ya-Wen Yu, Hsin-Ju Tsai, Chia-Lin Su, ChingTzu Huang, Wei-Yao Chiu, Yi-Ting Tai and Yi-Chien Tai.
“I
lha Formosa” is created through collaboration between the dancers and the choreographer. It shows
how we unite as the people on the beautiful island of
Taiwan. The song of this dance describes what you find
on Formosa and how we identify ourselves. The dancers
use movement to describe their personality and their
love for each other. The twin sisters in this dance sup-
port the idea of twinning while the others twist to meltin together. They twist and twin in Ilha Formosa.
Cloud Gate Dance School
Country: Taiwan
Titel: Just a Kid, Just Kidding
Directors: Huang Hsu-Hui, Wen Huei-Wen
Music: 1. “Sunny Home Geek” by Jay Chou, 2. Children's
song by Taiwanese aborigines Amis tribe.
Dancers: Hung-Yi Lee, Yu-Ning Chung, Tzu-Yan Lee, Hsuan-Chun Wang, I-Jou Lin, Pin-Syuan Chen, Hsuan-Wen
Chen, Mei-Hsuan Chen, Che Cheng and Wei-Lien Chan.
T
aiwanese youngsters confront a contradiction of
perceptions. From primary school forward scholastic grades are carefully evaluated. High marks create
prime opportunities. After regular school hours end,
many attend four to five hours of advanced classes to
gain a competitive edge. Additional study demands
sacrifice, limiting time for hobbies and sports. Taking
"Life Pulse" classes at Cloud Gate Dance School students may reasonably ask: "what are we missing, longing for?" We have taken this existential question up,
transposing it into our work.
Centre for Advanced Training, Trinity Laban
Conservatoire of Music & Dance
Country: United Kingdom (UK)
Title: Fingerprint
Director: Lee Smikle
Dancers: Aimee Dulake, Ferne Critcher, Jamie Simpson, Jessica Thornton, Martha Crow, Monique Williams,
Neath Champion-Weeks, Olive Enokido-Lineham, Paris
Sower, Mia Bloomfield, Lucia Battain, Julia Dajani, Alex
Henderson, Dylan Canton, Lucas Day, Max Gershon,
Piers Sanders, Thomas Diss, John Kishore Rose Sawney
and Xavier Bailey.
T
his year the Trinity Laban Centre for Advanced
Training students have been investigating the
theme of dancing identities for Choreomission, a creative project providing young dancers with an open
space to play, explore and develop their own approaches to movement. Professional choreographer Lee Smikle
further developed these ideas, taking a personal look at
what makes us us. Layering material created from their
own unique fingerprints the Trinity Laban CAT dancers
explore and share their identities through movement.
160
KIPP NYC College Prep "K-Crew"
The University of Utah Children's Dance Theater
Country: United States of America (USA)
Title: The Journey
Director: Lauren Rosenstein
Music: Multiple Artists, Music Mix created by Lauren
Rosenstein
Dancers: Alicia Echavarria, Amber Lee Fernandez, Ashley Pina, Caleah DeLeon, Christopher Goris, Daishly
Diaz, Jelaine Francis, Micoto Nozaki, Taina Rivera and
Toussaint Bourgeois.
Title: As One
Directors: (alpha order) Misha Bergman, Wendy Turner
& Joni Urry Wilson
Music: “The Piano Guys” by Thomas Moore
Dancers: Samantha Anderson, Grace Carlebach, Cassidy Clark, Caroline Dee, Gillian Dee, Amanda Edwards,
Lindsey Faber, Abigail Gardner, Anna Gardner, Erin
Hodges, Olivia Johnson, Annina Kennedy-Yoon, Ella Kennedy-Yoon, Lauren Kleinman, Megan Kleinman, Rachel
Kleinman, Hannah Madsen, Charlese Malaret, Emily
Mecham and Isabella Versteeg.
T
he K-Crew is a group of young, New York City high
school dancers. The students reflected about their
journey to college and used it as inspiration to create
this dance. Although they all come from different cultures and backgrounds, almost all students are developing their identity and who they want to become as
adults.
Kaleidoscope Dance Company
Title: We Are One
Director: Anna Mansbridge
Music: “We Are One” by Mark D.Cooper
Dancers: Cecilia Burton-Wehmeyer, Henry Burton-Wehmeyer, Anastasia Coiley, Isabelle Cooper, Holand Dennis,
Arthur Deranleau, Serena Deranleau, Melia Golden, Eliza
Jacobson, Nadia Matthews-Stamm, Celestine Ruhmann, Agatha Schuman, Lucy Sevetson, Sonam Tshedzom Tingkhye, Iska Ulseth Popovic, Elena Van Sickel and
Amy Williamson.
T
he dancers worked with the theme "dancing identities" by coming to know their personal identities
through exploring the idea that we are the sum of our
own memories. We created individual movement motifs
drawing on significant memories that have helped to
shape who we are. We explored how personal identities
are strongly influenced by the society in which we live,
and how we are also part of a larger collective identity.
