This paper seeks to examine how embodied methodological approaches might inform dance education practice and research. Through a series of examples, this paper explores how choreographic writing might function as an embodied writing methodology. Here, choreographic writing is envisioned as a form of visual word choreography in which words move,…

Recent neuroimaging evidence has suggested that expert dancers have stronger activation than novices in areas of parietal cortex while watching dance. The role of parietal cortex in the processing of spatial information could suggest that expert dancers are more attuned than novice dancers to spatial cues while watching dance. Instead of focusing…

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…

Integrated dance has featured in several publications from the mid-1990's onwards, particularly from the standpoints of equity of access, and contesting perceptions of dominant conventional notions of what dance is and who can dance including issues of embodiment and representation. Other publications and manuals focus primarily on how to teach…

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…

As artists seek new ways to reflect an increasingly digital and global culture, theatrical dance in the UK and Europe has seen a growing collaboration and cross-fertilisation between forms of dance, theatre, visual art, film and technology. As the boundaries between artistic disciplines continue to blur, it seems clear that dance audiences need to…

The technique class can be an amalgam of frustration and joy, cautious imitation and mindless replication, being right and being wrong. Competing requisites, such as a desire for expressive freedom in relation to the demand that a movement be precisely structured, can unwittingly create a tension between teachers and students. The reasons for such…

A team of researchers at De Montfort University's Centre for Excellence in Performance Arts has explored uses of technology in dance education. The wider context of dance and technology pedagogy includes research into dance, technologies, learning and teaching and the relationships between teaching and research. The paper addresses all of these…

This paper is a reflection on the process of dance choreography, an assignment for pedagogical evaluation at postgraduate level in an Indian university. It is also a recapitulation and reconstruction of my experiences while undergoing a Master's course in Bharatanatyam (a style of classical dance) in the Centre for Performing Arts (CPA),…

This critical analysis focuses on the movement vocabulary and interaction of dancers in selected sections of the filmed version of "White Man Sleeps" (1988) by Siobhan Davies. The choreography is divided into five distinct parts, in accordance with divisions in the musical accompaniment from which the piece takes its name, a suite of five…

Examined how the Feldenkrais Method of somatic education informed a series of contemporary technique classes in a professional setting in Montreal, Quebec, Canada. Collaborative research findings highlighted three themes: transfer of learning, movement awareness facilitation, and construction of the dancing bodies. This study works toward a shift…

This paper is a study of the impact movement education has had on prospective dance and theatre practitioners--how they think about, perceive, and experience movement. The purpose is to discuss the concept "experience" as it relates to phenomena being considered during classes in dance improvisation and movement for theatre with the objective to…