Programme

The conference, Contemporary Dance Didactics: Explorations in Theory and Practice, will include papers, lecture demonstrations, round table discussions and workshops.

Below is the list of the people who presented papers, held lecture demonstrations and workshops.

If not otherwise stated the lectures was in English

Lecture performance:
The teacher as a student? Learning practice through theory

Based on a text from Jacques Rancière, Damkjaer discusses and problematizes how the learning process is affected when the teacher becomes the student.
Camilla Damkjaer, University of Dance and Circus, Stockholm

Lecture demonstration:
The I-project, a didactic patchwork on identity, interpretation and imitation

This lecture will present different ways of working on how to build a multiple dancing identity. Special focus is on imitation/copying versus interpretation.
Jannie Berggren, University of Dance and Circus, Stockholm

Lecture demonstration:
Dancing together ­– a politics of (re)unification?

Based on Rudolf von Laban’s movement choir, Rob Baum will let us take part and experience how dancing can build unification and a community.
Rob Baum University of Cape Town, South Africa

Paper presentation:
Managing "writers block" - movement as contemplative inquiry

This paper present an exploratory study which stems from a meditation exercise in contemplative inquiry with transdisciplinary researchers in Sweden. They suggest that the power of non-languaged ways of learning can be applied in research writing.
Eva Bojner Horwitz, Uppsala University, Sweden

Paper presentation:
The insider’s view  in dancing and movement composition process – an empirical approach with Video-Stimulated-Recall-Interviews (VSRI)

This papers main issue is focusing on the reconstruction of student experiences in dance and movement composition lessons. Behrens observation of dance classes was realized via videography over a 12 weeks period. Subsequently to these lessons, ‘Video-Stimulated-Recall-Interviews’ (VSRI) (n=37) were carried out. The essential element of this method is to comprehend expressed thoughts and emotions.
Claudia Behrens, Johannes Gutenberg University, Germany

Paper presentation in Swedish:
The ability to improvise as the dance students´ phronesis. A dance teacher scrutinizes ones practical knowledge.

This presentation examines and discusses the role of Aristoteles concept of phronesis  as a vital part in teaching and learning improvisation, and is based on philosophical writings about practical knowledge, intuition and reflection as well as a teachers own experience.
Fia Fredricson Flodin, Södertörn University, Sweden

Paper presentation:
Educational dance and gender

This paper examines dance in the Swedish schools from a gender perspective. Lindqvists research shows that dance teachers perceive marked differences between girls and boys. There is a connection to dance as a femininely coded subject, homophobic conceptions and the distinction between masculine and feminine movements.
Anna Lindqvist, Umeå University

Lecture demonstration:
Dance, listen, read - knock, knock
!
Färlin Månsson introduces the development of an educational working material for young children, based on Anna Clara Tidholms book ”Knock Knock”. The purpose is to develop a method and material to be used for dancing a book. The work is inspired by ”Read a film”.
Sophia Färlin Månsson, Music Gävleborg, Sweden

Paper presentation in Swedish:
Children performing masculinities/femininities in dance education

Pastorek Gripson has researched the teaching of dance in the Swedish compulsory schools, based on a gender and poststructuralistic perspective. The aim of this study is to show how masculinity and femininity are put into practice, what happens when pupils break traditional norms and how control strategies operate in the gender construction aspects of dance education.
Märtha Pastorek Gripson
University of Gothenburg, Sweden

Paper presentation:
Dance in physical education – What’s the point?

Which role does verbalisation and reflection play in dance teaching in Physical Eduation? In this presentation Susanne Ravn explores the learning intentions of dance in physical education, and the role of reflection may play in relation to these.
Susanne Ravn, University of Southern Denmark, Denmark

Paper presentation:
Dance as subject in upper secondary school – a didactic challenge?

The presentation discusses two interrelated aspects. The first deals with a common discrepancy between curricula and actual teaching practice. In what ways do teachers relate dance to curricula? The second aspect deals with questions concerning the legacy of dance in its eventual transformation into “dance as subject” navigated by curricula. What seems to be the core of dance as a school subject?
Britt-Marie Styrke, University of Dance and Circus, Sweden

Paper presentation in Swedish:
Can all pupils in the Swedish Primary School get access to dance as a knowledge area?

