416 Exam Notes (1) PDF

WEEK 1 DANCE CULTURE (Guarino , 2015) Is Dance a sport? Sport vs dance Sport is PA w/ competition Dance is art where body is instrument, movement is the medium Competition in Dance inherent in dance some styles more competitive (breaking & ballroom) media impacts the culture of comp. Creativity Perf...

WEEK 1 DANCE CULTURE (Guarino , 2015) Is Dance a sport? Sport vs dance Sport is PA w/ competition Dance is art where body is instrument, movement is the medium Competition in Dance inherent in dance some styles more competitive (breaking & ballroom) media impacts the culture of comp. Creativity Performativity may pose a threat to creativity Euro-Americans view dance a s entertainment Cultures use "folk dance" as central to cultural values & Way of preserving knowledge & ways of being (Pickard, 2014). Teaching physical education creatively Introduction Discusses the creative nature of teaching and learning in Physical Education (PE) and the importance of engaging teachers and learners in creative approaches. What is Creativity? Explores the concept of creativity, emphasizing its everyday applications and the significance of "little c" creativity, which recognizes the potential in all individuals. Creative Teaching and Teaching for Creativity in Physical Education Defines creative teaching as using imaginative methods to enhance learning and stresses the importance of fostering children's own creative thinking. Creative Potential of the Body – Core Features of Teaching for Creative Bodies Identifies key elements (PURPOSE, OPPORTUNITIES, WELL-BEING, ENVIRONMENT, REVEL) that support a creative approach in PE, highlighting the importance of physical exploration. (Noton, 2023). Inspired by Dance: A Future for Kinesiology. -Explores the integration of dance into kinesiology education, highlighting its potential to enrich movement education and enhance understanding of the body. Dance in the Context of North American Post-Secondary Physical Education and Kinesiology -Traces the historical development of dance education within physical education and its shift to Fine Arts, examining the implications for kinesiology. What Can Dance Inspired Education Offer to Undergraduate Students in Kinesiology? A Case Study Discusses a specific case study of a dance-inspired movement course designed for kinesiology students, emphasizing the benefits of incorporating dance principles. Week 2 DANCE and SOCIAL THEORIES (Parviainen , 2002) Epistemological reflections on Dance Purpose of article Role of body activity in epistemology Ontology vs Epistemology Ontology: what exists and how! realism vs relativism Epistemology: nature of Knowledge as we know subjective vs objective Traditional Epistemologies Empiricism: Knowledge Is from perception experiences Empirical evidence is needed since humans have biases Discussing text by Parviainen ·-Knowledge is objective, but also intertwined identity/experience -Importance for dance/sport/kin is that individual backgrounds matter, movement informs understanding, therefore you should value everyone's diverse expressions. Dance knowledge - More than just knowing movement, it involves expressing aesthetic intent and creating aesthetic movement imagery. - Dancers learn to move by acquiring knowledge through the body & producing desired form (Green, 2002) "Foucault and the Training of Docile Bodies in Dance Education." Introduction -Discusses the complexity of dance education in universities, including various dance styles and pedagogical approaches. -Emphasizes the focus on ballet and modern dance, which dominate many college programs. Pedagogical Approach: -Describes a traditional conservatory-style pedagogy prevalent in dance education. -Critiques this approach for prioritizing teacher authority over student empowerment and personal expression. Foucauldian Analysis: -Applies Michel Foucault's theories to analyze dance training as a system of power that shapes and controls student bodies. -Highlights the transition from overt punishment to subtle forms of surveillance and normalization in dance education. Somatics and Gender: -Explores the growing use of somatic practices in dance education, focusing on body awareness and inner experience. -Examines how gender influences students' perceptions of their bodies and their experiences in dance. Theoretical Framework: -Integrates concepts from postmodern, feminist, and somatic theorists to contextualize the study. -Discusses the disconnect between societal body ideals and personal experiences in dance. WEEK 3 : DANCE & IDENTITY (Purkayathia, 2019) Colonial modernity & classical Dance Revival -History of Colonialism & Dance In India Indian dancing was altered by the british -Post-colonial India reclaims own dance Relationship blu dance & Identity Birth of new national identity -Individuality of Indian dance practices Decolonization contributing to Progression enriches feminist, queer&race theory by uncovering marginalized narratives and challenging dominant perspective POLITICAL ACTIVISM (Gray, 2013) Sarabhais & Nonviolence through art The Sarabhais -Mrinalini & Vikram Founded Darpana Academy 1949 Personal life and politics intertwined, social positions gave responsibilities -Mrianalini challenged issues e.g. female status and deforestation Graus discussion Sometimes wealth/social status disconnects ppl from issues of society -most artists holding high social status don't speak up like Sarabhais do Mallika Sarahhais Uses art as part of political activism Took over her mothers (Mrinalini) responsibilities Example An example I know: Eilish was one of the performers at Global Citizen Live in 2021, a 24- hour global broadcast event that brought together more than 70 artists, activists and world leaders to defend the planet and defeat poverty. Eilish puts on plastic-free shows, marches with Greta Thunberg, and is now a vegan as part of her promotion of animal rights. Won 2021 Person of the Year Award, the youngest person ever to have been granted the honour. She is also vocal about body positivity and autonomy; she’s been open about her experiences with Tourette’s syndrome and her battles with depression. Mallikas work V for violence: examines the psych and perpetrators of attacks like fundamentalist hindus destroyed a mosque and murdered muslims -mallika immediately becomes involved in situations like that,for ex after the Godhra massacre even when she received personal threats for speaking out after publishing things Reconstructing identities: (Cosgrave, 2021) Implications Of Pandemic Purpose of article · how covid affected freelance dancers in New zealand · feelings of alienation & adaptability Loss of identity -disrupted performance, rehearsals, which disconnects ppl from their identity and self worth since its tied into their contribution to dance and to performance Example from the text -dancers identity linked to social and cultural context and covid leads to career uncertainty and self perception -for example: jamie, kasey and beth had diff journeys adapting to the new working life -jamie found comfort in sharing experiences of lockdown and reflecting during her downtime on comparisons of herself to others (dancing, career) but now she says everyone is affected by the pandemic at the same time Reflection and re-imagination -opportunity to reflect on past work and industry structures -struggles with hierarchy -push for more collab and inclusive spaces -creativity as a tool for emotional resilience WEEK 4 (Brown, 2006) Feminist dance histories methodological frameworks for feminist dance -androcentric bias, reclaiming women as historical subjects, conscious partiality in research issue of representation -exclusion from power, but central to cultural production Essentialism : Gender viewed as natural and unchangeable Materialist Feminism : differences are socially constructed Post structuralism aligns w/ feminist ideas of rejecting fixed identities Margot Fonteyn & Gendered Partnerships Margot --> one of most famous ballerinas, in Swan Lake a sleeping Beauty Creative authorities (directors, Choreo,et) mostly Men → "owned" the female dancers. (Risner, 2008) CHALLENGING BOY CODE Dance Education and gender Males are minoritiesIn get name-called But receive more opportunities Strategies to↑participation : promoting prominent heterosexual male dancers Dance is “for girls” "Boy code" restricts boys emotional expression & creativity Traditional masculine values leads to emotional detachment and aggression Isolation factors - lack of same gendered peers & Supportive instructors -discouragement from friends and family -secrecy about dance stuff -fear of bullying -society linked to male dancers homosexuality Internal struggles -internalized homophobia -pressure to conform the societal expectations -frusteration Feminist Responses to the “Normatization” of the Female Body in Western Culture (Ponterotto, 2016). Normatized corporeity - The societal promotion of a specific ideal of bodily appearance, deeply influenced by media representations and cultural standards. This ideal not only shapes how bodies are viewed but also imposes significant psychological and social pressures. Binary Model -Binary model: There are human subjects—primarily male, white, heterosexual, and middle class and anyone who falls outside of this binary are often marginalized and deemed inferior. This binary structure simplifies complex identities into categories, creating a societal “norm” that devalues those who do not fit. -Consider how women of diverse backgrounds or body types are often subject to scrutiny and exclusion from mainstream narratives, reinforcing the idea that there’s only one “ideal” way to be female or look female The Paradox of Visibility and Invisibility Simultaneous Exposure and Silencing: ○ The article highlights a critical paradox in which women’s bodies are both hyper-visible and rendered culturally invisible. ○ On one hand, women’s bodies are objectified and scrutinized in media and advertising; on the other hand, their voices and agency are often silenced in societal and political discourse. Cultural Ideals and Medioa influence–aesthetic canon The article explains that contemporary society has established an aesthetic canon that dictates the "ideal" female body—characterized by youth, whiteness, and slimness. This ideal has become so entrenched in popular culture that it is often accepted as the standard for health and beauty. - fashion magazines - advertisements - social media The Cult of Thinness and Fitness ○ Obsession with Slimness: pervasive message in society that promotes thinness as the ultimate goal for women. This emphasis on body weight can lead to serious psychological consequences ○ Fitness industry introduces another layer to body idealization; while promoting healthy lifestyles, it can also impose unrealistic standards of beauty and/or strength that prioritize appearance over well-being Sexualization of Girls and New Femininities This trend is concerning as it can lead to early sexualization and a distorted understanding of femininity among young girls. Self-Body Modification - Women often feel pressured to modify their bodies through dieting or cosmetic surgery, framed as personal choice but rooted in societal obligation. - Concept of “Silent Conformity”: Women internalize the need to conform to beauty norms as a sign of self-discipline. Feminist Perspectives on Beauty Norms Critiques beauty standards Feminist Thought: challenges normalized beauty models Critiquing the Model like the socially constructed experiences and values  Rethinking Embodiment: body a social construct Rethinking Gender: Connell's hegemonic masculinity Cultural Influence and Empowerment Debate: - Susan Bordo highlights the “media empire,” where dominant images shape societal expectations (p. 142). - Empowerment Debate: Some, like Alex Kuczynski in his book “Beauty Junkies”, argue that seeking beauty can be seen as empowerment. Women may view body modification as a way to resist aging and societal stigma. Rethinking the Meaning of Embodiment Embodiment: The body as the intersection of "natural" and "cultural," shaped by experiences. Intricate Relations: Connections between social and cultural conditions influenced by daily experiences. Braidotti (1996): Multiple bodies illustrate diverse forms of embodiment - various relationships. Reevaluating the Gendered Topic - Society creates masculine and feminine cultural notions (different across cultures) - Individual gender identities are shaped by societal expectations and circumstances in life - Hegemonic Masculinity: the dominant way in society to be a man and it is the most respected/ideal kind of masculinity. Sets ideals and norms for men, Supports traditional ideas (male authority) -Challenging the Traditional Views on Gender → There is more than one way to “be a man” Reassessing Transexuality - Transexuality challenges feminist theory and the capitalistic control over gender norms. - Judith Butler highlights performativity - Gender is formed by repeated behaviours - Connell (2012) says that transexual women transition from identifying as men to then embodying and identifying as women socially. Contemplating Technology - Rosi Braidotti looks at technology as a contribution to the concept of the “cyber-body”, in which technology is part of humanity and can be both materialistic and symbolic - Donna Haraway looks at blurring the lines between these groups we separate (humans, animals, machines) and challenges the traditional boundaries society puts up Envisioning the Body as a Hybrid - A “hybrid body” challenges norms about how the body “should be” - Homi Bhabha poses that it is not just the combination of entities but it includes going past the boundaries that define identities. - This idea raises concern to postmodern ideologies of what our bodies “should be.” The Path to Empowerment: Rejecting the Disciplinary Viewpoint - Rappaport and Zimmerman describe empowerment as the relation between personal competence and the desire to take action. - Others describe it as taking control of one’s life and therefore influencing structures. - “Male spectatorship”: Looks at the female body as territory - Bordo explains that the male gaze consists of power, thus women self-regulate and abide by the expectations in society. - Ultimately, to increase women’s empowerment, we must reject the normatized vision of female bodies! WEEK 5 Risner, D. (2002). Rehearsing Heterosexuality: Unspoken Truths in Dance Education Dance and Sexuality The issue If half the men in dance are gay, why is homosexuality so often occluded from dance discourse and literature? Gay Males in Dance - Dancing would become more popular if more of the men doing it were straight - This diminishes what gay men have