“A
s One” is a newly choreographed piece specifically designed for the Twist and Twin daCi 2015
congress. Dancers from the University of Utah Children's
Dance Theater have created this piece together while
synthesizing their individual movements into a blended
whole. They combined music and movement, age and
identity, quality and motion to form a collective avowal
of dance. Together they dance "as one" in celebration of
both their individual uniqueness as well as their collective "dancing identity."
161
Stomp Stomp – daCi Dance 2015
As a celebration of dance and the daCi community
we have asked the Danish choreographer and dance
teacher Signe Frydenlund to create a dance for the
daCi congress 2015. She has named it “Stomp Stomp”
and we hope you all will learn this dance during the
congress. A group of dance teachers will in the morning
classes teach the “Stomp Stomp” to a group of young
participants and hopefully the Stomp fever will spread
to all the other participants during the congress. The
dance “Stomp Stomp” will be a part of the closing event
- so get ready for this and learn the dance!
This is what Signe says about the dance:
“”Stomp Stomp” will challenge the dancers’ ability to
navigate in a strict musical framework and at the same
time call for the participants’ creative input in designated ’free spots’ during the choreography. The genre is
the energetic swing music, rich in footwork and rhythm
play.”
Dance teachers
SIGNE FRYDENLUND (DK) is a functional movement instructor from the Gotved Institute, with a solid background
as a social dancer and teacher (of social dance?). She
specializes in the mechanisms of community based
dancing with all its human relations and interactive
possibilities. She has produced numerous dance events
and flash mobs and was the choreographer of the Danish Dance of the Year 2013. She has created the daCi
dance 2015.
ALEXANDRA FLOREZ (SE) graduated with a BA in dance with
pedagogy from the Norwegian College of Dance in 2014,
majoring in contemporary dance. She also studied at
Iwanson International School of Contemporary Dance
and the Institute for Dance Arts (IDA) - Anton Bruckner
Privatuniversität. Currently she works as a dance teacher and dance artist in Oslo.
ESTHER HAUGEGAARD (DK) took her modern dance education at Iwanson International in Munich, and graduated
in 2013. Since then she has worked in Denmark as a
freelance dancer, teacher and performer. Among other
things she danced and choreographed acts in the TVshow “Denmark got Talent.”
STEFFEN HULEHØJ FREDERIKSEN (DK) graduated from the Danish Musical Academy in 2007. He started dancing when
he was two years old and has been doing so ever since.
Steffen is so happy to have his greatest joy and passion
as a profession and feels he has been blessed with all
the musical jobs in his career.
162
Twin Labs
The congress committee introduces a new activity at
the daCi 2015 congress called TWIN LABS. Twin Labs is a
continuation of twinning started long before the congress between different groups. At the congress, space
and time is provided for the groups to continue the
process of meeting and creating dance and to develop
knowledge together. The result of the processes in the
Twin Labs will be shared with other participants during
Thursday afternoon.
Childhood-Childgood
Directors
Sonja Pakalén (FIN) & Nele Vandeneede (NL)
Dancers
Heta Berg, Annemarie Cools, Jessie Haans, Jenni Heikkinen, Kia Immonen, Mona Immonen, Sani Kemppainen,
Femke Legein, Jet Robert, Emma Schild, Robin Selten,
Griet Theunissen, Charlotte Thyssen, Liedewei Verbelen
and Lisanne Visser.
Countries
Finland and the Netherlands.
As Nele had to create a choreography for her final exam
at school, she was looking for support. Everything starts
with interaction. Nele thinks communication is the most
important thing to learn from and with each other. Nele
and Sonja, an experienced choreographer and dance
teacher have therefore worked together to create Childhood-Childgood. In every adult there’s still the child
inside. It is just the power to find the child in yourself
again and to allow back playing.
Meeting by Moving
Directors
Anu Rajala-Erkut (FIN) and Ellen Kilsgaard (DK)
Dancers
Tove Ditlevsens Skole (DK), Lahden Tanssiopisto (FIN)
Countries
Finland and Denmark
Young dancers, 6-8 years of age, from two Nordic countries, come together to dance, explore, play and perform. We depart from the children’s spontaneous way
of communicating without words, inviting each other to
play.
Crash – A Cultural Breakdown
Directors
Mark Philip & Robin Barbosa (Louise Seloy)
Dancers
Mark Philip, Mads Lerche-Thomsen, Søren Holten
Vestergaard, Robson Luis Menezes Barbosa, Victor
Hamamoto Marques da Silva and Yuri Domingos Leite
da Silva.
Music
Alexander Skjold Ezaki
Countries
Brasil and Denmark
Somewhere in the desert a group of young men crash
in a car. They have only just met and now they need to
collaborate to get to their destination together. They
need to get the car fixed to move on. While working on
putting the car back together they meet new challenges
and get to know each other’s differences, peculiarities
and strengths - a journey into the unknown.
163
Youth Forums (YF) and Pop-Up Meeting Points
The purpose of Youth Forums and Pop-up Meeting
Points is to enhance young people’s engagement with
and enjoyment of the congress.
ories and bodies with a historical dance-karaoke. With
a high fun factor, we will embody the last century of
dance history. At this time the discussion will begin and
exciting ideas are going to emerge!
Youth Forums
Facilitated by Maja Bonde Holtze, Micaela Kühn Jara,
Riikka Inkeri Laurilehto and Mette Møller Overgaard.
