Isadora Duncan's Dance Theory

Daly, Ann

doi:10.2307/1477914

Cited by 11 publications

(12 citation statements)

References 7 publications

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“…En som forbindes med skapende dans, er Isadora Duncan . Som dansekunster virket hun både i USA og Europa, og hos Duncan finner vi et begrep om naturlige bevegelser (Daly, 1994). Det å danse skulle dermed kunne basere seg på det som var naturlig.…”

Section: Skapende Dans Som Fagunclassified

“…Det å danse skulle dermed kunne basere seg på det som var naturlig. Hva som faller inn under naturlige bevegelser, var hos Duncan det å bevege seg barbeint, bruke alle kroppens tilgjengelige uttrykk og å vaere i flyt (Daly, 1994). Tenker vi videre ut fra Duncan, kan bevegelser som å løpe, rulle, hinke, hilse og så videre inkluderes i dansen.…”

Section: Skapende Dans Som Fagunclassified

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Skapende dans i en skolekontekst – et forskningsfelt?

Ørbæk

Engelsrud²

2019

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The purpose of this article is first to highlight two key terms calling creative dance a subject tradition, and then to investigate what is needed to call something a research field and how creative dance as a field is delimited and established. The empirical material consists of 87 peer-reviewed articles and six doctoral studies, and the article seeks to discuss the following research question: Does creative dance in a school context constitute a research field, and if so, what significance does this research field have in a school context today? Through a content analysis of the selected articles and doctoral studies, common features of the studies are presented, and the question of whether these common features can qualify as constituting a research field is further elaborated. The results show that creative dance in a school context can be understood and delimited as a research field. Based on that, the authors argue that the teaching of creative dance should be researchbased. Creative dance in a school context is a field of research that has the potential to have significance on a societal level because it can contribute with knowledge about the significance of the body, movement and creative processes in dance in people's learning and meaning-making processes.

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Section: Skapende Dans Som Fagunclassified

Skapende dans i en skolekontekst – et forskningsfelt?

Ørbæk

Engelsrud²

2019

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Section: Introductionmentioning

confidence: 99%

“…Creative dance as a dance form emerged in the beginning of the 20th century as a protest against established dance forms, such as classical ballet, that are based on established steps, movement patterns, as well as concepts (Daly, 1994). Creative dance focused on how "natural" and "everyday" movements could be included in dance, such as moving barefoot, running, rolling, limping, greeting and so on (Daly, 1994). Inspired by the dance artist Isadora Duncan (1877Duncan ( -1927 and her concept of natural movements (Daly, 1994), German Ausdruckstanz (expressive dance) and Dewey's child-centered pedagogical perspective, creative dance in an educational context developed into two different directions (Vertinsky, 2010;Ørbaek and Engelsrud, 2019).…”

Section: Introductionmentioning

confidence: 99%

Bodily Learning Through Creating Dance: Student Teachers' Experiences From Norwegian Physical Education Teacher Education

Ørbæk

2021

Front. Sports Act. Living

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Creating dance in physical education teacher education (PETE) is described as a way of expressing subjective experiences based on movements that the students have already mastered or as a way of composing dance with set movements from various dance forms that are further explored through concepts such as time, space, power and flow. This article shows how 13 Norwegian student teachers experienced the creation of dance as part of their PETE. It explores the following questions: how do student teachers in PETE experience dance creation as an embodied process of exploring, transforming and creating movements, and how were these experiences facilitated by bodily learning that was initiated by body memories? The results show that creating dance is a intersubjective, intercorporeal and interaffective phenomenon where the sense-making process happens as both an individual and a joint process. This ongoing individual and participatory sense-making can further be understood as a reciprocal dependency between culture and self, where the students' bodily learning process evolves on an existential level over time. Through this process, the students develop a sense of confidence and trust in each other, which creates a feeling of belonging. The educational potential of bodily learning through creating dance can be seen in relation to the affordances the students perceive and utilize within their learning culture in PETE.

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“…467 Duncan's performances throughout Europe at the turn of the century radically altered the idea of dance as a simply physical activity as she sought inspiration from nature and perceived bodies as expressive instruments of creativity: ocean waves and wind, for example, were developed as dances of simple flowing movement that reflected the universal rhythms of nature. 468 Dismorr's choice of subject matter was therefore significant in that it was responsive to contemporary trends in both dance and painting. The pro-freedom, natural form of modern dance reflected new thoughts among certain painters who wanted to achieve a comparable liberation in their works.…”

Section: Pictures By J D Fergusson Anne Estelle Rice and Others Rmentioning

confidence: 99%

“A talented and decorative group” : a re-examination of London’s women artists

Yu¹

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I would like to thank all those individuals who have contributed to the development of this research. In particular, I would like to express my deepest gratitude to my supervisor, Professor Michael J. K. Walsh, for his initial interest, consistent support and profound knowledge, and for his suggesting numerous improvements to my investigative process. His patience, enthusiasm, commitment and availability, both during and after office hours, have had a significant impact on my research and on me. His advice and encouragement to bring my previous practical artistic experience into the realm of academic studies have led me to perceive art and art history from a very different perspective. With his insightful guidance, I successfully received Research Support Grants from the Paul Mellon Centre for Studies in British Art on two occasions in support of my trips to London in April 2015 and December 2016, as well as a dissertation fellowship from the Harry Ransom Center, University of Texas at Austin to visit its collections of manuscripts, original paintings and drawings, letters and correspondence, newspapers and journals.

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Isadora Duncan's Dance Theory

Cited by 11 publications

References 7 publications

Skapende dans i en skolekontekst – et forskningsfelt?

Skapende dans i en skolekontekst – et forskningsfelt?

Bodily Learning Through Creating Dance: Student Teachers' Experiences From Norwegian Physical Education Teacher Education

“A talented and decorative group” : a re-examination of London’s women artists

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