You Need to Be Passionate About It

Total Page:16

File Type:pdf, Size:1020Kb

You Need to Be Passionate About It City Research Online City, University of London Institutional Repository Citation: Aujla, Imogen (2012). Commitment, adherence and dropout among young talented dancers: A multidisciplinary mixed methods investigation. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1948/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Commitment, adherence and dropout among young talented dancers: A multidisciplinary mixed methods investigation. Imogen Jane Aujla (née Walker) Submitted for the degree of Doctor of Philosophy at Trinity Laban Conservatoire of Music and Dance for PhD Dance Science, December 2011. Submitted to City University, Northampton Square, London EC1V 0HB. Research conducted at Trinity Laban Conservatoire of Music and Dance, Creekside, London SE8 3DZ. 1 Table of Contents List of tables and figures 6 Acknowledgements 8 Declaration 9 Abstract 10 Chapter 1: Introduction 11 1.1 Context of Thesis 16 1.1.1 Centres for Advanced Training 16 1.1.2 Talent Project 20 1.1.3 Commitment, Adherence and Dropout in a Talent Context 21 1.1.4 Overview of Thesis Chapters 22 Chapter 2: Literature Review 26 2.1 Introduction to the Literature Review 27 2.2 Descriptive Research: The Arts and Dance 28 2.2.1 Combined arts 28 2.2.2 Dance 30 2.2.3 Music 33 2.3 Summary of Arts Research 34 2.4 Sport Research: Descriptive 35 2.4.1 Enjoyment 37 2.5 Sport Research: Theory-based 39 2.5.1 Competence motivation theory 39 2.5.2 Achievement goal theories 40 2.5.3 Self-determination theory 42 2.5.4 The passion model 44 2.5.5 The sport commitment model 46 2.5.6 Social exchange theory 48 2.5.7 Expectancy-value theory 49 2.5.8 Studies combining theories 50 2.6 Sport Research: Developmental 52 2.7 Summary of Sport Research 55 2.8 Multidisciplinary and Physiological Research in Sport and Dance 56 2.9 Summary of the Literature Review 59 2 Chapter 3: Ontological, Epistemological and Methodological Concerns 61 3.1 Ontological and Epistemological Framework 62 3.2 Aims, Objectives and Research Questions 64 3.3 Context of Studies 65 3.4 Sample Recruitment and Descriptives 66 3.5 Ethical Concerns 67 3.6 Rationale for Choice of Variables 70 3.6.1 Psychological variables 71 3.6.2 Physical variables 72 3.7 Preparing the Data File 74 3.7.1 Data cleaning and screening 74 3.7.2 Missing data 75 3.7.3 Verifying assumptions 76 3.8 Validity, Reliability and Bias 77 3.9 Summary 78 Chapter 4: Talent Identification and Development in Dance 80 4.1 Abstract 81 4.2 Introduction 82 4.3 Part 1: Individual Factors 83 4.4 Part 2: Interpersonal Factors 94 4.5 Conclusion 102 Chapter 5: Characteristics of Talented Dancers and Age Group Differences 104 5.1 Abstract 105 5.2 Introduction 106 5.3 Method 111 5.4 Results 115 5.5 Discussion 121 5.6 Conclusion 123 Chapter 6: A Qualitative Investigation of Commitment to Dance 124 6.1 Abstract 125 6.2 Introduction 126 6.3 Method 129 6.4 Results 131 3 6.5 Discussion 142 6.6 Conclusion 147 Chapter 7: A Mixed Methods Investigation of Dropout among Young Talented Dancers 148 7.1 Abstract 149 7.2 Introduction 150 7.3 Methods 152 7.4 Qualitative Method 153 7.5 Quantitative Method 154 7.6 Qualitative Results 155 7.7 Quantitative Results 160 7.8 Discussion 163 7.9 Conclusion 167 Chapter 8: Multidisciplinary Predictors of Adherence to Dance 169 8.1 Abstract 179 8.2 Introduction 171 8.3 Method 175 8.4 Results 180 8.5 Discussion 184 8.6 Conclusion 189 Chapter 9: General Discussion 190 9.1 Key Findings in Brief 193 9.2 Enjoyment 194 9.3 Other Commitments 198 9.4 Passion 200 9.5 Aspirations 203 9.6 Social Relationships in the CATs 206 9.6.1 CAT peers 206 9.6.2 CAT teachers 208 9.7 Course Content 213 9.8 Opportunities 215 9.9 Social Relationships outside of the CATs 216 9.10 Developmental Factors 218 9.11 Physical and Perceived Competence 220 4 9.12 Minor Factors 223 9.12.1 Being labelled talented 223 9.12.2 Disordered eating attitudes 223 9.12.3 Injury, finances and travel 224 9.13 Self-esteem, Anxiety and Maturation 225 9.14 Applicability of Theories Outlined in the Introduction 226 9.14.1 Implications for Talent Models and Talent Identification 227 9.15 Limitations 229 Chapter 10: General