A presentation of the development of Dance in Schools across Sweden in the period 1986-2012 and reflections on dance as its own specific knowledge area in primary school, i.e. as a form of expression and as a method for teaching other subjects.
Cecilia Björklund Dahlgren, Luleå University of Technology. Sweden´s National Institute for Dance in Schools, Sweden

Paper presentation:
Artistic contingencies from different movement didactics

This paper presentation will discuss why different pedagogical methods are needed from the beginning of the education, and how new efficient perspectives will transfer the definition of the profession´s semiotics, also the pedagogues’ vocational competency, into other nuances of the artistic landscape. Will the field adapt to a contemporary academic approach, with the pressure from the economical situation in the society?
Monica Emilie Herstad, Choreographer herStay, Norway

Paper presentation:
Why create dance in physical education?

How can we create a new identity for creative dance in Physical Education in Norway? Trine Ørbæk compares literature on choreography and creative dance in order to find starting points for a recontextualisation of creative dance in Physical Education.
Trine Ørbæk, Norwegian School of Sports Sciences, Norway

Paper presentation:
The position of dance in physical education

Why has dance not been given more space in Swedish Physical Education (PE)? Torun Mattson presents a study of the Swedish PE curriculum for compulsory school, in order to find the reasons for this neglect.
Torun Mattsson, Malmö University, Sweden

Paper presentation:
Assessment of dance knowledge

This presentation mediates a study that is a part of a larger study about teacher’s assessment of dance knowledge in upper secondary schools in Sweden. The study is based on a phenomenological philosophy. The purpose of this specific part- study is to define how dance knowledge is seen and valued by teachers teaching in dance and how teachers are assessing dance knowledge based on current syllabuses.
Ninnie Andersson, Luleå University of Technology , Sweden

Paper presentation:
Embodied meaning making, about learning situations in dance

Dance is a performed embodied multimodal practice of meaning making. Dance learning is an activity that engages body and mind simultaneously. The teaching and learning situation can be described as a complex multimodal configuration of signs in different time and space based modes. The object of this paper is to investigate how we can understand the complexity of learning dance in the context of higher education.
Annika Notér Hooshidar, University of Stockholm, Sweden

Paper presentation:
Didactics and dance: reflections on concepts

The context of educational settings are constantly changing and therefore show a great diversity. How implement explicit didactic concepts in the practice of teaching and learning dance? In this presentation Styrke wishes to highlight some examples from research on didactics in general as well as its relation to dance and to Lee Shulmans categories of teacher’s knowledge.
Britt-Marie Styrke, University of Dance and Circus, Sweden

Paper presentation:
Revaluing pedagogical canons in their contemporary embodiment. A critique of contemporary standardizations of individual creativity based on a reappraisal of classical dance mentorship and the dialectical constitution of the student/artist

The authors of this paper (Mavin Khoo in his Bharata Natyam and Classical Ballet education/career and Christina Kostoula through her experiences of Classical Greek and Orthodox thought and schooling in Russian Ballet forms) engage in a shared enquiry on the characteristics of the relationship between teacher and student; a somatically structured and holistically communicated dialogical reasoning between the personal and the cultural, past and present, traditional inscription and creative agency.
Mavin Khoo, University of Malta, Malta
Christina Kostoula, University of Roehampton, England

Lecture demonstration:
A body is a body is a body

In this lecture demonstration Hultman is going show how she naturally changed and developed her teaching method in relation to her own knowledge and the students needs . In order for the students to understand the movement sequences in question she felt that they needed further insight and different tools - much in terms of bodily logic, gravity and energy.
Irene Hultman Director/Choreographer/Dancer Untamed, USA

Paper presentation:
Up in the air: A Case Study of Creativity-Based Teaching in an Aerial Arts Youth Company

This paper will present a case study of the teaching of creative development within HighJinx Youth Circus Arts Company. The company’s vision encompasses member-driven ideas and creativity, while at the same time emphasizing the acquisition and improvement of specific aerial physical technique and movement-knowledge. This paper will present the ways in which creativity is developed within members.
Carlene Newall, University of Auckland, New Zealand

Paper presentation:
Sharing the Unknown: Developing Student Autonomy in Artistic Creation

At all stages of development, an artist’s capacity to overcome doubts and fears defines, to a great extent, whether he or she continues to engage in artistic process. Working with young choreographers (ages 10-25), we examined underlying assumptions about nurturing artistry. Studying our processes—artistic and pedagogical—alongside those of other professional choreographers and mentors, we developed approaches that challenge habits of teacher-directed response and foster learner autonomy.
Jessica Nicoll, Hunter College, USA
Barry Oreck, Long Island University, USA