done for dance - There should be more straight men but not at the expense of gay men - Leads to the question of why there are so many gay men in dance -Scrutiny often comes from attraction from “heterosexual” men - Homophobia is directed towards all men in dance (regardless of sexual orientation) Speaking the Unspoken - Autobiographical - Evidence of internalized homophobia - Escape from bullying and difficult family - Escape led to avoidance - Dance studio provided a safe space Gay and straight male dancers feel isolated - Dance reinforces gender/sexuality roles for girls which allows them not to be bullied for dancing - Few gay role models and those that exist are often ridiculed - Internalized homophobia comes from heterocentrism which leads gay males to create alibis which hurt themselves and those around them “Although dance as an institution may be more accepting of homosexual lifestyles, deeply internalized heterosexual bias nurtures public closetedness, not only for gay students and teachers, but also for their schools.” - Doug Risner, 2002 - Older dancers abuse the younger ones with sexual games - Faculty using overly physical teaching methods - Speaking out often does nothing so many gay men go back in the closet - Often the victims are minors and the issue is dismissed - Harmful stereotypes will often equate sexual abuse and being gay - Male dancers are 3 times more likely to be sexually harassed Youth and Dehumanizing Pedagogies - Those with the power to fix this issue are often the perpetrators - Young people become the beneficiaries to this behaviour without knowing it… “make your freshman” - Not addressed because people feel the need to “protect” their children from the topic of homosexuality - Despite most children being completely cool with gay people - Reinforces homophobic assumptions - Children need positive gay role models and more exposure to what being gay is Possibilities in Dance Education Outside the studio - Protective policies - Enforcing policies - Providing resources to parents - Reinforcing that being a male dancer does not make someone gay In the studio - Understanding not all dancers are straight - Put up a pride flag - What teaching methods reinforce gender roles and sexuality - Guest speakers/role models - Listen Overview The article explores the cultural and institutional heterosexism and homophobia in dance education, focusing on the silences and biases faced by gay male dancers. While the field of dance is known for embracing diverse lifestyles more than many other domains, the discourse surrounding sexuality, particularly gay and bisexual issues, is notably absent. Risner examines these challenges using both personal narratives and a critique of existing literature, shedding light on how the dance profession perpetuates heteronormative structures and misses opportunities to address societal biases. Key Themes and Arguments 1. Cultural and Institutional Heterosexism ○ Dance education often reinforces heteronormative narratives, portraying the art as primarily embodying heterosexual themes. ○ The “silence” on gay issues trivializes their experiences and overlooks potential opportunities to challenge homophobia within the field. 2. Stigma and Isolation of Gay Male Dancers  ○ Gay males are disproportionately drawn to dance but face stereotypes like being effeminate or lacking masculinity. ○ The association of dance with femininity and gay stereotypes leads to harassment and the pressure to "prove" heterosexuality. 3. Pedagogical Challenges ○ Educational environments rarely offer open discourse on sexuality. ○ Instances of internalized homophobia, marginalization, and abuse reinforce a dehumanizing cycle. 4. Sexual Harassment and Abuse ○ The article highlights issues like exploitation and abuse by those in power, underscoring the necessity of addressing power imbalances in the dance environment. 5. Dehumanizing Pedagogies ○ Traditional dance training, with its strict focus on physical ideals, harsh discipline, and heteronormativity, frequently disregards dancers' emotional and psychological well-being. Study Notes 1. Impact on Education: ○ Traditional pedagogical approaches ignore the needs and vulnerabilities of LGBTQ+ students. ○ Silence around gay issues perpetuates stereotypes, stigma, and discriminatory practices. 2. Key Contributions by Other Scholars: ○ Judith Hanna (1988): Frames homosexuality in dance as a therapeutic response rather than exploring its broader social implications. ○ Ramsay Burt (1995): Examines masculinity, homophobia, and how societal norms shape male experiences in dance. 3. Risner’s Recommendations for Dance Educators: ○ Self-assess for heterosexist biases and ensure a welcoming environment for LGBTQ+ individuals. ○ Adopt inclusive teaching practices, such as addressing diverse sexual orientations and featuring positive LGBTQ+ role models. ○ Actively challenge antigay attitudes, bullying, and harassment within dance institutions. 4. Broader Advocacy Goals: ○ Push for systemic changes in educational policies to include explicit protections against homophobia and harassment. ○ Highlight the role of dance in fostering social change by confronting entrenched cultural biases. Practical Applications for Educators Create safe spaces for discussions on sexuality and gender identity. Incorporate resources like LGBTQ+ allies’ groups and visible symbols of inclusivity in dance schools. Train faculty and administrators on recognizing and combating harassment, discrimination, and abuse. Week 6 Walker, A. (2020). Traditional white spaces: Why all-Inclusive representation matters. Journal of Dance Education, 20(3), 157–167. https://doi.org/10.1080/15290824.2020.1795179 AIMS OF ARTICLE Dr. Walker speaks extensively on the shadowed body, aiming to shine light on the community as a whole for Eurocentric Pedastling Uncover Truth Perpetuating Eurocentric Values Actionable steps Outline NEED FOR INCLUSIVITY 2There is an obvious dichotomy between Eurocentric Dance Esthetics vs. “Othered” Esthetics. This extends to value and interpretations of both the dance as well as the dancing body. WHY AND FOR WHO DOES THIS MATTER? Important to those with the short end of the stick, those marginalized and invisible in the culture, and those whose contributions to dance as we know it was suppressed or left out entirely NECESSITY OF EQUITABLE REPRESENTATION Credit the Authors of the story, and eliminate injustices on false pretenses. Delsarte Dance “Natural” movement Free form Influenced progressive teaching “Natural dance took on distinct meaning based on race and the dancing bodies performing it” “Therefore, it is imperative that discussions of race and racism are included in all U.S Dance education curricular models to combat these denials and Rationalizations” Barriers To Inclusion Overload “Throw Baby Out With The Bathwater” Overcompensate Out With the Old, in With the New 1. Introduction  Focus: The need for equitable inclusion in dance curricula to address racial biases rooted in the Eurocentric dominance of higher education dance programs. Importance of "collective identity" in dance: Includes all individuals in the field, ensuring representation of marginalized groups, especially Black dancers. Key Concepts and Sections 2. Historically Oppressive Pedagogy Knowledge construction in dance is dominated by Whiteness, marginalizing non-European aesthetics. Influential figures like Edward Thorndike dismissed intellectual or artistic capability in marginalized communities, reinforcing racial hierarchies in education. 