Dance

Partnerwork is an essential part of most dance styles yet while the majority of dancers agree on its general importance and benefits, there is no clear consensus on the use and value of some of its key elements.

The aim of this study was to analyze the role and importance of touch, visual contact, and weight bearing/giving, within dance partnerships and propose ideas and actions for the development of these elements in dance. The styles discussed consisted of classical ballet, ballroom dancing, Argentine Tango, contemporary, and contact improvisation.

The data collection was conducted by means of an extensive literature review, class observations, questionnaire, and qualitative interviews with dancers and teachers. Thematic analysis was used to categorize and organize the answers to the questionnaire and interviews linking them to the observations made in the classroom.

The results revealed many perceptions and methods in partnering suggesting that: dancers generally regard touch and weight bearing/giving as important factors in partnering and use them in various ways within their respective domains; the value of visual contact use differs greatly between dance styles. Either physical or psychological benefits of the discussed elements are emphasized depending on the style; and either separate exercises or specific focus during choreography are used as tools to improve the quality of these elements in partnerwork.

Much of the information gathered goes beyond what the literature presents on the topic and points to the fact that a lot of practical knowledge exists in the dance world regarding partnering but is not organized or shared in a consistent and systematic manner. The dissemination of that knowledge in combination with further research into the physiological and psychological aspects of partnering skills should enhance the overall understanding of the topic across dance disciplines and enrich dance literature and training methods.

Le toucher joue un rôle de premier plan dans l’enseignement et l’apprentissage de la dance. De Balanchine frappant les danseurs sur leurs épaules pour les aider a garder leur balance durant leur pirouette de ballet classique (Mazo, 1976, p.39),
aux clowns danseurs Balinais lors de leur entrainement qui se font placer dans des positions par leur professeur afin de prendre une forme artistique (Gartner, 1993, p.227), le toucher est aussi connu sous l’expression ‘hands on feedback’ en danse joue un rôle primordial lors du processus d’apprentissage et de l’enseignement. Malheureusement, il n’y a pas eu assez de recherche scientifique pour soutenir cette affirmation et il y a un manque d’orientation tel que reçu par d’autres stratégies d’éducation.

Cet exposé explore les différentes recherches sur le sujet du toucher dans les diverses disciplines telles que le développement des enfants, la thérapie par la danse, le somatique et la psychiatrie et essayera de lier leurs conclusions à des utilisations possibles dans l'enseignement et l'apprentissage de la danse. Il examinera également l'utilisation actuelle du toucher en enseignement de la danse et de décrira les aspects positifs et négatifs de son application à travers des discussions de travail publié ainsi que mon expérience personnel tant que danseur et professeur.

Overview

The idea
Footscan appeared to be a potentially useful tool in measuring the trajectory of the centre of balance in latin/ballroom dancing as it travels through our feet during various steps.

The Method
4 dancers, 1 professional ballroom/latin dancer (sub. 1), and 3 novice dancers (sub. 2,3,4) with experience in contemporary and ballet were used for the experiment. 2 half hour sessions were given to the novices to learn the basic movement in place, cucaracha, as well as forward and backward walks in rumba. They then performed the weight change in place and the forward walks on the Footscan and the trajectory of their balance centres was recorded by the Footscan software and later analysed.

The Outcome
Although this was a pilot project some interesting results have emerged. While only one of the dancers was a professional and could have the results analysed as a representative of the training that ballroom dancers might receive, the other participants were novices to the style and their results demonstrate the various compensations that can occur as a result of the interpretations of the taught movements in beginners.

The Conclusion
The Footscan can be a useful tool in the enhancement of dance teaching strategies where it can demonstrate the scientific truthfulness of such statements as ‘the weight always remains in the centre during a Rumba basic in place’ or ‘the of centre of weight travels from front to back to front during a forward Rumba walk’. It can also be used to show the compensations and interpretations that students might defer to in order to execute the taught elements. These benefits can improve the knowledge of the teachers and possibly save the student future injuries due to unseen repetitive compensations in their gait during various dance steps.

Dance sport is the competitive aspect of social dancing, and encompasses 5 genres of Latin dance: Cha Cha, Samba, Rumba, Paso Doble, and Jive. Education of technique focuses predominantly on foot positions and directions, and there is a lack of information regarding technical aspects of the dance, such as timing, position in space, and rhythm. This knowledge gap limits the potential for optimal skill development and progression. This study examined the centre of balance trajectory in the basic walks and cucaracha steps of Rumba dance using foot scan, gaining preliminary insight on weight placement and movement patterns in one professional and three novice ballroom dancers. The professional dancer performed the steps on the Foots can, while novices were given two 30 minute sessions to learn the steps. Results showed that novice dancers made various compensations in balance trajectory and weight distribution on their feet, in response to teaching cues for the Walks and Cucarachas. The professional dancer was in greater accordance of the described foot trajectory as it was traditionally taught, though still had more deviations in balance, and used more foot volume than the literal technique described. The findings of this study provide an improved understanding of the biomechanics in Latin dancing, and is a starting point for developing improved teaching techniques for performance enhancement and injury prevention for Ballroom dance.

