Uncovering the Essence of What Animates Us Beneath The Dance: Investigating the Lived Experiences of Bodily Perceptions Generated While Dancing by Karen McKinlay Kurnaedy M.A. (Arts Education), Simon Fraser University, 2009 P.B.D. (Education), Simon Fraser University, 2000 P.B.D. (Education), Simon Fraser University, 1996 B.Ed. with distinction, University of Alberta, 1990 DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In Arts Education Faculty of Education © KAREN MCKINLAY KURNAEDY 2013 SIMON FRASER UNIVERSITY SPRING 2013 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Karen McKinlay Kurnaedy Degree: Doctor of Philosophy Title of Thesis: Uncovering the Essence of What Animates Us Beneath The Dance: Investigating the Lived Experiences of Bodily Perceptions Generated While Dancing Examining Committee: Chair: Dr. Vicki Kelly, Assistant Professor Dr. Celeste Snowber, Associate Professor Senior Supervisor Dr. Lynn Fels, Associate Professor Committee Member Dr. Kathryn Ricketts, Educational Consultant Faculty of Communication, Art, and Technology Simon Fraser University Internal Examiner Dr. Ann Kipling Brown, Professor Faculty of Education, University of Regina External Examiner Date Defended/Approved: April 18, 2013 ii Partial Copyright Licence iii iii Abstract This dissertation is a phenomenological study in which I endeavour to uncover the essence of what animates us beneath the dance by investigating the lived experiences of bodily perceptions generated while dancing. I present four perspectives to illuminate this essence. In my first perspective, I offer literature from a variety of phenomenologists, dancers and choreographers which substantiate vital and spiritual perceptions generated while dancing. In my second perspective, I conduct an autobiographical inquiry and recollect my childhood experiences of dance. In my third perspective, I present an historic narrative about the lives of my dance mentors Gertrud and Magda Hanova which is of significant historical importance for dance history to Vancouver. In my fourth perspective, looking through the lens of phenomenology and drawing on performative inquiry, I present textual reflections written by grade four students, which explore the children’s dancing experiences. In conclusion, I stress the need to return again and again to the dancing body in order to experience revitalization and renewal. I explore the significance of dance for teaching and learning and expand on how this study may inform education. This work is an invitation to celebrate returning to the dancing body and to honour the divinity of the dance in each person. Keywords: dance; dance education; dance history; spirituality; vitality; performative inquiry; phenomenology iv Dedication I dedicate this dissertation to the dancing body and to everyone who honours our divinity with dancing. Much love to my dancing family, especially my Mum, Pauline and my loving husband Irwan. v Acknowledgements I gratefully acknowledge my dance mentors, Gertrud and Magda Hanova for inspiring this work. The Hanova sisters lived their lives for the dance and I will always cherish their memory and remember them with love and gratitude. Their guidance and example introduced me to the sacred and vital presence beneath the dance. I must also thank my grade four students from last year, who participated in this study. We had a wonderous time dancing together and I will never forget you. In the dancing we will always be connected. Just as importantly, I would like to express my appreciation for all the support I received from my dear husband, Irwan. Without his unfailing understanding and patience, listening ear, computer assistance, and worthy perspectives this dissertation would have been much more difficult to accomplish. Irwan, you are my partner in life and in the dance. Thank you for taking this journey with me. My deepest thanks and gratitude go to Dr.Celeste Snowber, my supervisor, who has constantly inspired me with her words of wisdom, perspectives on the dance and the body, and her insightful guidance for this work. Celeste, you are an exceptional person who demonstrates so gracefully how the teacher may successfully marry her love of dance, spirituality, and her passion for teaching to inspire and evoke students to successfully tell their own stories. You are a wonderful teacher and dancer. Thank you so much. Equally I must thank my committee member, Dr. Lynn Fels, who has inspired me with her animated work on performative inquiry. Lynn, you have a unique gift as an editor for assisting the writer in finding her own voice by posing the exact questions, the writer needs to ponder at crucial junctures in her writing to move the writing forward and express her intended meaning. This is no small feat. Your guidance and editing work were unparalleled and I find I must credit your voice as I channelled your suggestions and direction. Thank you for this work. I would also like to acknowledge my fellow grad students and the professors in the doctoral program from whom I took classes, for their unique perspectives and ideas vi which all went into making this dissertation what it is. Thank you, Dr. Stephen Smith, Dr. Heesoon Bai, Dr. Keiran Egan, Dr. Carolyn Mamchur, Dr. Slava Senyshyn, Dr. Vicki Kelly, Dr. Stuart Richmond. vii Table of Contents Approval.............................................................................................................................ii Partial Copyright Licence ..................................................................................................iii Abstract.............................................................................................................................iv Dedication ..........................................................................................................................v Acknowledgements...........................................................................................................vi Table of Contents............................................................................................................ viii List of Figures ....................................................................................................................x Introduction Returning to the Dancing Body Honouring Our Divinity ...................... 1 Ways of Being in Inquiry: An Interpretative Dance .......................................................... 5 Chapter 1. Delving Into the Dancing Body Inspiration and Longing .................... 11 Defining Dance as a Spiritual Communion ..................................................................... 13 Reimagining Physical Education A Call to Awaken Movement and Breath................... 16 Unfolding Phenomenology to Deepen our Understanding of Dance .............................. 21 Dance Historians, Modern Dancers, Modern Dance Choreographers, Experiences of Bodily Perceptions and Renewal................................................... 26 Dance Education and the Presence of ‘Something More’ .............................................. 39 Honouring Dance as a Spiritual Practice in Education ................................................... 40 Educational Research in Dance Education..................................................................... 49 Somatic Movement Dance Education............................................................................. 52 Chapter 2. Reflections on my Dancing Body My Love Affair with Dance ............ 54 The Hanova School of Modern Dance............................................................................ 58 My Love Affair Continues… .......................................................................................... 100 Chapter 3. An Invitation to the Dancing Body The Dance Story of Gertrud and Magda Hanova ...................................................................................... 104 Bischof-Teinitz and Karlsbad 1903 - 1921 .................................................................... 106 Karlsbad and Europe 1921 - 1932 ................................................................................ 113 Bombay 1932 - 1949..................................................................................................... 131 London, England: 1949 - 1957...................................................................................... 152 Vancouver, Canada: 1957- 2002 .................................................................................. 156 Chapter 4. Giving Voice to the Dancing Body....................................................... 176 Looking Through the Lens of Dance............................................................................. 183 Risk and Confidence..................................................................................................... 186 Security and Acceptance .............................................................................................. 195 Creativity ....................................................................................................................... 200 Expressions of Lived Bodily Perceptions with an Emphasis