Implications and Conclusion 232 10.1 A Note about the Term Dropout 235 10.2 The Contribution of this PhD to the Field 236 10.3 Future Research 237 10.4 Conclusion 239 Appendices 241 1: Consent Form and Information Sheet for Chapters 5 and 8 242 2: Correlation Tables for Chapter 5 245 3: Consent Form and Information Sheet for Chapter 6 246 4: Consent Form and Information Sheet for Chapter 7 250 5: Interview Guide for Chapter 6 252 6: Interview Guide for Chapter 7 253 7. Correlation Tables for Chapter 8 254 8: Risk Assessment Document 256 References 257 5 List of tables and figures Chapter 1 Table 1.1: Employment figures for the UK dance sector 13 Table 1.2: CATs in operation nationwide 17 Table 1.3: CAT audition criteria 18 Figure 1.1: Graduate destinations 19 Chapter 2 Figure 2.1: The motivation continuum 42 Figure 2.2: The sport commitment model 48 Chapter 3 Table 3.1: Descriptive statistics of the sample as a whole 67 Chapter 5 Table 5.1: Descriptions of different dance styles 112 Table 5.2: Means and standard deviations for all variables 116 Table 5.3: Results from MANCOVA tests of between-subject effects for physical variables (females) 118 Table 5.4: Results from MANCOVA tests of between-subject effects for physical variables (males) 119 Table 5.5: Tests of between-subject effects results for psychological and social variables 129 Chapter 6 Figure 6.1: Hierarchical representation of results 132 Chapter 7 Table 7.1: Categories of reasons for dropout based on descriptive data 161 Figure 7.1: Comparison of reasons by age at dropout 162 Figure 7.2: Comparison of reasons by number of years in CAT 163 Chapter 8 Table 8.1: Means and standard deviations for all variables at Time 1 and Time 2 181 Table 8.2: Logistic regression results for the third model 183 6 Table 8.3: Paired samples t-tests of change over one year for all variables 184 Chapter 10 Table 10.1: Recommendations for creating task-involving motivational climates 234 7 Acknowledgements I would like to thank my supervisors, Dr Emma Redding and Dr Sanna Nordin-Bates for challenging, supporting and inspiring me. I wish to thank the staff and students from the Centres for Advanced Training, who helped to make this research run so smoothly and enjoyably. Thank you to the dance science team at Trinity Laban, the most supportive and reliable group of colleagues and friends anyone could wish for, to Angela Kerkhoff for answering all of my questions with speed and patience, and to Jonathan Clark for his support and advice. Thank you to my family, for their unending support and encouragement, and to my friends, for helping to keep things in perspective. A very special thank you to my wonderful husband Amo, for supporting and distracting me at the right times. 8 Declaration I grant power of discretion to the University Librarian to allow the thesis to be copied in whole or in part without further reference to me. This permission covers only single copies made for study purposes, subject to normal conditions of acknowledgement. 9 Abstract The aim of this research was to understand why some young talented dancers stay in dance training while others decide to leave. In order to meet this aim, commitment, adherence and dropout among young talented dancers was investigated in five studies using a multidisciplinary mixed methods design. Participants were from eight of the UK Centres for Advanced Training (CATs) in Dance, nationwide talent development schemes that provide high quality part-time training to young people aged 10-18 years. The first study was a review of the literature on talent identification and development in order to understand the nature of the cohort and the type of environment in which the young people trained. The second study investigated multidisciplinary characteristics of 334 students to gain a descriptive understanding of the participants. Thirdly, nineteen committed students were interviewed to understand their experiences in dance and reasons for staying in training from their own perspectives. In the fourth study, ten students who had dropped out from a CAT were interviewed about their experiences and reasons for leaving; this data was triangulated using demographic information gathered from the CATs.