3. Marking Black Dancing Bodies as Unrefined Black dancers are often seen through stereotypes (e.g., exotic, primitive) rather than being appreciated for their innovation. Socio-cultural biases lead to marginalization and the racialization of Black movement styles, positioning them as inferior. 4. Brief History of Race & Racism in the U.S. Race was constructed as a social hierarchy, legitimized through religion and pseudoscience (e.g., eugenics). These hierarchies influenced how dance developed in academia, with Eurocentric forms dominating and Black contributions minimized or ignored. 5. Dance in the Academy as a Traditional White Space Historical development of dance curricula prioritized Eurocentric aesthetics like ballet and modern dance. Early progress in inclusivity came from historically Black colleges and universities (HBCUs) but was overshadowed in predominantly White institutions. Codified Western techniques were valued over "natural" movement, which was racialized when practiced by Black bodies. 6. Righting/Rewriting Antiquated Dance Histories The need for a revisionist history that centers marginalized voices and eliminates racial biases in dance historiography. Historical narratives often fail to credit Black contributions, perpetuating White dominance in academic discourse.  Strategies for rewriting history include acknowledging and integrating Africanist and other culturally rich dance forms. Practical Recommendations and Frameworks 7. Entercultural Engaged Pedagogy (EEP) Developed by Walker, EEP emphasizes cultural exchange and collaboration rather than hierarchy. It integrates the lived cultural experiences of students, promoting equity and respect for all traditions. WHAT IS EEP? Anti-Assentialist Anti Behaviour follows culture Anti-Assmilationist Anti Behaviour must conform to majority Culturally Plural Granting all access to agency 7 Actionable Steps - Emotional Based Curricula - Theory Into Practice - Don’t Pedestal - Appreciate - Diversity - Know What You Teach - Don’t Teach What You Don’t Know 8. Suggestions for Change Hiring Practices: Recruit culturally knowledgeable educators for courses on non-Eurocentric dance forms. Curriculum Reform: Increase representation of Africanist and global dance traditions in core requirements rather than electives.  Emotional-Based Curricula: Teachers must acknowledge personal biases and actively strive for inclusivity. Honoring Roots: Acknowledge and correctly label the origins of dance forms to prevent cultural erasure and appropriation. Representation Matters: Empower students to share their cultural experiences as valid knowledge sources in the classroom. Key Challenges 1. Resistance to shifting paradigms in education that prioritize Eurocentric traditions. 2. Institutional reluctance to fund and value diverse dance traditions on equal footing with Western classical forms. 3. Continued marginalization and tokenization of Black dancers in both curricula and faculty hiring. WEEK 7: Dance and Disability - Whatley, S. (2007). Dance and disability: the dancer, the viewer and the presumption of difference. Research in Dance Education, 8(1), 5– 25 Intro Explores inclusive pedagogy in UK higher education for disabled dance students. Discusses societal and viewer perceptions of disabled dancers. Disability defined by the United Nations CRPD: disability results from the interaction between impairments and barriers (attitudinal and environmental) that hinder equal societal participation. Key Challenges in Dance Education for Disabled Students Disabled dancers remain marginal in a predominantly able-bodied learning community. Traditional dance training emphasizes bodily control and virtuosity, sidelining diverse bodies. Ableism, as defined by Campbell (2009): promotes the "perfect" body as ideal, casting disability as a diminished state of being human. Inclusive curricula must address: ○ Different starting points in muscle memory and dance knowledge. ○ The need for personalized teaching strategies. Inclusive Curriculum Development (Coventry University Project) Aims: ○ Support disabled students' learning and achievement.  ○ Challenge traditional dance technique pedagogy. ○ Increase visibility and empowerment of disabled students. ○ Facilitate dialogue on disability and dance. Methodology: ○ 15 students, including 2 wheelchair users, participated. ○ Techniques included questionnaires, open discussions, and observations. ○ Collaboration with practitioners like Louise Katerega and reference to texts by Petra Kuppers and Adam Benjamin. Reflected broader observations in dance culture: ○ Dance is both embodied and disembodied. It requires strict discipline and often objectifies the body as a vessel of control (Giardina & Donnelly, 2017). Findings and Recommendations 1. Student Feedback: ○ Disabled students value freedom and imagery in movement over repetition. ○ Non-disabled students saw learning as identifying faults, while disabled students saw it as liberating. ○ Class sizes impacted comfort levels: Disabled students felt unsafe in large classes due to visibility. Non-disabled students benefited from group support. ○ Disabled students associated physical discomfort with past medical interventions, contrasting with non-disabled students who saw discomfort as progress. 2. Strategies for Inclusive Teaching: ○ Role of Learning Support Assistants (LSAs): Provide personalized feedback and help translate movement goals. Encourage student independence from LSAs over time. ○ Class Structures: Warm-up and group discussions to foster inclusivity. Exercises adjusted for varied mobility levels. ○ Techniques: Focus on shared goals rather than uniform outcomes. Encourage exploration of movement variations (e.g., adapting pliés or jumps). Viewer Perceptions and the "Presumption of Difference" 1. Challenges in Audience Reception: ○ Audiences often view disabled performers through a lens of "difference" or "otherness." ○ Viewing strategies impact how dance is interpreted: Passive Oppressive: Voyeuristic focus on the body as a spectacle. 1. Tv show shows with someone with disability, the camera focuses on their disability to make it an exotic spectacle and focus on the strangeness and difference for entertainment and for curiosity  Passive Conservative: Enforces classical aesthetic norms, avoiding confrontation. 1. Professional dance company invites disability person to dance but to hide wheelchair and act like a “normal” person - upholding classical and traditional roles - only expected if you can conform to these ideals Post-Passive: Focus on overcoming disability, often erasing it. 1. Documentarys shows disabled someone as a superhero in olympics and that they are overcoming - ignoring the hardships they had to do, every disabled can do olympics! 2. Like color blindness Active Witness: Recognizes and values disability as "ordinary." 1. Dance production focuses on disabled people's unique movements, disabled people are treated as ordinary, and not limited 2. Creative movement (wheelchair as prop) Immersion: Engages with the dancer's experience, transcending categorizations. 