The Youth Forums have been designed by members of
the SpringBoard in daCi and will provide a platform/
workshop for young people to come together with their
peers to discuss issues, ideas, goals and aspirations
relating to their developing identities as dancers and
members of daCi. The members of the SpringBoard will
facilitate these activities.
Youth Forum activities
1. Identity and Dance – 100% daCi
This forum is about young people and dance…“ Your
dance: we want to know who you are, where you come
from, what you like and the role of dance in your life.”
This will happen by proposing and answering questions
in a dynamic discussion format. Movement and choreography will be implicitly present.
1. So You Know You Can Dance, Now What?
This is a forum for students to discuss how they see
dance as a part of their future. We will talk about why
students dance, what inspires them, what keeps them
coming back to the studio or the stage, and how they
can turn that passion into a career, or how they can
continue to be involved in the wider world of dance
(ranging from administration, to production, to teaching, and beyond!) We will also provide a safe space for
students to talk about concerns they may have about
pursuing dance as a career, to talk about why dance is
an important part of their lives, and how it affects (positively and negatively) other aspects of their lives.
Facilitated by Paige Horton, Meggi Sweeney Smith and
Nele Vandeneede.
Facilitated by Maja Bonde Holtze, Micaela Kühn Jara,
Riikka Inkeri Laurilehto and Mette Møller Overgaard.
2. The Poetry of Motion: Creations Inspired by Dance
Aimed at younger dancers, this forum will be a time and
space to create works of poetry, prose, and art as individuals and/or in pairs/groups, which document their
feelings about dance and the role it plays in their lives.
We will begin the forum by a guided sharing and discussion time, where we will encourage brainstorming about
how to communicate what dance means to us without
using movement. After the forum, students’ creations
will be displayed for the rest of the congress to enjoy.
Facilitated by Paige Horton, Meggi Sweeney Smith and
Nele Vandeneede.
Pop-Up Meeting Points
2. Media and Dance
Internet, smartphones, Youtube and flashmobs are very
present in our everyday life and we are all familiar with
them. It is even hard to imagine how we could live without them. But how did media affect the dance? What
are the positive and negative consequences of making
dance so accessible? How do you imagine the future of
dance in media? We will start by warming up our mem-
Pop-Up Meeting Points have been designed by members of the Spring Board to create further opportunities
for groups to make connections with each other and
develop relationships that will last beyond the congress.
The Pop-Up activities will take place at the venue
Dansehallerne during the congress and is open for all.
Just keep your eyes open and you will find the activities.
164
Professional Evening Performances
Wednesday evening the participants will be invited to
watch a professional performance. Tickets will be available at the info desk of Dansehallerne on a first come,
first served principle.
Lighting design: Peter Bodholt Løkke
Costumes: Christel Thue Høgsted
Support: Augustinus Foundation, The 15th of June Foundation, Wilhelm Hansen Foundation, and the Danish
National Arts Council.
Venue: Dansekapellet.
360° - The Blackest of White Lies
The storm is raging, the snow is drifting, the ice is cracking and the explorer is struggling across the Arctic. Inspired by the nature of lying and the magnificent stories
by explorers of Greenland, Uppercut Dance Theater, the
band Efterklang, and composer Karsten Fundal pick
up on a cold blooded tale about what happens when a
white lie turns black. Experience modern dance, breakdancing in world class and feel how the white lie evolves
and develops around you.
The performance 360° had its world premiere on 22nd
January 2015, at Dansekapellet.
Primary audience: From 12 years and up
Duration: 1h 30m
Choreography: Stephanie Thomasen
Music: Karsten Fundal and Efterklang
Dancers: Stephanie Thomasen, Mark Philip Mouritzen,
Lukas Larsen, Mikael Santana and Boris Kouadio
M.E.N.
M.E.N. grabs life by the balls. Balancing humour and seriousness, with a healthy dose of irony, four male dancers raid the lives of modern men to give us a fresh and
sensitive take on male identity. Packed with energy, fragility, passion and beauty, M.E.N. exposes inner worlds
and outer conflicts in this honest and athletic piece.
Choreography and concept: Edhem Jesenkovic
Performers: Asher Lev, Alexandre Bourdat, Thomas
Holm Radil and Edhem Jesenkovic
Music: Håvard Pedersen and Edhem Jesenkovic
Live music: Håvard Pedersen
Lighting design: Adalsteinn Stefansson
Producer: Thilde Maria Kristensen
Support: The Danish National Arts Council, Augustinus
Foundation and Wilhelm Hansen Foundation.
Venue: Dansehallerne.
Battle & Jam
“Battle & Jam” is an event at Dansekapellet where the young members of the
daCi congress will get an opportunity to meet with other young dancers from
Copenhagen in a friendly way of sharing, dancing and enjoying. DJ will be provided.
Wednesday July 8th 19.30-22.00 at Dansekapellet
Shuttle busses to Danhostel between 20.30-22.00
165
Things to do in Copenhagen
DGI- Byen
is an indoor swimming and massage centre just behind
The Central Station.