Recommended publications
  • Abstracts and Biographies of Participants in Program at Danshögskolan, Sehlstedsgatan 4
    KEYNOTE LECTURE 1 Dr. Susan Kozel……………………………………………………………………………………..p. 2 Session 1A MUSIC AND DANCE Inger Vinther Damsholt, Mats Nilsson / Karin Eriksson, Marika Karjalainen…………………… p. 2-4 Session 1B IDENTITY Katarina Lion, Karen Vedel, Lotta Harryson…………………………………………………….. p. 4-5 Session 1C WORKSHOP Serpil Murtezaoglu……......................................................................................................................p. 5-6 Session 2A EDUCATION Margarita Vikander, Gun Roman, Susanne Ravn………………………………………………… .p. 6-7 Session 2B THE NORDIC Egil Bakka, Turid Nokleberg Schjonsby, Petri Hoppu……………………………………………..p. 7-8 Session 2C WORKSHOP Irene Jelin……………………………………………………………………………………………p. 9 Session 3A COMMUNICATION Åsa Unander-Scharin, Anna Karin Ståhle, Tone Pernille Ostern ………………………………… p. 9-10 Session 3B THE GLOBAL Lena Hammergren, Hanne Blicher, Gediminas Karoblis…………………………………………. p. 10-12 Session 3C WORKSHOP Siri Maeland / Sigurd Johan Heide………………………………………………………………… .p. 12 KEYNOTE LECTURE 2 Dr. Theresa Buckland………………………………………………………………………………p. 13 Session 4A NATIONAL IDENTITY Tim Scholl, Cecilia Olsson, Johanna Laakkonen…………………………………………………. p. 13-14 Session 4B PHILOSOPHY Lena Rouhainen / Inka Välipakka, Lis Engel, Aino Kukkonen……………………………………p. 14-16 Session 4C WORKSHOP Gediminas Karoblis………………………………………………………………………………….p. 16-17 Session 4D LECTURE DEMONSTRATION Gun Lund…………………………………………………………………………………………… .p. 17-18 Session 5A GENDER Charlotte Rivero, Erna Grönlund / Barbro Renck / Hanna Vabö Gyllander / Nina Setterfalk……. p.18-19
    [Show full text]
  • York University's Department of Dance
    York University’s Department of Dance Welcome to this World Dance Alliance Global Assembly performance. The choreography The first and largest dance program in Canada, York’s Department of Dance offers you will see this week reflects the Assembly’s theme Dance/ Diversity/ Dialogue: Bridging courses in modern and ballet, jazz dance, world dance, dance writing, history, Communities and Cultures. kinesiology, dance science, music, ethnology, pedagogy, somatic education, choreography, movement observation, plus substantial performance opportunities. The World Dance Alliance was initiated in Hong Kong in 1990 with the founding of the Asia Pacific region to serve as a primary voice for dance and dancers throughout the Full time Faculty: world, to encourage the exchange of ideas, and to promote the awareness of dance in all Modesto Amegago Penelope Reed Doob Danielle Robinson its many forms. The Americas joined the Alliance in 1993, Europe in 1997, and an Alliance Carol Anderson Norma Sue Fisher-Stitt Holly Small is under development in Africa. Anna Blewchamp Donna Krasnow Mary Jane Warner Karen Bowes-Sewell Mary-Elizabeth Manley (Chair) Global Assemblies are normally held in alternate years, hosted by one of the three Darcey Callison Selma Odom Claire Wootten regions. Previous Global Assemblies have taken place in Seoul, Essen, Philadelphia, (Director, Graduate Program) Tokyo and Dusseldorf. This is the first time a Global Assembly has been held in Canada. For this occasion, each region was invited to nominate four companies to perform during Degrees Offered: the Assembly. Canadian dance artists were solicited through an application process. Bachelor of Fine Arts (Specialized Honours) Master of Arts During the week, you will have the opportunity to see a broad spectrum of dance forms Bachelor of Arts (Specialized Honours) Master of Fine Arts performed by dancers representing a wide range of ages and physical abilities.
