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importance of improvisation in dance
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A facilitator of a creative dance workshop should consider many things while planning a creative dance workshop. They must prepare for having dancers with different learning styles, capabilities, and backgrounds. A dance workshop should always promote equality, confidence, and creative development. Flexibility of teaching styles as well as flexibility of behaviour are key skills for a facilitator to have, so they can provide the best possible experience for everyone taking part.
To successfully promote equality, it is important to understand the inequalities that may arise in a workshop. Once the facilitator knows what techniques to use to avoid alienating anyone it becomes far easier to create an equal safe environment for their dancers.
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Understanding that revising and reworking already known steps counts as creating dance, students become confident enough to step outside their personal comfort zone, and then in turn their creativity would grow and expand. In a creative dance workshop a facilitator must remember to have a flexibility of behaviour, as this will increase chances for creative development. When delivering within a school environment it is important to take into consideration the national curriculum, A Curriculum for Excellence (CfE). Although CfE is organised under curricular headings those experiences and outcomes (E’s and O’s) relevant to Expressive Arts (EXA), especially dance, should be recognised in the planning and delivery of creative dance workshops. For example, EXA 0-8a; 1-8a; 2-8a; 3-8a: “I have the opportunity and freedom to choose and explore ways that I can move rhythmically, expressively and playfully.” Key terminology from this experience is “freedom to choose” and it is the creative dance facilitators role to ensure freedom is delivered in a positive and constructive fashion. Even when teaching out with schools it is still important to remember the experiences and outcomes from CfE. A creative dance teacher should aim to give their students as much freedom as appropriate for their level. Dancers creativity cannot be developed if they are only copying and repeating. Dancers need freedom within set dance exercises and they need freedom to improvise. It is crucial for dancers to explore their physicality in class and get constructive criticism and verbal feedback on what they do. A way to incorporate this into a creative dance workshop is by adding set counts to dances for the students to freestyle. Just as a key to learning is repetition, the easiest way to develop creativity is through repetition. The more dancers
“Who knows only his own generation remains always a child.” This quote from George Norlin echoes the edification that cultural exposure can offer. How does African dance relate to do modern dance? The two are so heterogeneous in their make-up that one would not think of them as having similarities. The truth, however, is that all dance forms are linked in some way or another; they all strengthen and sharpen each other. Modern dance has its roots in African dance with the emphasis placed on the connection of weight and gravity. Brenda Dixon Gottschild names five aesthetics that are present in African dance. A particular piece that draws attention to the relation of the five aesthetics to modern dance is “Split Sides”, choreographed by Merce Cunningham.
Ballroom dancing in New York gives underprivileged children the opportunity to be exposed to the arts, which is usually a program that is cut from low-income schools. This program is a part of a fine arts curriculum with a focus on movement/dancing. A fine art curriculum approach integrates the different aspect of the arts to enhance the learning experiences of the students (Agrelo, 2005; “Dancing Classrooms- Mission”, 2015; Gorski
What Swales means by this is that a discourse community should have ways where members of the community could communicate with each other, and that each way should have a specific purpose. The two most effective ways of communication in the dance discourse community are dance classes and workshops, since it is mainly a community that requires members to be involved physically. There are also a lot of ways to communicate online, such as blogs where someone, usually a dance expert, posts some tips and information that might be helpful. And group chats, where dance members from all over the world can chat together and share experiences. Also live dance tutorials, where you can learn how to dance from home as if you were in a dance class. There are a ton of dance magazines, weekly newsletters and subscription services where a member can be up to date with what is going on in the dance community, especially dance
Looseleaf, V. (2009, May 15). Eleanor Powell | Dance Teacher magazine | Practical. Nurturing. Motivating. The voice of dance educators. Retrieved April 26, 2014, from http://www.dance-teacher.com/2009/05/eleanor-powell/
Creativity in was defined by National Advisory Committee for Creativity and Culture in Education (NACCC 1999) by 4 main characteristics. The first is the use of imagination thinking or behaviour concerned with original or unusual ideas or actions. Second is using imagination to pursue a purpose relating to using imagination for purpose and having resilience to keep reinventing this. Third is originality; this is not only in reference to historic originality of anything gone before, but It can be personal originality or peer originality. Forth is judging value; explained as evaluating an imaginative activities worth in relation to a task. Wilson (2009) notes the increase of creativities stature in education and pedagogy from beyond the foundation subjects and arts during the last century. Robinson (2013) argues that modern education is still based around conformity and does not foster children’s natural inquisitiveness or creativity. My view is that education has progressed from the Victorian didactic ways of teaching, heavily influenced by the behaviourist theorist Skinner (Moore & Quintrel 2000). We are now concerned with developing the whole child as appose to simply imparting knowledge, repeating and demanding a correct response. This notion of developing the whole child, concerned with social and emotional qualities as well as academia, was central to the highly influential Every Child Matters (ECM) agenda (DfES 2004). ECM’s outcomes and aims, with respect to children’s enjoyment and achievement, highlight the importance of personal and social development.
Mankind tend to look at the male populace and conclude that the significantly poor participation of males is due to individual preferences and the fact that dance is seen as highly feminine or non masculine. What they don’t ask is why participation rates for both the male and female gender is low. It’s rare that society looks beyond what is actually affecting individual choices of the majority of society to not participate in dance. A key point of difference is that dance studios, the common delivery point of most peoples’ formative dance experience, are operating as businesses (with a clear profit motive), rather than the myriad of community based sports clubs, which encourage and cater for participation of a broader range of groups within society. We can study this through the utilisation of sociologist Peter Figueroa’s Framework, which looks at factors, which affect access and equity. The
For the dancer, music and choreography are paramount. The music guides the dancer, and the moves express the music. However, the dance has to start from somewhere.