Opening hours:
Mon-Thur 06.30-20.00
Friday 06.30-18.00
Sat-Sun 09.00-16.00
Frederiksberg Svømmehal
is also an indoor swimming centre placed in the hood
called
Frederiksberg. It is old and charming and has a nice
wellness department with steam baths,
Sauna and “det kolde gys.”
Opening hours:
Mon-Fri 07.00-21.00
Sat kl. 07.00-16.00
Sun 09.00-16.00
Bellevue Beach
30 minutes with the S-train C from Vesterport Station to
Klampenborg. Here you also find Dyrehaven, a big forest
to walk, bike or run in. You can also go horse riding here.
Amager Strandpark
30 minutes by bike from Dansehallerne/West End. Metro
to Amager Strand station. Here you find a big manmade beach, with a nice promenade to walk along the
beachside, good for biking trips or roller skaters.
Island Brygge Badet
opposite Marriott Hotel, at the Kalvebod Brygge.
Open daily from 11.00-19.00. Swimming in a clean pool in
the harbour! There are also habour pools near the big
shopping centre Fisketorvet, and one in sluseholmen in
the southend of Copenhagen (Sydhavn). The Habour
pools have lifeguards and opening hours, and are only
open in the summertime.
Canal Sightseeing
A guided tour by boat will take you through the harbour
and the narrow canals of historic as well as present
Copenhagen. Boats leave 5-6 times pr. hour.
For cheaper tours, without a guide, use the boat busses,
same yellow colours as the busses on the street. Costs
the same as a bus ride.
ZOO Copenhagen
Roskildevej 32
2000 Frederiksberg
Open every day 10.00-20.00
166
Things to do around NEXS
Supermarkets
Netto
Tagensvej 47
2200 København N.
(black and yellow sign) Discount supermarket.
LOS Café
Guldbergsgade 22
2200 København N.
Trendy coffee shop, with great coffee and free wifi. Good
place for working. Also serve drinks in the evenings.
Irma
Tagensvej 70
2200 København N.
(Blue and white sign) Expensive but very nice supermarket. Lots of specialities and eco stuff.
Mahalle
Birkegade 6
2200 København N
Cosy café serving middle eastern snack food, coffee
and tea.
Fakta Q
Jagtvej 141
2200 København N.
(Grey and green sign) Discount and quick supermarket.
Kaffeplantagen
Sankt Hans Torv 3
2200 København N
Coffee bar, serving great coffe and free wifi, good for
working. Also serve small foods, cakes and snacks.
Bakeries
Brødkunsten
Jagtvel 94
2200 København N.
Traditionel bakery, using quality ingredients and with a
good variety of products.
Mirabelle
Guldbergsgade 29
2200 København N.
French and Italian inspired quality bakery serving croissants and Roman style pizza slice, Great coffee.
Café Plenum
Sankt Hans Torv 3
2200 København N
Café and bar, serving food, coffee and drinks
Big Willy’s Gourmet Hotdogs
Fælledvej 15
2200 København N
Small shop serving gourmet hotdogs
Cafés and Coffee bars
Bahn Mí
Elmegade 20
2200 København N
Small Bahn Mí shop serving Vietnamese sandwiches,
salads, drinks and Vietnamese style coffee.
Kaffekilden
Tagensvej 41
2200 København N.
Cosy coffee place Good for working or reading. Free wifi
and electricity.
Pussy Galore
Sankt Hans Torv
2200 København N
Café and bar serving food and drinks
Mokkariet
Jagtvej 127
2200 København N.
Cosy coffee place with great coffee.
Juice baren
Guldbergsgade 12
2200 København N
Juicebar serving, fresh juices, smoothies and coffee.
167
Restaurants and wine bars
Wascator
Refnæsgade 32-34
2200 København N.
Down to earth eatery and bar, great asmotphere and
lovely food at reasonable prices.
Underwood
Ryesgade 30A
2200 København N
Book café serving, cheese, charcuterie, wine and beer.
Cultural things to do
Sabotøren
Fensmarkgade 27
2200 København N.
Cosy little winebar also serving cheese and charcuteri.
Superb wines.
BÆST
Guldbergsgade 29
2200 København N.
Trendy gourmet restaurant, with tasting menus and a la
carte a little above medium prices. Great cocktails and
wines.
GRØD
Guldbergsgade 7A
2200 Købaenahvn N.
Nordic cuisine, small cosy eatery serving variations of
porridge, risotto, polenta and so on.
Sebastopol
Sankt Hans Torv 32
2200 København N
Classic French style bistro serving food, drinks and coffee all day
Oysters & Grill
Sjællandsgade 1B
2200 København N
Fusion kitchen serving oysters, seafood and steak at
reasonable prices
Nordisk Brødhus
Rantzausgade 58B
2200 København N
Bakery and café serving a variety of freshly baked
things, coffee and also breakfast, lunch and dinner at
really good prices. Focusing on quality and organic
sourcing.
P2 by Malbech
Birkegade 2
2200 København N
Argentinian winebar and fusion kitchen, serving food all
day.
Empire Cinema
Guldbergsgade 29F
2200 København N.
One of the good cinemas in town
Sjællandsgade badet
Sjællandsgade 12A
2200 København N.
Old communal bath house, which has been renovated
and no functions as an oasis of tranquillity. Take a bath
in one of the 8 bathtubs or try the saunagus, where the
gusmaster takes you on an aromatherapeutic journey
in the sauna.
