Dialogue: Dance History—Current Methodologies

Sparti, Barbara; Adshead-Lansdale, Janet

doi:10.2307/1478101

Cited by 5 publications

(1 citation statement)

References 3 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Dance artists hope to be noticed by programmers, producers and funders; programmers, producers and funders look to find key talents; and as a PhD dance student and Co-editor of the Scottish Journal of Performance, someone who does not belong to any of these groups, this proved to be an exciting and valuable opportunity to interpose myself between the academy and the stage. The study of dance history has been criticised for focusing too narrowly on a set canon of phenomena; on key people, places, periods and trends (Aldrich, 1992;Carter 2004Carter , 2007Sparti and Adshead-Lansdale, 1996). However, this was a discussion that reiterated the importance of hearing experiences and opinions from some of these 'key people' involved in choreographic processes.…”

Section: The Contextmentioning

confidence: 99%

Intersections between the academic and ‘real’ worlds of dance at the British Dance Edition 2014: a report

Whiteside¹

2014

SJoP

View full text Add to dashboard Cite

Section: The Contextmentioning

confidence: 99%

Intersections between the academic and ‘real’ worlds of dance at the British Dance Edition 2014: a report

Whiteside¹

2014

SJoP

View full text Add to dashboard Cite

Writing A Dance: Epistemology for Dance Research

Bakka¹,

Karoblis²

2010

yearb. tradit. music

View full text Add to dashboard Cite

Over several years the authors of this article have had intensive discussions to find common ground in the topic they both specialize in: dance. Egil Bakka is a Norwegian ethnochoreologist, specializing in Nordic traditional dance/folk dance; Gediminas Karoblis is a Lithuanian philosopher, specializing in phenomenology and ballroom dancing. Our starting point was a philosophical question about the notion of dance knowledge and a shared worry about the empirical basis for many academic works on dance that other colleagues have also pointed to (Hoerburger 1959; Lange 1983; Adshead-Lansdale 1994; Grau 1998; Farnell 1999; Fügedi 2003). Bakka then brought up the widespread reservation against the use of film/video for the documentation and analysis of dance. We continued with a wish to clarify to ourselves the epistemological basis for research in dance, and somewhere along the way we started writing this article. We experienced that a dialogue in which methodological issues in dance research were confronted with philosophical scrutiny brought about a number of interesting perspectives. We hope that our exercise may be of interest to a broader audience. The aim is to explore how our different disciplinary points of departure—philosophy and ethnochoreology—can be brought to interact in creating a deeper understanding of our topic, rather than comparing the disciplines or discussing their differences.

show abstract

‘It’s a different way of thinking about history, isn’t it?’ Student perspectives on learning dance history

Huxley

2012

Research in Dance Education

View full text Add to dashboard Cite

Dialogue: Dance History—Current Methodologies

Cited by 5 publications

References 3 publications

Intersections between the academic and ‘real’ worlds of dance at the British Dance Edition 2014: a report

Intersections between the academic and ‘real’ worlds of dance at the British Dance Edition 2014: a report

Writing A Dance: Epistemology for Dance Research

‘It’s a different way of thinking about history, isn’t it?’ Student perspectives on learning dance history

Contact Info

Product

Resources

About