1. Theatre invites the audience to see a person with hearing disabilities, they all wear headphones to the immersive audience into their experience - create empathy and puts themselves in their shoes, and also prevents othering them 2. However, we kinda mimicking them, we are not actually disabled and can continue regular life after “blindfolding ourselves” 2. Implications for Choreographers: ○ Effective choreography disrupts viewer biases and challenges traditional aesthetics. ○ Companies like CandoCo exemplify the integration of disabled dancers in professional performance. Broader Impacts on Dance Education and Performance Inclusive teaching benefits all students by fostering curiosity and exploration over imitation. Strategies developed for disabled students often translate into best practices for the entire class. Encourages rethinking dance's aesthetic and philosophical boundaries. Acknowledges the normativity of the active body: Social and cultural values influence perceptions of physical ability (Andrews, 2008). Conclusion Dance education must evolve to fully integrate and support disabled students. Viewing frameworks can reshape societal attitudes, promoting dance as a radical and inclusive art form.  While progress is ongoing, further dialogue and research are necessary to address the unique needs of each disabled dancer. WEEK 8: Dance and Decolonization (1) Firmino Castillo MR. Dancing the Pluriverse: Indigenous Performance as Ontological Praxis. Dance Research Journal. 2016;48(1):55-73. doi:10.1017/S0149767715000480 (2) Clément, V. (2017). Dancing bodies and Indigenous ontology: what does the haka reveal about the Māori relationship with the Earth?. Transactions of the institute of British geographers, 42(2), 317-328 1. Ontological Praxis ○ Ontology refers to ways of imagining and enacting worlds (what exists and the relationships between beings). ○ Praxis means putting theory into practice. ○ Dance is described as an ontological praxis because it regenerates cultural knowledge, ways of being, and relationships through embodied performance. 2. The Pluriverse ○ A pluriverse recognizes multiple interconnected "worlds" and ontologies, coexisting without one single dominant truth or reality. ○ This contrasts with Western "universal" ontology, which often enforces hierarchical relationships (e.g., human/non-human, animate/inanimate). ○ Indigenous performance enacts the pluriverse, reviving Indigenous ways of being suppressed by colonialism. Colonial Suppression of Dance Indigenous dances were banned or co-opted by colonial powers, viewed as threats to colonial control because they reinforced spiritual, cultural, and social resistance. Example: Bans on nocturnal dances disrupted Indigenous connections to land, ancestors, and spirituality. Result: Dance became a hidden yet powerful form of resistance, preserving cultural practices and regenerating ties to the environment. Performance as Ontological Praxis 1. Embodied Knowledge ○ Dance transmits identity, memory, and relationships through the body (Taylor, 2003). ○ Performance serves as a form of storytelling that bridges spiritual, cultural, and material worlds. 2. Telluric Practices  ○ Ritual movements (e.g., pouring firewater, directional dances) enact relationships between humans, ancestors, and Earth beings like rivers, mountains, and minerals. ○ Indigenous dance regenerates cultural understandings and reciprocity with nature. 3. Case Study: The Oxlaval Q’anil Project ○ Context: In Naab’a’, an Ixil Maya town affected by genocide, dance was used to restore yooxhil (vital energy). ○ Process: Collaborative choreography inspired by local artifacts (kamawil) and cosmology honored ancestral ties and relationships to sacred sites. ○ Outcome: Dance restored Indigenous identity and ontological connections disrupted by colonial and state violence. The Haka as Embodied Indigenous Ontology The haka—a Māori war dance—demonstrates Indigenous ways of being and knowing, rooted in the Earth and ancestral relationships. Key Themes 1. The Body as a Message ○ The body is not separate from the mind; it becomes a medium for Māori ontology, connecting humans to ancestors and nature. ○ Example: The wiri movement (trembling hands/fingers) symbolizes heat waves rising from the Earth (the Dance of Tānerore), linking dancers to environmental forces. 2. Place-Based Performance ○ The haka draws power (mana) from specific places: rivers, hills, beaches, and sacred spaces imbued with ancestral spirits. ○ The landscape is not neutral; it carries symbolic, spiritual, and genealogical meanings that the haka performers activate. 3. Interconnection with Nature ○ Māori see no division between humans and nature. Animate beings, inanimate objects, and spirits share a common whakapapa (genealogy). ○ Symbols like the Double Spiral (Koru): Represents cyclical time, interconnectedness, and the energy of being and becoming. 4. Spatiality of the Haka ○ Space of the Body: Facial movements (bulging eyes, protruding tongue) and tattoos (moko) mark identity and spiritual power. ○ Space Around the Body: Horizontal movements create group cohesion, while vertical jumps evoke supernatural energy. ○ Navigational Space: Haka performances unfold in meaningful landscapes (e.g., battlefields, sacred landmarks) that anchor Māori relationships with the land. 5. Reciprocity and the Environment  ○ The haka embodies principles of reciprocity: humans have responsibilities to protect and renew relationships with Earth beings. ○ Example: Flax Kilts (piupiu) produce sound during dance, connecting performers to the land and natural materials. Decolonization Through Dance Indigenous dance, whether the haka or Ixil Maya rituals, acts as a form of cultural resistance and regeneration. Goals: Reclaim suppressed ontologies, restore relationships with land and ancestors, and challenge colonial worldviews. Political Implications: Performance embodies the pluriverse, rejecting singular truths and enabling Indigenous perspectives to thrive. Important parts: 1. Dance as Resistance: Despite colonial bans, Indigenous performance persists as a site of cultural survival, resistance, and knowledge transmission. 2. Embodied Ontology: Dance regenerates relationships with the land, ancestors, and non-human beings, embodying Indigenous ontologies. 3. Pluriversality: Indigenous performance rejects universal narratives, promoting a "world of many worlds" where diverse ontologies coexist. 4. Spatiality and Place: Performances like the haka draw power from spaces imbued with ancestral, symbolic, and environmental significance. 5. Reciprocity and Responsibility: Indigenous dance reinforces reciprocal relationships between humans and Earth beings, challenging anthropocentric worldviews. WEEK 9: Dance and the environment (1) Foster, R., & Turkki, N. (2023). EcoJustice Approach to Dance Education. Journal of Dance Education, 23(2), 91–101.https://doi.org/10.1080/15290824.2021.1906430 (2) Kick, O. (2023). Dance as an Approach to Climate Injustice. Article 1: Ecological Crisis Context: Human-caused ecological crises like climate change, species extinction, and pollution require collective change. Role of Dance Education: Dance educators are urged to reconsider how dance is defined and taught in relation to ecological and social justice.  