Assistens Cemetery
Kapelvej 4
2200 København N.
Famous, beautiful and tranquil cemetery in the middle
of Copenhagen, where H. C. Andersen, among others, is
buried. Injoy the peace and shade here.
168
Things to do around Dansehallerne
Dansehallernes in house Café Elefanten
Open all week 8.00-23.00
Small food truck
On Pasteursvej, across from REMA 1000
Serves Danish open sandwiches, hotdogs, soft drinks.
Bagerdygtigt
Istedgade 120
1660 Købanhavn V.
Organic bakery and café, where the focus is on avoiding
food waste and sourcing locally. Nice local atmosphere.
Cafés, delis and Coffee bars
Supermarkets
REMA 1000
Pasteursvej 61
1799 København V
(blue and red sign) – just opposite Dansehallerne, discount supermarket
Café Bings
Sønder Boulevard 105
1720 København V
www.bings.dk
Serves breakfast and sandwiches.
Døgnnetto
Trøjborggade 1
1757 København V
(yellow and blue sign). Discount supermarket.
Flavours
Vesterfælledvej 61
1750 København V
Small deli serving quality food based seasonal produce,
primarily take away.
Superbrugsen
Vesterbrogade 162
1800 Frederiksberg C
(Red and white sign). A bit more expensive, but they
have more specialities than discount supermarkets.
Kaffe
Istedgade 90
1650 Copenhagen V
Small and cosy café that serves coffee, cakes and juices.
Irma
Valby Langgade 46-48
2500 Valby.
(a blue sign with white letters and a girl as a logo) – expensive but very nice supermarket. Lots of specialities
and eco stuff.
Kaffe og Vinyl
Skydebanegade 4
1709 Copenhagen V
Good and cosy coffee shop and also a chance to listen
to and buy old records.
Bakeries
BRØD
Enghave Plads 7
1670 København V.
Great little bakery, focusing on the rustic, Nordic style.
They serve a small selection of high quality products.
Von Fressen
Vesterbrogade124
1620 Copenhagen V
www.vonfressen.com
Sofa café with light meals, philosophical cocktails and a
selection of continental beers. Chilled out atmosphere.
Kaffeplantagen
Enghave Plads 1
1670 København V
Coffee bar, serving great coffe and free wifi, good for
working. Also serve small foods, cakes and snacks.
169
Bang og Jensen
Istedgade 130
1650 Copenhagen V
www.bangogjensen.dk
Regular Danish café food. Serves breakfast, sandwiches,
soups, warm dishes and coffee. A popular place to have
small, informal meetings.
Kaffebaren without a name
Enghave Plads 6
1670 Copenhagen V
Coffee in the daytimes, and a beer-bar in the evening.
Informal atmosphere and many people hanging out.
Madglad – Take Away
Oehlenschlægersgade 53
1663 Copenhagen V
Or
Eskildsgade 13
1657 Copenhagen V.
www.madglad.net
Great take-away food and a cafeteria in Eskildsgade.
Kaffeslabberasen
Enghave Plads 11
1670 Copenhagen V
Free Wifi, coffee, sandwiches, breakfast all day.
Riccos kaffebar
Istedgade 119
1650 Copenhagen V
Great Coffee.
Café Dyrehaven
Sønder Boulevard 72
1720 Copenhagen V
www.dyrehavenkbh.dk
A retro café.
Simple Raw
Oehlenschlægersgade 12
1663 Copenhagen V
www.simpleraw.dk
Organic raw food is served at the small café. You can
get take-away and coffee too.
Siciliansk Isbar
Skydebanegade 3
1709 Copenhagen V
Great Italian ice cream.
Kødbyens Deli
Slagterboderne 8
1716 Copenhagen V
All days 17.00-21.00.
(on weekdays lunch from 11.00-14.00)
The meat packing district (close to DH) Very nice and
rustic take away food. They have very delicious fishńćhips. They also have few seats, so you can eat it in
house. They are often busy.
Lé Lé streetkitchen
Vesterbrogade 56
1620 Copenhagen V
+45 3322 7134
All week: 11.30-21.30
A small cosy place with food from the vietnamiese streetkitchen. Also take away. Remember to try their Mango
Lassi.
Restaurants and winebars
Biomio
Halmtorvet 19
1700 Copenhagen V
www.biomio.dk
A large restaurant with organic food, take-away menus.
By showing your congress nametag Biomio will offer you
a 10 % discount on food 5-9th July.
Gorilla
Meat Packing district
Flæsketorvet 57-67
1711 Copenhagen V
A large gourmet restaurant, with tasting menues at very
fair prices.
Neigborhood
Istedgade 26
1656 København V
Restaurant serving organic gourmet style pizza and
organic cocktails
Lê Lê Nhà Hàng
Vesterbrogade 40
1620 Copenhagen V
www.lele.dk
Vietnamese food based on modern and traditional Vietnamese dishes. A quick meal and more than 160 seats.
170
Malbech
Istedgade 61
1650 Copenhagen V
A very nice wine-bar with a calm atmosphere.
Bevi Bevi
Oehlenslægergade 53
1663 Copenhagen V
Wine-bar serving italian style food.