Learning about Dance: Dance as an Art Form and Entertainment provides visions into the many features of dance and inspires scholars to keep an open mind and think critically about the stimulating, bold, ever-changing and active world of dance. Learning about Dance is particularly useful for those who do not have a wide and diverse dance contextual, such as students in a preliminary level or survey dance course. This book consists of twelve chapters. Chapter one dance as an art form focuses on the basic structures of dance. Dance is displayed through the human body, it has the control to communicate and induce reactions. Dance can be found in many different places, it enables the participants and seekers to touch and knowledge the joy of movement. Dance is discovered as being one of the oldest art forms worldwide. Dance existed in early cultures was recognized in a sequence of rock paintings portrayed dance. Since this discovery of rock paintings, several other forms of art have been found that depict dance. People used rituals in order to worship the gods and believed that the rituals held magical and spiritual powers. During the ancient period civilizations sentient decisions began to be made with regard to dance. Other periods that had an impact on dance were the medieval period, the renaissance period, and the contemporary period. Chapter two the choreographer, the choreographer is a person who comes up with the movements created into a dance routine. The choreographer expresses themselves through choreography because this is their way of communicating with the audience. In order to be a choreographer you must have a passion for dance. Each choreographer has their own approaches and ways of making up a routine. Choreographers ...
“Hey girl, what are you doing?” “Girl, I’m practicing on this dance. I been dancing and training for hours and hours, I am exhausted. “Although it is not a proven Fact, many people do not consider dancing as a sport, yet serious competitive dancers undergo the same amount of training as competitive athletes in regular sports. This paper will prove that dancing is and can be accounted as a competitive sport. Various opinions have been made due to the weather people think dancing can or cannot be accounted as a sport. In my research paper I am for and do think that dancing is considered as a competitive sport. The interesting idea about dance that I've came across is that it can be many things to many people. Is it a sport? Yes, it can be. Same as Golf can be considered a sport simply because it is a competition. Many Ballroom dancers compete, as well as dance teams in High School and Colleges across the nation. Is it an art form? Absolutely, some people paint on canvas and it last many years, and some people use space as their canvas, and their bodies are the paintbrush making their art more fragile and more fleeting than a painting could ever be. Dancing can also be used as a tool for political statements, a voice for those who move in such a way to express their joys or sorrows. Can dance be taught as a new skill? Yes, reasons being is because dance can be taught just as any other sport can be taught as a skill. Dancing and other sports are very different but similar as well. Dance is widely recognized as a holistic workout, providing for an exercise regime that satisfies the heart as well as the sole. Going much beyond the physical aspects of toning muscles as well as improving agility and cardiovascular fitness, dance offers on...
The dancing community I’ve been apart of since the age of three is one that has consisted of blood, sweat and tears... literally. My discourse community, meaning a group of members who use communication to achieve goals and purposes, is one I have worked hard to be apart of. My Dance studio is its own discourse community. With the movement of a person’s body on and off stage, they are able to express emotions as well as tell a story at the same time. John Swales believes their are six characteristics which makes for a discourse community. These include having the members of a community sharing their own goals, intercommunication, feedback, genre, lexis, and a level of members with a suitable degree (Swales 220-222). When one thinks of dancers,
Dancing is a form of art that allows many children to express themselves through body motion while developing many skills. Children throughout the world have been dancing since the day they began walking. When a child to take their first steps and puts together the simplest combination of movements, that would be considered as dancing. Music also plays a major role in the development of children understanding dance, because it is can be used as an accompaniment, and can help children get a better feel for the rhythm in dances. Over the past century educators have come to the conclusion that dance serves as a form of art, and should be taught in public schools and colleges to help the growth in children of all ages both physically, mentally, and academically.
Overby, L. (1992). Status of dance in education (Report No. ED348368). Washington, DC: Eric Clearinghouse on Teacher Education. Discusses the status of dance as a part of the elementary school curriculum. This Digest examines the rationale for dance in education, the status of dance education, and selected issues in dance education.
Contemporary dance first originated from ballet, however changed when Isadora Duncan decided that she didn’t want to dance ballet. She disregarded the refined technical Classical ballet and thus the concept of Contemporary dance was born. This style incorporates movements where the body moves freely and doesn’t have restrictions, embodying raw human emotion. Pioneers of contemporary dance comprise of the internationally known Isadora Duncan, Martha Graham and Merce Cunningham (The Conversation, 2014, online) + (Bibliography, 2012, online). These three dancers helped to revolutionise contemporary dance and express their interpretation of it, all unique but added layers to the genre. A range of movements that originated from these dancers are
I needed to find a source that provided me with evidence of multiple dance teachers’ methods in order to show that they were not using math, indicating that there are other ways of teaching dance that are even more useful than integrating mathematical concepts. I found a source in Library West that supplied this support in the book Talent Abounds: Profiles of Master Teachers and Peak Performers. The chapter entitled “Modern Dance Masters” provided me with the information I needed. The author, Robert F. Arnove, talked with five different dancers, all prominent in the field of modern dance. He discusses the dancers’ ideal techniques/qualities of teaching and learning in a dance setting, all of which he gained through his conversations with them. All of the dancers predominantly discussed the personality of the teachers and students, their creativity and imagination, and their enthusiasm, indicating that they do not perceive a use in involving mathematics within the process of dance education. These dancers were all prominent in the field of modern dance, starting out as thriving performers and turning into prosperous teachers with various student successes of their own. This ensures that their teaching styles were and still will be
To begin with Sir Ken Robinson states that “creativity is the greatest gift of human intelligence” and therefore the education system should help children to realise their creative potential, unfortunately many are being displaced from their own true talents. Formal instructions and inquiry based learning are essential for creative education. There are some times when it is appropriate for the teacher to give formal instruction in skills a...