Digital technology has long been integrated into the mainstream learning environment in a variety of ways from basic teaching delivery tools to specific courseware; however, it has struggled to make an impact in the dance technique studio. Despite the enthusiastic and alacritous integration of digital technologies within the repertoire and…

Contemporary dance in East Africa, specifically Kenya, is a newly emerging art form informed by the political drive of a small number of choreographers. In this article, I discuss Kenyan choreographer Opiyo Okach's contribution to dance training as exemplified through the "Shift … centre Series 10" which was performed at The Place,…

The ability to creatively resolve conflict supports excellence in communication and fosters a positive classroom/studio climate. Despite the fact that school violence continues to be high, many schools fail to teach conflict management, social-emotional skills, or community building to all educators. This research-based article shares dance…

This project used oral history contributed by community story-tellers as source material for choreographic work performed in the community. The oral histories focused on four major areas: arrival (migration), social life, spirituality, and segregation/civil rights. Public performances took place at the university, local schools, and the community…

Drawing on more than two decades of experience refining this teaching process, as well as insights from two consecutive research studies of Hubbard Street Dance Chicago's education work, this article presents best practice strategies for teaching choreography to elementary students in schools. The article outlines the rationale behind the Prepare,…

The present study takes an unconventional look at the challenges of bilingualism. High school students' level of the native Kalmyk language is viewed in connection to creative musical abilities (instrumental, vocal, choreographic) in the field of Kalmyk folk musical art. The vector of research is determined by the revitalization of the native…

In the 1980s, mixed ability or physically integrated dance companies, such as AXIS and DancingWheels, began with professional performance goals, aimed at producing highquality choreographic work involving individuals with and without disabilities. Those companies are pioneers in the integrated dance field and serve as beneficial models of…

Many dance artists in their first encounters with improvisational dance making begin not only to learn how to compose spontaneously, but also to gain skills for coping with the uncertainties inherent in the form. This article suggests helpful dance scores for beginning students of physical improvisation and those who teach improvisational…

This paper introduces the concept of creative dexterity within the choreographic process and explores how contemporary dance conservatories are seeking to foster performers' skills in choreographic collaboration. Through investigating the institutional strategies of the London Contemporary Dance School, the Rambert School of Ballet and…

Issues surrounding what works best in balancing autonomous exploration of dance making with provision of learning about choreographic process for university dance students are explored in this paper. Two personal narrative perspectives are provided. A lecturer reflects on what works best in structuring learning that encourages students to explore…

Introduction: The actualization of crossover point design activities in modern artistic practice is due to the growing mass demand for entertainment. The musical and theater project involves the introduction of new technologies. Creation of synthesized art "crossover-projects" requires the efforts of a group of managers and performers,…

As a dance teacher in public elementary schools for the last 25 years, Janet Adams has always recognized the creative link between dance and writing, and offered her students structured opportunities to combine the two. She has also honed her management skills and kept a pretty tight ship. Creative expression, though, be it through dancing or…

Since 1999, when the author first started teaching creative process-based dance programs in public schools, she has struggled to find the time to teach children the basic concepts and tools of dance while teaching them to be deliberate with their choreographic choices. In this article, the author describes a process that helps students and…

The 2010-2012 Christchurch (Canterbury) earthquakes in New Zealand caused loss of life and psychological distress in residents throughout the region. In 2011, student dancers of the Hagley Dance Company and dance professionals choreographed the performance "Move: A Seismic Journey" for the Christchurch Body Festival that explored…

In this article, I argue for an acknowledgement of the significance of the dancer's role in the creation of independent contemporary dance. I propose the term "moving identity" to outline the independent contemporary dancer's "way of moving" which could be perceived as the accumulation of various factors including training approaches,…