    [Show full text]
  • The Arts, Grades 11 and 12
    2010 REVISED The Ontario Curriculum Grades 11 and 12 The Arts CONTENTS INTRODUCTION 3 Secondary Schools for the Twenty-First Century . 3 The Importance of the Arts Curriculum . 3 Ideas Underlying the Arts Curriculum . 5 Roles and Responsibilities in the Arts Program . 5 Attitudes in the Arts . 7 THE PROGRAM IN THE ARTS 9 Overview of the Program . 9 Curriculum Expectations . 13 Strands in the Arts Curriculum . 15 The Creative Process . 15 The Critical Analysis Process . 17 ASSESSMENT AND EVALUATION OF STUDENT ACHIEVEMENT 23 Basic Considerations . 23 The Achievement Chart for the Arts: Grades 9–12 . 26 Information on the Achievement Chart . 28 SOME CONSIDERATIONS FOR PROGRAM PLANNING IN THE ARTS 31 Instructional Approaches . 31 Planning Arts Programs for Students With Special Education Needs . 32 Program Considerations for English Language Learners . 34 Environmental Education and the Arts . 37 Healthy Relationships and the Arts . 38 Equity and Inclusive Education in the Arts Program . 38 Multiple Literacies in the Arts . 40 Literacy, Mathematical Literacy, and Inquiry/Research Skills . 41 Critical Thinking and Critical Literacy in the Arts . 42 The Role of the School Library in the Arts Program . 43 The Role of Information and Communications Technology in the Arts Program . 44 The Ontario Skills Passport and Essential Skills . 45 Career Education . 45 Une publication équivalente est disponible en français sous le titre suivant : Le curriculum de l’Ontario, 11e et 12e année – Éducation artistique, 2010 This publication is available on the Ministry of Education’s website, at http://www.edu.gov.on.ca. Cooperative Education and Other Forms of Experiential Learning . 45 Planning Program Pathways and Programs Leading to a Specialist High Skills Major .
    [Show full text]
  • State High School Dance Festival 2014 – BYU Adjudicator and Master Class Teacher Bios
    Utah Dance Education Organization State High School Dance Festival 2014 – BYU Adjudicator and Master Class Teacher Bios Kay Andersen received his Master of Arts degree at New York University. He resided in NYC for 15 years. From 1985-1997 he was a soloist with the Nikolais Dance Theatre and the Murray Louis Dance Company. He performed worldwide, participated in the creation of important roles, taught at the Nikolais/Louis Dance Lab in NYC and presented workshops throughout the world. At Southern Utah University he choreographs, teaches improvisation, composition, modern dance technique, tap dance technique, is the advisor of the Orchesis Modern Dance Club, and serves as Chair of the Department of Theatre Arts and Dance. He has choreographed for the Utah Shakespearean Festival and recently taught and choreographed in China, the Netherlands, Mexico, North Carolina School of the Arts, and others. Kay Andersen (SUU) Ashley Anderson is a choreographer based in Salt Lake City. Her recent work has been presented locally at the Rose Wagner Performing Arts Center, the Rio Gallery, the BYU Museum of Art, Finch Lane Gallery, the City Library, the Utah Heritage Foundation’s Ladies’ Literary Club, the Masonic Temple and Urban Lounge as well as national venues including DraftWork at Danspace Project, BodyBlend at Dixon Place, Performance Mix at Joyce SOHO (NY); Mascher Space Cooperative, Crane Arts Gallery, the Arts Bank (PA); and the Taubman Museum of Art (VA), among others. Her work was also presented by the HU/ADF MFA program at the American Dance Festival (NC) and the Kitchen (NY). She has recently performed in dances by Ishmael Houston-Jones, Regina Rocke & Dawn Springer.
    [Show full text]
  • The Dancing Imagination: How Does Imaginative Imagery Facilitate Movement Qualities in Dance Training and Performance?