EcoJustice Approach: Draws from the EcoJustice education framework and the authors’ practices as dance educators. Goal: Foster an ecosocially informed paradigm shift in dance education. EcoJustice Education Framework Purpose: Shift education toward a sustainable life orientation that addresses social and ecological issues. Roots of Problems: Modernity's emphasis on rationalism, individualism, and consumption promotes ecological and social harm. EcoJustice Education Strands: ○ Reveal Destructive Modern Assumptions (e.g., mind-body dualism, human-animal separation). ○ Revitalize Environmental and Cultural Commons (e.g., access to water, air, and sustainable traditions). ○ Imagine a Responsible Relationship with the Earth (focus on human interdependence with nature). Key Aspects of the EcoJustice Approach to Dance Education Celebrating Diversity Diversity as a Condition of Life: Embraces bodily, cultural, and species diversity. Challenges Hyper-Separation: Counteracts the false separation of human vs. nature, male vs. female, and able-bodied vs. disabled. Inclusion in Dance: ○ Moves beyond traditional body ideals (e.g., idealized ballet body) to include bodies of all abilities, ages, and forms. ○ Emphasizes diverse gender roles, challenging stereotypes often present in dance education. Teaching Strategies: ○ Use "accepting and appreciating eyes" during dance practice to promote empathy and inclusion. ○ Body awareness tasks and improvisation exercises invite unique, personal movement expressions. ○ Teachers must reflect on their own biases in relation to diversity in dance. Recognizing the Lived Body Critique of Cartesian Dualism: Challenges mind-body separation and emphasizes the interconnectedness of the body, mind, and environment. Concept of the Lived Body: Draws from Merleau-Ponty’s philosophy — the body, not the mind, is the source of experience. Role of Breath:  ○ Breath is a vital connector between humans and the environment (shared air) and integral to dance movement. ○ Breathwork is a key practice for reorienting awareness to the lived body and ecosocial interconnectedness. Teaching Practices: ○ Encourage movement improvisation focusing on sensory perception rather than visual appearance. ○ Avoid mirrors in studios to shift attention from aesthetics to the lived experience of movement. ○ Promote exercises that engage with nature (e.g., dancing in forests) to connect the body with the environment. Practicing Co-Creation Dance as Co-Creation: Shifts the view of dancers from passive instruments to active co-creators. Cultural Commons in Dance: Draws on shared human practices, such as rituals and community dances, which foster social and ecological sustainability. Co-Creation Practices: ○ Collaborative development of movement material, inspired by participant memories, sensory experiences, and the natural environment. ○ Community-based site-specific dance projects (e.g., parks, forests) emphasize the body's connection with place and environment. ○ Use of sensory and site-specific improvisation to encourage engagement with the local environment. Conditions for Co-Creation: ○ Time: Sufficient time for relationships, reflection, and exploration. ○ Collective Commitment: Willingness of all participants to engage. ○ Sharing: Use of verbal and non-verbal reflection to support collective growth. Teaching Implications for Dance Educators Critical Reflection: Teachers must recognize their role in shaping beliefs about dance and challenge hidden biases. Ecological and Social Awareness: Integrate ecological consciousness into dance education practices. Adoption of Open-Ended Learning: Avoid predetermined outcomes in dance education and foster process-oriented learning. Facilitator Role: Teachers act as facilitators rather than directors, encouraging diverse student input and collaborative exploration Conclusion Ecosocially Just Dance: Dance education can play a vital role in promoting ecological and social justice.  Paradigm Shift: The EcoJustice approach encourages teachers and students to see dance as a means of fostering interconnectedness with people, nature, and community. Critical Responsibility: Dance educators are responsible for shaping new, sustainable worldviews in future generations. Article 2: Dance, Climate Justice, and Postcolonial Healing Colonial Impact on the Natural World Colonial pursuits have led to pollution of land, water, and air, causing violence against living organisms. These environmental issues amplify injustices found in colonial empires. To protect the Earth, there must be a cultural shift from extractivist systems to restorative justice with empathy at its core. Dance can be a unifying force against climate injustice, helping people process and alleviate negative feelings related to it. Role of Dance in Climate Justice Universality of Dance: Dance is a non-verbal, universal form of communication that fosters connections beyond language barriers. Empathy and Connectivity: Dance promotes a cultural shift toward empathy and collective action, key for confronting climate injustice. Link to Sustainability: Sadi Mosko argues that cultural beliefs and practices contribute to sustainability issues. Dance, as a cultural force, can challenge these extractivist values. Emotional Connection: Unlike scientific facts, which can overwhelm audiences, dance connects people emotionally, fostering deeper engagement with sustainability. Addressing Climate Anxiety Through Dance Climate Anxiety: The fear of climate change impacts daily life and engagement with sustainability. Ecological Identity: Briana Imani Blakey and other scholars discuss the concept of an "ecological self" or "environmental identity" — a way to relate one’s self-identity to the natural world. Mind-Body Connection: Colonialist values created a disconnect between mind and body, which dance and movement therapy aim to heal. Empathy and Empowerment: Empathy for the natural world encourages people to take action against climate injustices. Dance as a Tool for Empowerment  Afro-Caribbean Dance: Maria Rivera highlights how Afro-Caribbean dance fosters empowerment through: ○ Self-Body Power: Personal control and awareness of one’s body. ○ Collective Power: Community collaboration and shared strength. ○ Sociopolitical Power: Advocacy for social change. ○ Spiritual Power: Connection with nature’s energy. Symbols in Dance: Movements symbolize connections with nature, helping dancers reconstruct their narratives and develop a stronger connection to the natural world. Indigenous Dance and Ecological Kinship Kinship with Nature: Indigenous dance emphasizes human interconnectedness with nature. Emily Johnson’s Work: Her performances integrate storytelling, movement, and actions like tree planting, encouraging kinship with the land. Indigenous Worldviews: Indigenous communities maintain strong spiritual, ecological, and bodily connections that can inspire postcolonial societies to reconnect with the natural world. Dance as Art, Activism, and Education Creative Activism: The arts (including dance) engage people in environmentalism through emotion and creativity. Example – Elizabeth Kick: Her artistic work inspired by nature fosters compassion and unity, highlighting how art can integrate sustainability into creative practices. Performance for Awareness: Ananya Chatterjea’s dance Ashesh Barsha: Unending Monsoon portrays the horrors of climate change (e.g., floods and land theft) and invites audiences to reflect on the urgency of climate action. Art as a Complement to Science: Art and scientific facts must work together to create cultural