This research examines the effect of Soviet Union era indoctrination on dance pedagogy and performance at DanceSport studios run by Soviet migrants in Canada. I investigate the processes of cultural cross-pollination within this population through an analysis of first and second generation Soviet-Canadian ballroom dancers' experiences with cultural identity within the dance milieu. My study is guided by questions such as: What are the differences in the relationship between national politics and dance in the Soviet Union and Canada? How have Soviet migrant dancers adapted to the Canadian socioeconomic context? And, how did these cultural shifts affect the teaching and performances of these dancers? My positionality as a former Soviet citizen and a ballroom dancer facilitates my understanding of the intricacies of this community and affords me unique entry into their world. To contextualize this study, I conducted an extensive literature review dealing with Soviet physical education, diasporic identities, and embodied politics. I then carried out qualitative interviews and class observation of Soviet-Canadian competitive ballroom dancers at three studios in Ottawa, Toronto and Montreal. The research conducted for this dissertation revealed various cultural adaptation strategies applied by these dancers, resulting in the development of dual identities combining characteristics from both Soviet and Canadian cultures. My analysis of the data contributes original information to the fields of dance studies and pedagogy, migration studies, and cultural studies. The results of this study can act as a guide in the development of arts management, education, and cultural integration policies in Canada, fostering a creative dialogue between dancers, academics, and policy makers. Lastly, my thanks go to the participants for giving their time to volunteer for this study as you have been invaluable to this research.

How does the dramaturg engage with and help develop paths of artistic inquiry? Why is dance and movement dramaturgy sometimes distributed among collaborators? How are sources of choreographic archives or personal and cultural landscapes used to generate new movement material? What do dancers and performers need, as a minimum, to be able to create while being challenged to leave their comfort zones? What are the components, qualities, or factors of movement that the dramaturg compartmentalizes as such in rehearsal? Why are the questions of how these components affect each other, and the effort involved, more important than coherence? What kind of experience are we trying to facilitate for audience members, and how does their embodied perception participate? Who is dancing, experiencing, witnessing, and writing within and outside the performance? Do you wish to refine or exceed existing approaches? Do you want your dramaturg to mirror you, challenge you, or join you in your process-close at hand or at some distance? These questions mark selected journeys of discovery that our authors invite CTR's readership to engage with and become inspired by. Routledge's comprehensive critical reader on Contemporary Choreography from 2009 includes only one article on dance dramaturgy, positioned in a section called "Relationships with Other Disciplines" at the end of the book. Authored by Liesbeth Wildshut, the article is set up as a comparison of theatre and dance dramaturgical practices. Initially Wildshut names theatre dramaturgical tasks that she believes apply directly to dance, such as clarification and

is a choreographer known for his eclectic fusion of pure dance and theatrical invention. Critics have referred to him as a 'dance daredevil'. His current creative project, based on images of the nuclear family and consumerism, is titled "Revisiting the Sandbox" and will be presented at Buddies in Bad Times Theatre in December 2002. As a professor in the Department of Dance at York University he teaches a wide range of studio courses and lectures on dance. His research explores Authentic Movement as a base for training the expressive body, improvisation in early Western theatrical dance (Renaissance and Baroque), and representations of masculinity in Hollywood's male dancers. torquere: Journal of the Canadian Lesbian and Gay Studies Association I Revue de Ia Societe canadienne des etudes lesbiennes et gaies Vol. 3 (2001) © CLGSA I SCELG

In Cultivating Roots, emerging dance artist Nikolaos Markakis investigates choreographic creations through his two embodied resources of Cretan folkloric and Contemporary dance practices. These two embodied resources were questioned and challenged through the lenses of tradition and tensional-hybrid art, a term he has been exploring through his three case studies: Ithaka, Ariadne, and Metaxy. In these case studies Markakis delves into his embodied resources, and investigates influences through the folkloric and contemporary themes of costume, music, and dance. Furthermore, this extended essay questions the role that cultural traditions can play within a contemporary choreography for the Toronto dance scene. Playing with the emotional, political and aesthetic tensions between Markakis' embodied resources; he researched the possibility of a successful and organic approach to marry these two worlds for the stage. iii Dedication I would like to dedicate this thesis to my father, Charalampos (Bob) Markakis. Without you, I would have never been introduced to the world of dance, completed my BFA in Dance, or embarked on the journey that has been my thesis. Thank you for always supporting and motivating me in my passion and instilling the love of dance, art, and Cretan culture into my veins. Many people played a huge role in the completion of this thesis and each part of the thesis project; without them, the process would not be possible. First and foremost, I would like to thank my father, Charalampos (Bob) Markakis, for introducing me to the world of Cretan dance and continuing to be a mentor, supporter, and participant in my final thesis project as a performer.