Roundtable:
Dance Pedagogy! Origin, expression and unique memories

In a round table format seven dance teachers will talk, show films about the history, curriculum and memories of the different dance subjects (genres) that have constituted the Dance Pedagogy Department at DOCH from 1964 until today.
Gun Román, Jannie Berggren, Bert Persson, Anna-Karin Ståhle, Iskra Ring, Katarina Lundmark, Elisabet Sjöstedt Edelholm, University of Dance and Circus, Sweden

Paper presentation:
The movement culture of “the borghällian practice”

The presentation aims at describing a specific movement culture of a practice, founded by Senior Lecturer Johan Borghäll. Data was obtained through participant observation and comparison to other movement cultures. It asks questions about differences and similarities comparing concepts of “time”, “space”, “energy”, “interpersonal relations” and “objectivations”.
Christina Blicher Johnsen, Aarhus University, Denmark

Paper presentation:
Teaching dance to reluctant students at Junior High School

This paper presents Skånberg Dahlstedt’s  own project concerning how she as a dance teacher at junior high school investigated  the meaning of dance  together with her pupils. The result of the project was to create a dance blog, both for the students and for the teachers at the school.
Ami Skånberg Dahlstedt, Choreographer, Sweden

Paper presentation:
Hip Hop in Hospital: A Case Study of Dance in A Young People´s Psychiatric Ward

This paper will present details of the dance sessions in the hospital and examine a range of questions and issues such as how patients and staff can experience social, psychological and physical benefits within sessions driven by artistic focuses.
Carlene Newall, University of Auckland, New Zealand

Paper presentation:
Cultivating embodied ways of knowing; Integrating contemporary dance and yoga practice in tertiary education

In this paper, Barbour delves into her own experiences as an artist and a dance teacher  and considers the question of how to effectively integrate contemporary dance with yoga in the tertiary dance education.
Karen Barbour, University of Waikato, New Zealand

Paper presentation:
Practicing Embodiment: Furthering a Somatic Approach in Contemporary Dance Training

Enghauser discusses how to further a somatic approach in contemporary dance training and how to develop, articulate and teach viable fundamental concepts and practices for those not certified in specific somatic modalities. Moreover she questions how to hand these practices down to teacher candidates in dance education.
Rebecca Gose Enghauser, University of Georgia, USA

Paper presentation:
Suggestions for methods when teaching process based movement analysis and interpretation in dance education

Professor Roos will introduce and discuss her methods to guide the dance students in their analysis and interpretation of movement material. The aim is to give the students the possibilities to develop methods and understanding of their own learning processes.
Cecilia Roos, University of Dance and Circus, Sweden

Paper presentation:
How do Swedish women learn Middle Eastern dance?

This presentation focuses on the theoretical aspects of learning a new dance form. It discusses Middle Eastern dance classes in Sweden, in relationship to theoretical perspectives from Merleau-Ponty’s writings, Fernandez’ and Bordieu. Some people claim that foreign performers never reach the same depth of expression as native dancers. Others argue that formal training can make foreign dancers more skilled than native dancers.
Karin Högström, University of Stockholm, Sweden

Lecture demonstration:
History from the perspective of art and body

This presentation is based on a course aimed for teachers in history/culture history, in upper secondary school. The aim of the course was to develop new tools for interdisciplinary teaching methods intertwining theory and bodily practice. The theory focused on history of politics, ideas, body and dance. The practical parts focused on the 16th-19th century, both examples of social dancing and etiquette.
Anna Karin Ståhle, Katarina Lion, University of Dance and Circus, Sweden

Lecture demonstration in Swedish:
Dancing with meaning – Developing a meaningful artistic-technological workshop

Based on Bruner, reality could be expressed and interpreted through different configurations that allow us to see things with new eyes, through a spiral process of understanding and explanation.  The aesthetic elements can become a way to learn new things in different areas instead of just being relaxing moments.
Maria Nordlöw, University College of Music Education in Stockholm, Sweden

Workshop:
What only teachers know  - Pedagogical Content Knowledge

This workshop explores and discusses what it is that teachers know. What is a teacher’s special knowledge more than knowledge about the specific subject being taught? Can we describe and verbalize this knowledge. Share your thoughts and ideas about this.
Gun Roman, University of Dance and Circus, Sweden

Lecture demonstration:
180° turnout, a blessing or a curse?

This lecture demonstration proposes a way to teach ballet that recognizes the individual’s potential and limitations, questioning the notion of creating desirable aesthetics through a rigid thinking by working with methods that force bodies into positions that can lead to un-dynamic dancing and over use injuries.
Ola Beccau, Luleå University of Technology, Sweden

 

Share |