From inclusion to integration: intercultural dialogue and contemporary university dance education

Robinson, Danielle; Domenici, Eloisa Leite

doi:10.1080/14647893.2010.527324

Cited by 10 publications

(5 citation statements)

References 10 publications

(8 reference statements)

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“…Other writers embrace even more of a new-found global multiculturalism and seek to integrate different cultures into a new form of creative dance expression (Robinson & Domenici, 2010;Acharya, 2013;Adewole, 2016). Svendler Nielsen & Burridge (2015, p. x) describe how they see dance as a force in "shaping identity, affirming culture and exploring heritage".…”

Section: Socio-culturally Informed Creativitymentioning

confidence: 99%

Creativity and Dance Education Research

Chappell¹,

Hathaway²

2019

Oxford Research Encyclopedia of Education

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Research into creativity and dance education is increasingly in the spotlight as the community of dance education researchers is growing internationally. In the last fifteen years, the field has blossomed to include new cultural perspectives, voices and styles, and a consistently expanding range of definitions, epistemologies, and methodologies for researching the inter-relationship between “dance,” “education,” and “creativity.” Existing scholarship can be built on by exploring the historical perspective, moving to critically and thematically consider recent developments, and then looking ahead. In so doing, a range of definitions of creativity emerge which focus on cognition through to sociocultural perspectives and the post-human turn. Research into the facilitation of creativity is also pertinent and developing, including performativity and creativity pedagogic tensions, incorporation of technology and inclusion within teacher training, as well as a shift toward articulating creative and cultural dance practices themselves as key to understanding and developing creative pedagogy in dance. Also of interest is the range of methodologies that has been employed to research creativity in dance education and future possibilities in this area. Next steps in research include a focus on future influences from the ever-developing field of dance studies and its articulations of choreography and practice; from research into cultural and indigenous dance and emerging new multicultural ideas about creativity; from applications of advances in psychology and technological methods within dance science; and from the post-human turn in educational research shifting us toward more emergent re-organizations of how we think about and practice creativity in dance education.

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Section: Socio-culturally Informed Creativitymentioning

confidence: 99%

Creativity and Dance Education Research

Chappell¹,

Hathaway²

2019

Oxford Research Encyclopedia of Education

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“…I think it could be useful in providing insights into how the ANZC was being interpreted and implemented by the teachers in their work, but there are also aspects of the inquiry that may resonate with researchers in other countries where dance is an integral part of education. Internationally, such research and concerns have been building momentum (Dils, 2007;Foster, 2009;Hanna, 2002;Hanstein, 1990;Lansdale, 2008;Musil, 2010;Pugh McCutchen, 2006;Risner, 2010;Robinson & Domenici, 2010;Schwartz, 1991;Stinson, 2005).…”

Section: Dance Research Aotearoa 1 2013mentioning

confidence: 99%

Dancing with cultural difference: Challenges, transformation and reflexivity in culturally pluralist dance education

Ashley¹

2013

DRA

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In this article I describe aspects of an ethnographic inquiry in which I investigated the challenges faced by some New Zealand teachers when teaching about culturally different dances, an expectation of the Arts in the New Zealand Curriculum (Ministry of Education, 2000, 2007). Until relatively recently dance education in New Zealand emphasised Eurocentric creative dance, and teaching about culturally different dances presented new challenges for teachers. Some of the teachers, for instance, were challenged by their lack of skills in cultural dances other than creative dance. Transformative learning and developing a reflexive view of dances from different cultures are pedagogical concepts that underpin the ANZC and I position them as key to exploring some transformations that could inform teaching about dances contextually, in theory and practice, for both learners and teachers. My main aim in this article is to inform and support the development of an ethical and sustainable culturally pluralist pedagogy in which our responsibilities to the people whose dances we study are an important and timely concern (Ashley, 2012b). I also depict this topic as providing substantial potential for further research.

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“…A origem da criminalização da vadiagem no país é, no entanto, muito anterior, aparecendo por exemplo no Código Penal de 1890, no qual vadio incluía a exibição pública de "exercícios de agilidade e destreza corporal conhecidos pela denominação de capoeiragem" (Presidência da República, 1890, s.p. xiv Ao analisar a maneira como as danças afro-brasileiras foram absorvidas pela academia, compreendemos que a sua presença muitas vezes depende do quanto as lógicas eurocêntricas conseguiram absorvê-las (Desmond, 1997;Robinson & Domenici, 2010). Por exemplo, a dança afro de Mercedes Baptista, ao mesmo tempo em que se aproximava dos saberes de comunidades negras, trazendo as referências dos movimentos dos orixás e dos rituais de candomblé, ela configurou-se dentro do pensamento da dança moderna norte-americana, estruturando-se em exercícios de barra, centro e diagonal, sendo por isso considerada "a primeira manifestação modernista de dança a partir da cultura brasileira" (Monteiro, 2003).…”

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Epistemologias afrocentradas na academia

Falkembach¹,

Carle²,

Domenice³

2022

artce

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Este trabalho apresenta um ensaio etnográfico sobre a experiência de um concurso público para docente efetivo em danças afro-brasileiras ocorrido em universidade federal do sul do Brasil. O texto busca narrar a singularidade do evento, que tornou evidente o choque epistemológico entre os saberes forjados em cultura afrocentrada e o conhecimento acadêmico eurocêntrico colonizador. Apresenta o modo como a banca de avaliação, constituída pelos(as) autores(as) do texto, construiu meios para manter uma postura anti-racista dentro de um sistema estruturalmente racista. O ensaio toma as perspectivas dos Estudos da Performance e da Exunêutica, para descrever as performances dos(as) candidatos(as) e as práticas em danças afro-brasileiras, cuja lógica destoa profundamente das danças acadêmicas, assentadas em modelos racionalistas de sistematização e difusão. Dentre esses princípios, identificou-se que a conexão com a ancestralidade é um dos elementos basilares da perspectiva afrocentrada. A escrita explicita o concurso como encruzilhada, na qual a banca construiu uma conduta em que os papeis de etnógrafos(as) e avaliadores(as) se sobrepunham, na medida em que o exercício de escuta e de definição de critérios se teciam. O artigo conclui que este concurso constituiu-se numa situação exemplar em que os critérios acadêmicos precisaram ser readequados para acolher a epistemodiversidade.

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From inclusion to integration: intercultural dialogue and contemporary university dance education

Cited by 10 publications

References 10 publications

Creativity and Dance Education Research

Creativity and Dance Education Research

Dancing with cultural difference: Challenges, transformation and reflexivity in culturally pluralist dance education

Epistemologias afrocentradas na academia

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