diSessa's theory is a deeply articulated, thought-provoking account of the structure of intuitive physics knowledge. We agree with the spirit of the theory in most regards, with one or more important points of departure, which we discuss here. Specifically, we believe that there is more structure in intuitive knowledge than diSessa has suggested and propose a theory of ontological categories as an alternative to his theory of knowledge fragments. Indeed, diSessa briefly entertains the notion of ontological explanations in the context of exploring theoretical alternatives to his own view but provides only a sketch of the basic ideas. Because diSessa could not locate any substantial published defense of this position, we provide a brief description of our own version of this alternative theoretical view, which is either recently published (Chi, 1992) or forthcoming (Chi, Slotta, & de Leeuw, in press). But first, we highlight several of his assertions and then evaluate these assertions in the context of the ontological theory. Final

The Orient was almost a European invention, and had been since antiquity a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences. (Said 1978,1) The past century has witnessed the phenomenon of belly dancing becoming a key icon of the Middle East in the West. This iconic representation often causes outrage, resentment, and even protest among Arabs who resent Westerners (mis)representing them by focusing on cabaret-style belly dance, a low-class and disreputable symbol for many in the Arab world, as a primary media image of the Middle East. Since the 1970s, millions of women and some men in the West have been attracted to belly dancing, investing millions of dollars and enormous time acquiring the basic skill of the dance in order to perform it. This essay will address several issues that are raised by the phenomenon of belly dancing and its transformation, globalization, and acculturation in the West; it is designed to develop a newly emerging area...

In 2017, forty years after the founding of Dance Chronicle, we ran the biennial Founding Editors Awards competition for a second time. In 2018, we are delighted to announce the winners-after a short tribute to the two literary lights we wish to honor this year. They are none other than the founders of the journal: George Dorris and Jack Anderson. In selecting our honorees, we render homage to dance thinkers who do more than simply write books, essays, and reviews; they mentor other dance scholars-emerging and established-with wide-open passion, nurturance, and wisdom. We think of George Dorris as the Louis Horst of dance scholarship; Jack Anderson, as the Edwin Denby. Basking in the sunlight of their gentle guidance, dance scholars have blossomed and their productivity has burgeoned. Maestro of the essay and poet of the newspaper column: what a team! It takes a good ear to transcribe embodied expression into poetic line and motion, and they do so in abundance. But to nurture others, out of love wider than the limits of one's own curiosity and ambition-that inspires a special admiration. We have never seen them refuse a relationship as mentors. We thank George and Jack for thirty years of dedicated service as the founding editors of Dance Chronicle, because without them, the journal would not exist today. Without them, countless dance scholars could never have made their living in a precarious field. Dance studies would be poorer, vacant of discourses and databases that continue to thrive. George and Jack's ceaseless good taste, discerning eye, communicative style, kindness, and warmth constitute an irreplaceable treasure. George's interest in dance began in his native Eugene, Oregon, where he grew up on a filbert farm. He despaired of ever becoming a farmer, but small touring outfits such as Alicia Markova and Anton Dolin's or Mia Slavenska's ballet company, or celebrated performers like La Argentina, came through occasionally on the local concert series. On the shelves of the Eugene Public Library and the University of Oregon Library, dance books ("OPEN ME" figuratively printed on their covers) abutted the music

is a singer and an artistic researcher with a special interest in vocal crossings between the seventeenth and twenty-first centuries. In 2011, she was awarded a PhD in Performance in Theatre and Music Drama from Faculty of Fine, Applied and Performing Arts at the University of Gothenburg. Her vocal practice and understanding of somatic vocality has developed parallel to Alexander technique studies. She is currently researching the practice of seventeenth-century vocal ornamentation as a method and a model for communicating and creating trust applicable to multiple scales and spacetimes, such as environmental, social, political and multicultural relations. She has been invited to present her work at festivals and conferences in Europe, the US and Japan. Yvon Bonenfant makes art with non-normative voices; these days, usually, with audience's voices -where the audience members are co-artists. He applies his background and training in a variant of Gerda Boyesen's approach to body psychotherapy to thinking through acts of queered voicing. His artwork has shown in many countries and locations, and his writing has appeared in journals as varied as Performance Research, Journal of Dance and Somatic Practices and Scan Journal. His academic and creative work has been funded by the Wellcome Trust, Irish Research Council, Arts Council England, Youth Music and many others. He is Head of the

The new beamline dedicated to high-pressure studies, PLANET is now being constructed at BL11 in MLF/J-PARC. The design concept and the current construction state are introduced. The most characteristic feature of this beamline is a huge press with the maximum load of 1500ton. The coupling this with the state of the art neuron techniques reveals hydrogen positions and its effects on the physical properties of materials and minerals at tens of gigapascals and a few thousand Kelvins. This opens the door to explore deep interior of the hydrous Earth and Planets.