Riesen
Oehlenschlaegergade 36
1663 Copenhagen V
A small bar, informal atmosphere, smoking allowed.
Kung Fu Izakaya
Sundevesgade 15
1751 Copenhagen V
T. +45 33318409
Wed – Sat 17.30-02.00
Kitchen closes at 01.00
Small japanease tapas
Mother
Høkerboderne 9
1712 Copenhaven V
t. +45 22 27 58 98
Sun-wed 11.00-23.00
Thurs-sat 11.00-01.00
The meat packing district (close to DH). Pizza restaurant (nice and rustic pizzas)
.
Café Viggo
Værnedamsvej 15
1819 Frederiksberg C
T. +45 33 31 18 21
Mon-wed 10.00-24.00 Thurs 10.00-01.00
Fri-sat 11.00-02.00
French Bistro (in general a very nice street, good cafés,
shops and french atmosphere)
Madklubben
Vesterbrogade 62
1620 Copenhagen V
T. +45 3841 4143
Mon-Sun 17.30-24.00
Nice quality food for cheap money. Always a nice and
happy atmosphere. Remember to book a table. space
for many people
Cultural things to do
Vester vov vov
Absalonsgade 5
1658 Copenhagen V
An art cinema with a nice small café with only bevarages, coffee and good vodka (Starka) cake and chocolate.
Find programme on: http://www.vestervovvov.dk/dagensprogram1.html
Vesterbro Svømmehal
Only 3 minutes walk from Dansehallerne. An ordinary
public swimming pool. There is also a sauna.
Mon 10.00-20.00
Tue 06.30-18.00
Wed 07.00-19.00
Thur 06.30-16.30
Fri 07.00-16.00
Sat 08.00-14.00
Sun 08.00-14.00
Opening hours can change from week to week. Check
this link: http://kulturogfritid.kk.dk/vesterbro-svømmehal/opening_hours
Søndermarken & Frederiksberg Garden
Two large and beautiful parks, both accessed from Pile
Allé. Very nice places for to go for walks or recreation. In
Frederiksberg Graden there are also a few restaurants
and cafés.
Banks
Arbejdernes Landsbank
Enghave Plads 5
1670 København V
Mon-fri 10.00-16.00
Nordea
Enghave Plads 4
1670 København V
mon-fri 10.00-16.00
thur 10.00-17.30
171
Practical Info
Information/registration desks
The desk at Dansehallerne is in the foyer on the ground
floor. Opening hours:
Sunday: 12.00-19.00
Monday-Friday: 8.15-20.00
The desk at NEXS is in the foyer outside the
Lundbeck Auditorium. Opening hours:
Monday, Tuesday, Thursday: 8.15 – 17.30
Friday: 8.15 – 14.00.
If you have questions, you will always be welcome to
contact the staff at the information desks, or you can
write an email which we will answer as quickly as possible:
All queries about practical issues should go to
[email protected]
All queries related to the adult program should go to
[email protected]
All queries related to the YP program should go to [email protected]
Locations (the numbers refer to venues marked on the
map to the right): Dansehallerne (DH) (1), NEXS (2), Danhostel (3), Kulturanstalten (4), Vesterbro Ny Skole (5),
Tove Ditlevsen Skole (6), Dansekapellet (7), Biocenter (8)
YP activities primarily take place in the area around
Dansehallerne: (1), (4), (5), (6), (7). Signposts will guide you
to specific rooms.
Adult activities primarily take place at the Faculty of
Science, University of Copenhagen: Presentations are
in the Biocenter (Ole Maaløesvej 5) (8) and workshops/
lecture sharings at NEXS (Nørre allé 51) (2). Signposts will
guide you to specific rooms.
Internet
At Danshallerne you can use the Wi-Fi:
Dansehallerne, the password is: dancehall
At NEXS/the Biocenter you can use the Wi-Fi:
Conference, get the password at the informationdesk.
Shuttle Service
There will be daily shuttle services between some of the
venues. The routes are:
Danhostel – Dansehallerne
Danhostel – NEXS
NEXS – Dansehallerne
Dansekapellet – Danhostel
Specific timetables can be found at the information
desks, at Danhostel and on the website.
Public Transport
Bus 8A is the most direct line between NEXS and Dansehallerne.
Bus 1A or S-train are the most direct forms of transport
between Danhostel and Dansehallerne.
Bus 6A is the most direct line between Danhostel and
NEXS.
You can use the English version of the online journey
planner at www.rejseplanen.dk
Taxi services
Amar-Øbro Taxi: 2727 2727
Dantaxi: 7025 2525
Taxa 4x35: 3535 3535
Food & beverage
At Dansehallerne you will find Café Elefanten, the inhouse café serving food and drinks, open daily 8-23.
At NEXS the canteen of the Biocenter will be open daily
9-14.
For more inspiration about possibilities to buy food and
drinks in both areas please see the section “Things to
do” inside the book, look at www.daci2015.dk, or contact
the information desks.
Emergencies
Contact one from the congress staff or the information
desks.
1813 is the phone number if you need to see a doctor/go
to a hospital (acute illness).
112 is the phone number to use for life threatening situations ONLY.