    Edith Cowan University Research Online Theses : Honours Theses 2010 The Dancing Imagination: How Does Imaginative Imagery Facilitate Movement Qualities in Dance Training and Performance? Rachel Perica Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Dance Commons Recommended Citation Perica, R. (2010). The Dancing Imagination: How Does Imaginative Imagery Facilitate Movement Qualities in Dance Training and Performance?. https://ro.ecu.edu.au/theses_hons/1407 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1407 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Use of Thesis This copy is the property ofEdith Cowan University. However the literary rights of the author must also be respected. Ifany passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source ofthe passage must be acknowledged in the work.
    [Show full text]
  • DANCE SCIENCE and SOMATICS in TRAINING and PERFORMANCE by HANNAH KAY ANDERSEN a THESIS Presented to the School of Music and Danc
    DANCE SCIENCE AND SOMATICS IN TRAINING AND PERFORMANCE by HANNAH KAY ANDERSEN A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Fine Arts June 2017 THESIS APPROVAL PAGE Student: Hannah Kay Andersen Title: Dance Science and Somatics in Training and Performance This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Fine Arts degree in the School of Music and Dance by: Dr. Steven J. Chatfield Chairperson Sherrie Barr Member Sarah Ebert Member Shannon Mockli Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Hannah Kay Andersen iii THESIS ABSTRACT Hannah Kay Andersen Master of Fine Arts School of Music and Dance June 2017 Title: Dance Science and Somatics in Training and Performance This mixed methods investigation analyzes the effect of a novel somatics training program on dance skills. Fourteen dancers were divided into treatment and control groups. The treatment group participated in an eight-week workshop on the use of the spine utilizing sensory experiences, mini-lectures, and dance exercises. During entry and exit, all dancers learned two phrases by video containing the same motor-patterns with contrasting choreographic intents; Phrase A fluid, sustained and slow, Phrase B, dynamically enhanced. Participants performed each phrase for the camera, to be scored by a judging panel. Descriptive statistical analysis of judging data suggests the workshop positively affected their execution of skills in Phrase A, over B.
    [Show full text]
  • Dance to Change, Dance to Heal
    UC Irvine UC Irvine Electronic Theses and Dissertations Title Dance to Change, Dance to Heal Permalink https://escholarship.org/uc/item/20b596x9 Author Lee, Francesca Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Dance to Change, Dance to Heal THESIS submitted in partial satisfaction of the requirements for the degree of MASTER OF FINE ARTS in DANCE by Francesca Allyson Lee Thesis Committee: Assistant Professor Dr. Kelli Sharp, Chair Professor Loretta Livingston Professor Molly Lynch 2017 © 2017 Francesca Allyson Lee DEDICATION To my parents, Randy Lee and Kazuko Harada-Lee Thank you for all you have sacrificed to provide me with an opportunity to dream and live life passionately. To my dad, thank you for your endless support and always daring me to take risks. Your positivity and life lessons have led me to soar high. To my mom, I miss you. This is for you. Your relentless love and devotion shaped me into the woman I am today. Thank you again for your love, trust, and guidance through life. ii TABLE OF CONTENTS PAGE LIST OF TABLES AND GRAPHS iv ACKNOWLEDGEMENTS v ABSTRACT OF THESIS vi CHAPTER ONE: Dance to Change, Dance to Heal: 1 Overview of Dance as Healing CHAPTER TWO: Dance and Stress: Background on Dance Benefits, Stress 6 & Coping CHAPTER THREE: Dance Professionals: Literature Review 15 CHAPTER FOUR: From a Dancer’s Experience: Interviews about 28 the Role of Dance in Participants’ Lives CHAPTER FIVE: FLUX:
    [Show full text]
  • Fall Dance Concert Festical 2020 Q&A Host & Choreographer Biographies
    Fall Dance Concert Festival 2020 Q&A Host & Choreographers Biographies Moderator for Both Q&A Sessions: Kaelie Osorio Kaelie Osorio has been dancing since she was three years old training in ballet, jazz, modern, contemporary, and acrobatics with In Motion Dance Project in FL and Murrieta Dance Project in CA. She is currently a BFA Candidate in dance at California State University Long Beach with a Department of Dance Scholarship the past three years, and plans on graduating spring of 2021. Kaelie has been a United Spirit Association dance instructor for four years and has choreographed for multiple dance teams. She has choreographed and performed for American College Dance Association, trained with Peter Chu at the exclusive Chuthis summer intensive and has worked with well known choreographers such as Kevin Williamson and Rebecca Lemme. Kaelie aspires to earn her yoga certification and combine contemporary dance with yoga practices. She also aspires to perform in both commercial and concert professional work with a goal to travel while doing so. Show 1 Choreographers [Panelists] Derrick Paris Derrick Paris (he/they) is a queer black & latinx artist based in the greater Los Angeles area. As a current BFA candidate in the Department of Dance at CSULB, Derrick will be the first in his family to graduate with a College degree. While he started dancing at the age of 7, he started choreographing at the age of 13 leading to holding choreographer and coaching positions throughout the Los Angeles area. Recently, he has started to assist in choreography and music editing for dance teams in both the Collegiate and Pro Team worlds.