JUDITH HAMERA'S QUOTE FROM Dancing communities suggests the impact of dance training and related technique on the body and psyche of a dancer. As Hamera indicates, the pedagogical method employed to transmit the technique from the body of the teacher to that of student ...

is most often noted for her pivotal book The Anthropology of Dance (1977), which provides an in-depth account of the theoretical frameworks and research methods of dance anthropology. In her most recent book, Anthropology of the Performing Arts: Artistry, Virtuosity, and Interpretation in a Cross-Cultural Perspective, Royce seeks to distinguish artistry from virtuosity through a cross-cultural examination of performance, art, and artists. In this quest she is inspired by contemporary discourses in dance studies that refer to dance, and performance in general, as embodied knowledge. Specifically, she acknowledges being influenced by the writing of such dance scholars as Sally Ann Ness, Barbara Browning, Yvonne Daniel,Julie Taylor, and Marta Savigliano (4). While Royce focuses heavily on ballet with artists from Fokine to Baryshnikov, she also references dances of the Tewa Indians, dance and theater of Japan and Bali, as well as the art of Marcel Marceau. Her interest is not limited to defining artistry and virtuosity. Her deliberation on performance extends beyond these topics to questions concerning audience reception, innovation, and altered states of performance. In the size of her aspirations, Royce's project is similar to that of Eugenio Barba and Nicola Savarese's work.Dictionary of Theatre Anthropology: The Secret Art of the Performer (iggi), which attempts to define a transnational vocabulary of performance. In style of presentation, Royce's work is more closely allied with the aesthetic contemplations of Susan Sontag (2001).

We open our issue with 'Professorial Reflections'an informal, but nonetheless productive discussion about researching spirituality in dance and performance studies. We aim to offer this type of discussion, between different leading professors in dance and performance studies, in subsequent issues of DMAS. Our intention here is to open dialogue about spirituality in these fields, through informal discussion and academic chitchat, with the aim of supporting new areas of research through conversation and reflecting.

Popular historian Jonathan Spence's observation of Western fascination with China that "has remained primed over the centuries" applies equally well to ongoing twentieth-century Chinese engagement with all things Western in a wide range of sentiments: fascination, resistance, ambivalent love, and hate. 1 With China's post-1990 reemergence in world economies and its attendant anxieties, a host of "China" questions return in multifaceted forms to scholarly inquiries, including one of the most important questions that Significant Other addresses: how are China's self-image and knowledge of China's cultural Others produced, authorized, and circulated in the People's Republic? Asian cultural production has frequently been used as an example to sustain or dispute claims about globalization, Orientalism, and Occidentalism. Claire Conceison's study of contemporary theater in China reframes this debate by problematizing modes of intercultural encounters-in both theatrical representations and academic endeavors to study them. Itself a pathbreaking project, as evidenced by its theoretical framework and selection of a group of understudied plays, Significant Other builds upon and engages such pioneering scholarship as Edward Said's Orientalism (1979) and Xiaomei Chen's Occidentalism (1995; 2nd ed., 2002). To examine the imaginaries of the Chinese Self and its "significant Other"the American-Conceison has chosen a significant but marginalized subject matter: Chinese huaju (spoken drama). More so than other forms of cultural production, theater-as a public event and entertainment-provides a venue where cross-cultural negotiations are physicalized on stage in front of audiences who not only witness but also participate in these processes. Further, huaju is arguably born at the junction of cross-cultural epistemologies. From its inception in the late Qing and early republican periods, foreign and fused performance idioms, characters, and themes have propelled its development. Therefore, huaju provides rich materials for cross-cultural studies. Last but not least, as Conceison and other scholars are well aware, huaju-as opposed to fiction, poetry, or huaju's perceived counterpart, xiqu (traditional stylized theater)-has remained marginalized in Chinese studies. Significant Other sets out to change this, but at the same time the book reaches out to diverse groups of readers through an engaging prologue, a chapter providing a critical history of Sino-American relations, a chapter on Occidentalism, an accessible style, as well as a chronological structure for case studies that are grouped around related concepts such as exile, anti-Americanism, and American self-representation.