SPONSORS
ORGANIZATION AND
ACKNOWLEDGEMENTS
TIME
SUNDAY
Morning
CONGRESS TEAM
THANKS TO
Congress manager: Susanne Frederiksen
Program chair: Charlotte Svendler Nielsen
Steering Committee: Susanne Frederiksen, Charlotte
Svendler Nielsen, Sheila de Val, Susanna Cardemil
Iversen
TIVOLI and Pantomimeteatret, Cph Volunteers,
Carlsbergbyen, Kulturanstalten Vesterbro, Vesterbro
Ny Skole, Tove Ditlevsens Skole, Dansekapellet, daCi
SpringBoarders, Benedikte Paaske, Maria Speth, Ann
Kipling Brown, Eeva Anttila, Susan Stinson, Karen
Bond, Marie-Louise Maaløe
PROGRAM COMMITTEE
Young people: Anna Katrine Korning (chair), Malene
Stokholte Geertz, Ulla Gad, Anamet Magven and Dörte
Wolter
Workshops and lecture sharings: Sheila de Val (chair),
Maja Bonde Holtze, Liz Melchior and Laura Navndrup
Black.
Research: Susan Koff (chair), Charlotte Svendler
Nielsen, Stine Mikés Degerbøl, Helle Winther, Lis Engel,
Cheryl Stock, Jeff Meiners and Adrienne Sansom.
Committee support: Laura Conlan, Anne Bruun
Olesen
Website: Kir Qvortrup and Astrid Lavsen Jensen
Publicity: Michael Gjølbye Madsen
Volunteers: Coordinated by Susanne Pørksen
DESIGN AND LAYOUT
Signe Chiper-Lillemark (design of logo and website)
Kenneth Schultz (design of program and abstract
book and congress merchandise)
Allis Skovbjerg Jepsen (layout of program and
abstract book)
Academic reviewers: Eeva Anttila, Fiona Bannon,
Ralph Buck, Kerry Chappell, Sharon Friedman,
Petri Hoppu, Victoria Hunter, Veronica Jobbins, Heli
Kauppila, Ann Kipling Brown, Gabriele Klein, Susan
Koff, Teija Loytonen, Richard Magill, Jeff Meiners,
Lynette Overby, Nicholas Rowe, Gerard Samuel,
Adrienne Sansom, Sherry Shapiro, Susan Stinson, Isto
Turpeinen
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
Dance Flavours
Dance Flavours
Day off for excursions
Dance Flavours
Dance Flavours
General Council Meeting
Creative
Meeting Points
Twin Labs
Creative Meeting
Points
Twin Labs
Creative Meeting
Points
Twin Labs
Registration
from 13.00
Youth
Forum
Work
shops
Rehearsals
YPP
group A
Youth
Forum
Work
shops
Rehearsals
YPP
group B
Workshops
Twin Lab
Sharing
Rehearsals
YPP
group C
Opening
Event 17.00
Youth
Forum
Work
shops
Rehearsals
YPP
group A
Youth
Forum
Work
shops
Rehearsals
YPP
group B
Workshops
Twin Lab
Sharing
Rehearsals
YPP
group C
National Meetings
LUNCH
Afternoon
Tour of Showings
BREAK
Evening
Editing team: Susan Koff, Cheryl Stock, Adrienne
Sansom, Ann Kipling Brown, Patricia Cohen, Norma
Sue Fisher-Stitt, Mary Lynn Babcock, Lynette Overby,
Alfdaniels Mabingo, Sheila de Val, Maja Bonde Holtze,
Laura Navndrup Black and Laura Conlan
Employees at Dansehallerne, Department of Nutrition,
Exercise and Sports, University of Copenhagen,
Danish National School of Performing Arts
MONDAY
YP Performances group A
YP Performances group B
Professional
Performances
YP Performances group C
Professional
Performances
Colors relate to tickets which will be distributed among you upon arrival. Tickets to
the performances (both YPP and professional) will also be distributed upon arrival.
■ Dance Flavours
■ Workshops
Closing Event
■ Creative Meeting Points
Adult Program
TIME
SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
Dance Flavours
Dance Flavours
Dance Flavours
Dance Flavours
Dance Flavours
SL grafik
Keynote
Keynote
Keynote
Keynote
REGISTRATION
Twinning Panel
Roundtable
Presentations
National Meetings
Presentations
Presentations
Free for excursions
Presentations
Workshops
Twin Lab
Sharing
Presentations
Workshops
Twin Lab
Sharing
Morning
PRINTING HOUSE
BDP Congress
LUNCH
SPECIAL EVENTS
Afternoon
Opening: TIVOLI and Pantomimeteatret
Closing: Dansehallerne
Registration
from 13.00
Presentations
Workshops
Presentations
Workshops
Opening
Event 17.00
Book Launch
Workshops
Presentations
Workshops
Tour of Showings
BREAK
Evening
PROGRAM AND ABSTRACT BOOK
Edited by Charlotte Svendler Nielsen
& Stine Mikés Degerbøl
YP Performances
YP Performances
Professional
Performances
YP Performances
YP Performances
YP Performances
Professional
Performances
YP Performances
Closing Event
No ticket distribution for adults. First come first served!