    [Show full text]
  • My Dream Is . . . What I Like About Myself Is . . . About Me
    My dream is . what I like about myself is . about me . Mary-Elizabeth Manley York University, Toronto, Ontario, Canada Contact: [email protected] Abstract This presentation offers insight into the research process, resulting data, and performance work achieved during the two-year research/creation project Exploring the Rights of the First Nations Child Through the Arts: Our Dreams Matter, Too. Prior to the daCi Congress, the author consulted the Roots Research and Creation Collective’s (RRCC) educator/artists, who had acted as associates on the project. These arts education specialists included storyteller and visual artist James Adams; photographer and videographer Dr. Jacqueline Hookimaw-Witt; contemporary and traditional aboriginal dancer and choreographer Starr Muranko; and musician and dramaturge Dr. Norbert Witt. Each educator/artist contributed to the construction of the presentation, expressing her/his views on the project by means of a written statement, through photographs of the research process and ensuing performance work, or via video. The project was inspired by the courageous activism of Shannen Koostachin and her grade 8 classmates who successfully lobbied the Canadian government for funds to build a new elementary school in the First Nations community of Attawapiskat in Northern Ontario, Canada. The child’s right to culturally appropriate education in a safe and equitable learning environment was at the heart of the project. More specifically, the project was designed to apply arts education explorations to a broader spectrum of the United Nations Rights of the Child through an aboriginal lens. The research sought to discover how a select group of First Nations children understands its rights relative to the UN Declaration of the Rights of the Child, while at the same time endeavoring to build their creative capacities, cultural awareness, and personal identity.
    [Show full text]
  • Transmissions and Traces: Rendering Dance
    INAUGURAL CONFERENCE Transmissions and Traces: Rendering Dance Oct. 19-22, 2017 HOSTED BY THE DEPARTMENT OF DANCE Sel Fou! (2016) by Bebe Miller i MAKE YOUR MOVE GET YOUR MFA IN DANCE AT THE UNIVERSITY OF MICHIGAN We encourage deep engagement through the transformative experiences of dancing and dance making. Hone your creative voice and benefit from an extraordinary breadth of resources at a leading research university. Two-year MFA includes full tuition coverage, health insurance, and stipend. smtd.umich.edu/dance CORD program 2017.indd 1 ii 7/27/17 1:33 PM DEPARTMENT OF DANCE dance.osu.edu | (614) 292-7977 | NASD Accredited Congratulations CORD+SDHS on the merger into DSA PhD in Dance Studies MFA in Dance Emerging scholars motivated to Dance artists eager to commit to a study critical theory, history, and rigorous three-year program literature in dance THINKING BODIES / AGILE MINDS PhD, MFA, BFA, Minor Faculty Movement Practice, Performance, Improvisation Susan Hadley, Chair • Harmony Bench • Ann Sofie Choreography, Dance Film, Creative Technologies Clemmensen • Dave Covey • Melanye White Dixon Pedagogy, Movement Analysis Karen Eliot • Hannah Kosstrin • Crystal Michelle History, Theory, Literature Perkins • Susan Van Pelt Petry • Daniel Roberts Music, Production, Lighting Mitchell Rose • Eddie Taketa • Valarie Williams Norah Zuniga Shaw Application Deadline: November 15, 2017 iii DANCE STUDIES ASSOCIATION Thank You Dance Studies Association (DSA) We thank Hughes, Hubbard & Reed LLP would like to thank Volunteer for the professional and generous legal Lawyers for the Arts (NY) for the support they contributed to the merger of important services they provide to the Congress on Research in Dance and the artists and arts organizations.
