Dancing, Identity and Place: Balancing Subjectivity and Technique in Contemporary Dance Training

Features of choreography teacher activities in COVID-19 pandemic conditions and distance learning

“…Researchers of the issue of professional training of future choreography teachers pay attention to the importance of forming creative competence throughout the training period, which is aimed at developing and disclosing potential opportunities and internal resources of the personality, his full self-fulfillment in educational and further professional activities. For instance, the issues of students' creative development were revealed in the following scientific research: formation of individual style of the future choreography artist (Schupp, 2014;Schupp, 2015); development of the professional creativity's fundamentals of future choreographers in the process of studying (Scheff et al, 2005); formation of professional readiness for the practical activity of future choreographers (Vertinsky, 2010); development of students-choreographers' creative thinking in the process of university training (Triana, 2015); formation of creative activity of students choreographers (Pyzhianova et al, 2020;Vaganova et al, 2019); formation of the creative potential of the future choreography teacher by tools of folk-stage dance (Pyzhianova et al, 2020;Xiang, 2017); professional and creative formation in contemporary dance training (Roche, 2018). Scholars note in their scientific works that it is creativity, which is the basis of choreographic art, should become the core for the training of a qualified competitive specialist who can be creative in the fulfillment of his professional duties, to perceive and create changes, to comprehend and apply innovations in the pedagogical and artistic space.…”

Artists’ Mobility Across Borders: A Mixed Methods Approach to Understanding Dance on the Island of Ireland

“…More specific assessments of the concerns for particular cultural fields have emerged (CROOKE/O'KELLY 2018). Still, the island's positioning on the European periphery, coupled with its underdeveloped professional dance infrastructure, has meant that the majority of research to date has tended to focus on the necessitated increase in overseas migration of dance practitioners and scholars for training and collaborative purposes (MCGRATH 2013;MCGRATH/MEEHAN 2018;ROCHE 2018). There remains a lack of understanding in both policy and cultural policy studies of the reception and impact territorial mobility-as both a policy practice and a construct-facilitates in relation to the living and working conditions of artists.…”

Artists’ Mobility Across Borders: A Mixed Methods Approach to Understanding Dance on the Island of Ireland

“…More specific assessments of the concerns for particular cultural fields have emerged (CROOKE/O'KELLY 2018). Still, the island's positioning on the European periphery, coupled with its underdeveloped professional dance infrastructure, has meant that the majority of research to date has tended to focus on the necessitated increase in overseas migration of dance practitioners and scholars for training and collaborative purposes (MCGRATH 2013;MCGRATH/MEEHAN 2018;ROCHE 2018). There remains a lack of understanding in both policy and cultural policy studies of the reception and impact territorial mobility-as both a policy practice and a construct-facilitates in relation to the living and working conditions of artists.…”