shifts necessary for sustainability. Moving Forward Dual Role of Art and Science: Scientific knowledge provides the rationale for climate action, while dance and art evoke emotional connections that sustain action. Decolonization of Environmentalism: Colonialist values of extraction and dominance must be rejected. Incorporating Indigenous and African diasporic knowledge can lead to a more connected, just, and sustainable future. Cultural Transformation: By blending dance, empathy, and ecological consciousness, societies can transition from extractivist ideologies to ones rooted in care and interconnectedness. WEEK 10: Dance Therapy and Movement Therapy - Lauffenburger, S. K. (2020). ‘Something more’: The unique features of dance movement therapy/psychotherapy. American Journal of Dance Therapy, 42(1), 16-32. Construct of ‘Active Factors’ - Helps us understand the efficacy of creative arts therapies - Koch names five clusters of active factors - DMTP contains these factors: hedonism (pleasure and play), aesthetics (beauty and authenticity), non-verbal meaning making, symbolism and communication, enactive transitional support, and generativity (creativity). Profile of Unique Features in DMTP Dance - Some other therapies uses movement but movement is not the same as dance - DMTP uses movement too but really focuses on its expressive communication to engage parts of the self that no other exercise, words, or repetitive action can do - Research claims that dance can reduce stress, improve posture, balance, coordination, and fitness levels, increase levels of serotonin, and develop new neural connections in the regions of the brain controlling executive functioning, long-term memory and spatial recognition - Other studies suggest dance can improve cognitive capacities and memory function - BUT the psychotherapeutic value of dance is what makes DMTP unique! - DMTP uniquely builds the psycho-emotional self through dynamic experiences of space, time, force, and flow, similar to Daniel Stern’s concept of vitality affects, which are essential for self-awareness and relational understanding. - Stern emphasized the psychotherapeutic potential of dance to integrate emotional, interactional, and cognitive dimensions of the self. Therapeutic Origins in Ancient Healing Arts - Dance Movement Therapy Practice (DMTP) originated in the 1940s with modern dancers working in mental wards and private studios. - Rhythmic dance has been a healing practice for over 40,000 years, notably in Indigenous Aboriginal cultures. - First Nation traditions use dance, rhythm, and body movement to promote health, community, and cultural knowledge. - DMTP’s roots in indigenous healing arts highlight its ancient origins and unique cultural dimension, predating verbal therapies. Specialized Movement Analysis Frameworks - Body-focused assessment in DMTP: Unlike traditional psychotherapies that rely on tool, DMTP directly observes and assesses the body using specialized movement frameworks. - Framework uniqueness: These frameworks analyze movement qualitatively, beyond biomechanics, and provide insight into emotional and relational dynamics through categories like body, effort, shape, space, phrasing, and relationships. - Therapeutic insights from movement: - Reveal developmental patterns and spatial relationships.  - Decode energy configurations supporting expressivity and function. - Illuminate internal adaptations to external demands. - Access nonverbal emotional communication. - Richness of movement analysis: Unpacking sensations and motor impulses (e.g., anxiety) offers nuanced, client-specific therapeutic insights that go beyond abstract diagnostic labels. - Connection between body and mind: Movement efforts (e.g., stomping, pressing) bridge physical actions with psychological concepts like agency, vitality, cohesion, and continuity. The Prioritization of Feeling Over Words - Limitations of verbal therapy: Verbal therapy prioritizes thoughts, beliefs, and narratives, which can split the self, alienating nonverbal experiences and diverting attention from the present moment (Stern, 1985). - Role of nonverbal dynamics: Nonverbal, relational experiences are central to therapeutic growth, as they capture the "feeling of what is happening" in relationships, which neuroscience and attachment research validate (Beebe, Damasio, Schore, Siegel). - Risks of narrative focus: Narratives can distort present-moment truths, retraumatize clients, or reinforce rumination and anxiety - DMTP's focus: Dance/movement therapy emphasizes sensation, motor impulses, and relational dynamics, avoiding the "verbal prison" and grounding clients in the present moment. - Therapist training: Dance/movement therapists use movement analysis frameworks to process feelings through the body, translating sensations and movements into theoretical understanding, enhancing their ability to think through feeling and sensing. Enactive and Animated Practice - Mindfulness: Defined as nonjudgmental, present-moment awareness. It often treats the body as an object to observe, rather than a dynamic process of being, potentially restricting movement and self-expression - Bodyfulness: Sensing and moving as fluid, nonverbal narrations of self and identity, promoting deeper self-awareness through movement. - Animation: Body's kinetic realities that integrate cognition, affect, and meaningful movement, forming the foundation of livingness and self-awareness. - DMTP’s uniqueness: Dance/movement therapy emphasizes animation and bodyfulness, using movement to explore the self dynamically and relationally, distinguishing it from other therapies focused on mindfulness or embodiment. Focus on the Dynamic, Animated Self - DMTP uses dynamic, improvised movement and feelings as its core therapeutic process, unlike other therapies that analyze posture, gestures, or repetitive actions to derive narratives or belief systems. - Movement, both internal and external, is fundamental to life and self-development. - Foundation of self: Movement, not thinking, forms the basis for self-development and identity (Lee, Rountree, & McMahon, 2009). Using Body as Mind  - DMTP uniquely views the body as the mind, treating human movement as the source of fundamental concepts - Sensorimotor grounding: Meaning arises from sensorimotor experiences and is extended through embodiment. - Therapeutic process: Dance/movement therapists dance with clients to co-create meaning, processing psycho-physical information kinesthetically and cognitively. - Integration of feeling and thinking: Feeling and thinking are interrelated, treated as two sides of the same coin, emphasizing the direct connection between movement and mental processes. Enactive Use of Psychotherapeutic and Psychoanalytic Theory - Unique use of psychotherapeutic theory: Dance/movement therapists understand psychotherapeutic constructs from a kinaesthetic perspective, asking “how would this idea feel and manifest itself expressively in movement?” - DMTs incorporate kinesthetic empathy, observing and physically experiencing clients' movements while responding through matching, clashing, attuning, or mirroring, extending beyond verbal interactions (Tortora, 2006). - Attachment theory and relational patterns: DMTs use relational movement patterns (e.g., yield, push, reach) to deepen understanding of nonverbal strategies tied to attachment styles, offering