    [Show full text]
  • State High School Dance Festival 2015
    Utah Dance Education Organization State High School Dance Festival 2015 Adjudicator and Master Class Teacher Bios Ashley Anderson is a choreographer based in Salt Lake City. This summer she was awarded the Mayor’s Artist Award for Service to the Performing Arts at the Utah Arts Festival. Her recent dances have been presented locally at the Rose Wagner Performing Arts Center, the Rio Gallery, the BYU Museum of Art, Finch Lane Gallery, the City Library, the Utah Heritage Foundation’s Ladies’ Literary Club, the Masonic Temple and Urban Lounge as well as national venues including DraftWork at Danspace Project, Body- Blend at Dixon Place, Performance Mix at Joyce SOHO (NY); Mascher Space Cooperative, Crane Arts Gallery, the Arts Bank (PA); and the Taub- man Museum of Art (VA), among others. Her work was also presented by the HU/ADF MFA program at the American Dance Festival (NC) and the Kitchen (NY). She has recently performed in dances by Ishmael Houston- Jones, Regina Rocke & Dawn Springer. Teaching includes: the American Dance Festival Six & Four Week Schools, Hollins University, the University of Utah, Dickinson College Dance Theater Group, University of the Arts Con- tinuing Studies, Packing House Center for the Arts, the HMS School, the Virginia Tanner Dance Program, Salt Lake Community College and many high schools and community centers. Ashley currently di- rects “loveDANCEmore” community dance events using the resources of ashley anderson dances (a registered 501c3). Her projects with loveDANCEmore are also shared in Utah’s visual art magazine, 15 BYTES, where she serves as the dance editor. She holds B.A.s with honors in Dance and English from Hollins University as well as an M.F.A.
    [Show full text]
  • The Therapeutic Value of Indian Classical, Folk and Innovative Dance Forms
    An Online Open Access Journal ISSN 0975-2935 www.rupkatha.com Volume V, Number 1, 2013 Chief Editor Tirtha Prasad mukhopadhyay Editor Tarun Tapas Mukherjee Indexing and abstracting Rupkatha Journal is an international journal recognized by a number of organizations and institutions. It is archived permanently by www.archive-it.org and indexed by EBSCO, Elsevier, MLA International Directory, Ulrichs Web, DOAJ, Google Scholar, J-Gate, JournalSeek, ResearchGate and other organisations and included in many university libraries Additional services and information can be found at: About Us: www.rupkatha.com/about.php Editorial Board: www.rupkatha.com/editorialboard.php Archive: www.rupkatha.com/archive.php Submission Guidelines: www.rupkatha.com/submissionguidelines.php Call for Papers: www.rupkatha.com/callforpapers.php Email Alerts: www.rupkatha.com/freesubscription.php Contact Us: www.rupkatha.com/contactus.php © Rupkatha Journal on Interdisciplinary Studies in Humanities The Therapeutic Value of Indian Classical, Folk and Innovative Dance Forms Arpita Chatterjee Barasat College, West Bengal State University, India Abstract Dance provides an active, non-competitive form of exercise that has potential positive effects for physical health as well as mental and emotional wellbeing. Dance therapy is based on the idea that body and mind are co-relational. The therapeutic approaches with various forms of Indian dances are a new entrant to dance literature. Ayurveda held dance as a power of healing (therapy) and inner awareness (psychology). Indian philosophy also supports the facts of Sangeet (song, dance and music) for benefit of human health physically as well as mentally. The powerful dance form of Bhangra (Punjab), Karagam (Tamilnadu), Chou, Rayabese, Dhali (West Bengal) gives good health and strength.
    [Show full text]