28/05/15 13.47
SPONSORS
ORGANIZATION AND
ACKNOWLEDGEMENTS
TIME
SUNDAY
Morning
CONGRESS TEAM
THANKS TO
Congress manager: Susanne Frederiksen
Program chair: Charlotte Svendler Nielsen
Steering Committee: Susanne Frederiksen, Charlotte
Svendler Nielsen, Sheila de Val, Susanna Cardemil
Iversen
TIVOLI and Pantomimeteatret, Cph Volunteers,
Carlsbergbyen, Kulturanstalten Vesterbro, Vesterbro
Ny Skole, Tove Ditlevsens Skole, Dansekapellet, daCi
SpringBoarders, Benedikte Paaske, Maria Speth, Ann
Kipling Brown, Eeva Anttila, Susan Stinson, Karen
Bond, Marie-Louise Maaløe
PROGRAM COMMITTEE
Young people: Anna Katrine Korning (chair), Malene
Stokholte Geertz, Ulla Gad, Anamet Magven and Dörte
Wolter
Workshops and lecture sharings: Sheila de Val (chair),
Maja Bonde Holtze, Liz Melchior and Laura Navndrup
Black.
Research: Susan Koff (chair), Charlotte Svendler
Nielsen, Stine Mikés Degerbøl, Helle Winther, Lis Engel,
Cheryl Stock, Jeff Meiners and Adrienne Sansom.
Committee support: Laura Conlan, Anne Bruun
Olesen
Website: Kir Qvortrup and Astrid Lavsen Jensen
Publicity: Michael Gjølbye Madsen
Volunteers: Coordinated by Susanne Pørksen
DESIGN AND LAYOUT
Signe Chiper-Lillemark (design of logo and website)
Kenneth Schultz (design of program and abstract
book and congress merchandise)
Allis Skovbjerg Jepsen (layout of program and
abstract book)
Academic reviewers: Eeva Anttila, Fiona Bannon,
Ralph Buck, Kerry Chappell, Sharon Friedman,
Petri Hoppu, Victoria Hunter, Veronica Jobbins, Heli
Kauppila, Ann Kipling Brown, Gabriele Klein, Susan
Koff, Teija Loytonen, Richard Magill, Jeff Meiners,
Lynette Overby, Nicholas Rowe, Gerard Samuel,
Adrienne Sansom, Sherry Shapiro, Susan Stinson, Isto
Turpeinen
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
Dance Flavours
Dance Flavours
Day off for excursions
Dance Flavours
Dance Flavours
Creative
Meeting Points
Twin Labs
Creative Meeting
Points
Twin Labs
Creative Meeting
Points
Twin Labs
Registration
from 13.00
Youth
Forum
Work
shops
Rehearsals
YPP
group A
Youth
Forum
Work
shops
Rehearsals
YPP
group B
Workshops
Twin Lab
Sharing
Rehearsals
YPP
group C
Opening
Event 17.00
Youth
Forum
Work
shops
Rehearsals
YPP
group A
Youth
Forum
Work
shops
Rehearsals
YPP
group B
Workshops
Twin Lab
Sharing
Rehearsals
YPP
group C
National Meetings
LUNCH
Afternoon
Tour of Showings
BREAK
Evening
Editing team: Susan Koff, Cheryl Stock, Adrienne
Sansom, Ann Kipling Brown, Patricia Cohen, Norma
Sue Fisher-Stitt, Mary Lynn Babcock, Lynette Overby,
Alfdaniels Mabingo, Sheila de Val, Maja Bonde Holtze,
Laura Navndrup Black and Laura Conlan
Employees at Dansehallerne, Department of Nutrition,
Exercise and Sports, University of Copenhagen,
Danish National School of Performing Arts
MONDAY
Professional
Performances
Professional
Performances
Colors relate to tickets which will be distributed among you upon arrival. Tickets to
the performances (both YPP and professional) will also be distributed upon arrival.
■ Dance Flavours
■ Workshops
Closing Event
■ Creative Meeting Points
Adult Program
TIME
SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
Dance Flavours
Dance Flavours
Dance Flavours
Dance Flavours
Dance Flavours
SL grafik
Keynote
Keynote
Keynote
Keynote
REGISTRATION
Twinning Panel
Roundtable
Presentations
National Meetings
Presentations
Presentations
Free for excursions
Presentations
Workshops
Twin Lab
Sharing
Presentations
Workshops
Twin Lab
Sharing
Morning
PRINTING HOUSE
BDP Congress
LUNCH
SPECIAL EVENTS
Afternoon
Opening: TIVOLI and Pantomimeteatret
Closing: Dansehallerne
Registration
from 13.00
Presentations
Workshops
Presentations
Workshops
Opening
Event 17.00
Book Launch
Workshops
Presentations
Workshops
Tour of Showings
BREAK
Evening
PROGRAM AND ABSTRACT BOOK
Edited by Charlotte Svendler Nielsen
& Stine Mikés Degerbøl
YP Performances
YP Performances
Professional
Performances
YP Performances
YP Performances
YP Performances
Professional
Performances
YP Performances
Closing Event
No ticket distribution for adults. First come first served!
28/05/15 13.47

Dance and the Child International

Transcription

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