insight into engagement/avoidance behaviors and pathways for change. - Trauma treatment: DMT interventions, such as kinesthetic mirroring, implicit regulation, and symbolic movement, address trauma by targeting the procedural/implicit realms often impacted by trauma, enhancing nonverbal therapeutic efficacy (van der Kolk, 2014; Ogden & Fisher, 2015). - Psychoanalytic concepts enriched by movement: - Interpretation: Movement allows dynamic exploration of subjective experiences, broadening personal meaning beyond words. - Acting out: Viewed as communicative rather than pathological, enabling exploration and understanding of unconscious drives (LaBarre, 2001). - Other concepts: Transference, countertransference, and affect theory are reframed and enriched through expressive movement. - The creative dance/movement process allows the inner world of the client to emerge dynamically, facilitating experimentation, understanding, and change. Creativity as Therapeutic Premise - In Dance/Movement Therapy (DMTP), creativity is continuously engaged within the client and the therapeutic relationship. It forms the foundation of all therapeutic interactions (Wengrower, 2016). - Creativity connects the body and mind, as well as the client and therapist, through symbolic communication (Caldwell, 1996). It facilitates the exploration of personal meaning, self-identity, and unique relational experiences, making it central to the therapeutic process in DMTP. Dynamic Change as a Therapeutic Premise - Need for interactive support in change: Growth and change require support from others. Stern et al. (1998) emphasize that new capacities require an interactive environment for optimal development.  - In DMTP, clients engage directly with the experience of change by exploring somatic sensations and movement impulses. Through playful exploration and co-regulation with the therapist, clients learn to tolerate and manage their changing feelings. - Co-regulation and self-regulation: Over time, clients become mentally and emotionally resilient by working with the dynamic changes in movement. The focus on play and experimentation in DMTP makes change a natural, not fearful, experience. WEEK 11: Popular Media and Social Media Dance - Robinson, L. H. C. (2024). Mass Media and Social Circulations of Popular Dance. In Dance in US Popular Culture (1st ed., pp. 221–233). Routledge. https://doi.org/10.4324/9781003011170-38 The focus is on how dance movements and challenges are shared and circulated through mass media, especially on social platforms like TikTok. Robinson discusses the role of social media in the democratization of dance, where users, particularly Gen Z, create and replicate simple, often viral dance routines (charli dameli HO). The chapter explores how platforms contribute to dance's popularity, blending performance with social media culture, and how these trends reflect cultural shifts and interactions within digital communities​ Social media platforms like TikTok have democratized dance, making it accessible to global audience. Dance challenges go viral, spreading specific choreographies across communities. Media helps amplify cultural trends and reflects societal shifts. Role of Social Media in Dance - Platforms like TikTok have transformed dance into a participatory activity accessible to a vast, global audience. - User-generated content plays a crucial role in viral dance challenges, where users recreate and modify dances. Virality and Digital Communities: - Dance movements gain massive attention through digital media, creating a shared experience within digital communities. - The chapter discusses how these viral trends can reshape how dance is perceived in broader cultural contexts. Cultural Impact: - Popular dances often reflect societal shifts and cultural movements, serving as a means of expression, solidarity, or activism. - Media helps elevate specific movements into the mainstream, influencing how these dances are performed and viewed globally. Transformation of Dance Styles: - Digital circulation allows traditional and contemporary dance styles to evolve, remix, or merge with other genres, making them more inclusive. - The intersection of music, social media, and dance fosters creativity and cross-cultural exchanges. Accessibility and Democratization:  - Social media platforms provide a space where professional dancers, influencers, and everyday users can share their movements, breaking down the barriers of traditional dance spaces. - The ease of sharing on platforms empowers people from diverse backgrounds to participate in and shape dance culture. Critiques and Political Aspects: - The chapter touches on the potential for dance challenges to perpetuate stereotypes, as well as debates around cultural appropriation when popular dances are co-opted by mainstream media. WEEK 12: Harm in Dance - Milne, A., Atkinson, M., Kerr, G., & Stirling, A. (2024). Instructional Practices and Interpretations of Harm: A Qualitative Inquiry with 24 Competitive Dancers. Journal of Dance Education, 1-12. Introduction - Competitive dance has gained popularity, encompassing genres like ballet, contemporary, tap, jazz, and acro performed at competitions. - Dance competitions began in the late 1970s for enjoyment and education but have become professionalized, raising technical expectations. - Recent media portrayals have influenced competitive dance dynamics. - However, instances of harm and mistreatment in competitive dance have come to light, highlighting issues such as sexual harassment and emotional abuse. Historical Context - Originally focused on enjoyment and education, competitive dance has transitioned to a pathway for professional careers. Reports of Harm - Sexual harassment and grooming incidents have been reported. - A power imbalance exists between instructors and dancers, contributing to vulnerability - Emotional and physical abuse noted in both competitive and professional dance settings Physical and Emotional Abuse - Emotional abuse includes hurtful comments, public humiliation, and constant comparisons. - Physical abuse involves inappropriate touch and aggressive corrective measures (e.g., pushing dancers into positions). Favoritism - Non-favorite students often feel neglected and undervalued compared to favored dancers who receive preferential treatment. - Relationships between instructors and dancers significantly influence favoritism, impacting placements and opportunities. Methodology and Participants - A qualitative inquiry was conducted using semi-structured interviews with 24 competitive dancers (22 women, 1 man, and 1 undisclosed). - Participants’ ages ranged from 19 to 24, with competition experience spanning 6 to 16 years in various dance genres.  - Methods included demographic questionnaires and interviews focusing on experiences within competitive dance. **Results and Key Findings** - Four main themes of harm were identified: - **Hurtful Comments**: Negative remarks about abilities; public humiliation during rehearsals. - **Physical Expressions of Frustration**: Instances of physical force used by instructors, including throwing objects. - **Physical Conditioning Directives**: Punitive measures that led to physical and mental distress under the guise of conditioning. - **Favoritism**: Favored students received better treatment, placing significant emotional strain on non-favorite students.