Controlling Gaze, Chess Play and Seduction in Dance

Karoblis, Gediminas

doi:10.5840/jh2006924

Cited by 7 publications

(2 citation statements)

References 6 publications

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“…Hoppu writes about the connection in couple dances: the partners move together to be seen as one dancing body. The sensitive interaction of the dancers and the intimate dance posi-tion enable an intense and flowing experience that cannot be achieved by dancing alone (Hoppu, 2013;see also DeMers, 2012;Karoblis, 2007). In the KanTaMus project, pedagogical thinking aims to expand the pair connection to mean mutual bodily interaction between two participants.…”

Section: Process Of Pair Connectionmentioning

confidence: 99%

Better together: toward a joint pedagogy in folk dance and music

Kauppinen,

Luusua,

Sassali

et al. 2023

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The pedagogy and practices of folk music and folk dance are firmly separate in Finland. Furthermore, the expertise in these fields focuses heavily on folk music and dance as performing arts rather than communal activities. The situation has led to the differentiation and fragmentation of professional and amateur activities. To address this gap in knowledge and practice, the KanTaMus project intends to present a pedagogical model for a joint participatory folk dance and music pedagogy devised through practice-based development work. This article explains the basic premises of the model under development. We first discuss the legacy issues crucial in Finnish folk dance and music and its pedagogy. Secondly, we outline the values, pedagogical principles, and prior development work we see as fundamental to our work. Martin Seligman's PERMA theory serves as an overall canvas for our development work. The basic elements of the theory, i.e., positive emotions, engagement, relationships, meaning, and accomplishment, work as a basis for our model, which emphasises embodied presence, inclusion, and interaction as crucial features of a shared learning situation in dance and music. Finally, we present the pairing process as a specific example of the application of the model.

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Section: Process Of Pair Connectionmentioning

confidence: 99%

Better together: toward a joint pedagogy in folk dance and music

Kauppinen,

Luusua,

Sassali

et al. 2023

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“…As dance teachers and academics from two Latin American countries, we regard dance learning in higher education as a bodily activity that entails interactions different from everyday life habits. In addition, we conceive of the wider aim of learning to dance in higher education to undergo corporeal challenges regarding the habitual awareness of one's own body and the relation with the bodies of others (Karoblis 2007). In the context of art education, such challenges are directed toward disrupting notions of creativity that actively push personal boundaries and reshape interactions among students for the sake of enriching their performance skills (Poveda y Herrera 2023).…”

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confidence: 99%

How do You Desire to Dance? A Methodological Assemblage to Foster Consent in Dance Higher Education in Ecuador

López-yánez¹,

Corado²

2023

iukad

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Emerging from the need to delineate pedagogical tools that address interpersonal boundaries and consent in dance higher education, we display the experience of a female dance teacher in Ecuador in dialogue with the insights from a dance researcher in Guatemala, in order to investigate the discussion on consent and safe(r) spaces. Based on theoretical genealogies from de-colonial studies and situated knowledge, we enlarge the discussion on consent and safe(r) spaces specifically to be applied to dance contexts in higher education. We examine dance classes as situations in which all bodies are at their most vulnerable state. Considering statistics of sexual violence in Ecuador under the context of gender-based violence, we aim to transcend gender as the only axis of violence and proceed to include the condition of vulnerability of students regardless of their identity. We address the conceptual complexity of defining consent and the framework for expressing it both as a verbal and bodily understanding. Inspired by the learnings on personal boundaries from social dance and contact improvisation, we discuss touch from a de-colonial situated perspective. Finally, we suggest practical exercises that nurture methodological tools for dance pedagogy, outlining the specificity of step-by-step successful moments that we have begun to test in our classes. We propose a pedagogical practice which guides students in learning how to distinguish their desires and share their boundaries in dance classes that could further promote their skills as professional dancers and researchers.

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RETRACTED: Modern social dance teaching approaches: Studying creative and communicative components

Wang

2022

Thinking Skills and Creativity

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Controlling Gaze, Chess Play and Seduction in Dance

Cited by 7 publications

References 6 publications

Better together: toward a joint pedagogy in folk dance and music

Better together: toward a joint pedagogy in folk dance and music

How do You Desire to Dance? A Methodological Assemblage to Foster Consent in Dance Higher Education in Ecuador

RETRACTED: Modern social dance teaching approaches: Studying creative and communicative components

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