Rebalancing Dance Curricula Through Repurposing Black Dance Aesthetics

Walker, Ayo

doi:10.4324/9780367822071-5

Cited by 5 publications

(7 citation statements)

References 1 publication

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“…Historically, dance as an art form has been viewed by Western scholars from a limited and Eurocentric perspective (primarily placing value on dances with Western European lineage and aesthetic preferences, such as ballet; Amin, 2016 ; Walker, 2019 ). However, when we think of dance more comprehensively and inclusively, we can include other contemporary movement forms such as hip hop, improvisation, and authentic movement, as well as non-Western traditional folk dances.…”

Section: The Synchronicity Hypothesis Of Dancementioning

confidence: 99%

Dance on the Brain: Enhancing Intra- and Inter-Brain Synchrony

Basso

Satyal

Rugh

2021

Front. Hum. Neurosci.

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Dance has traditionally been viewed from a Eurocentric perspective as a mode of self-expression that involves the human body moving through space, performed for the purposes of art, and viewed by an audience. In this Hypothesis and Theory article, we synthesize findings from anthropology, sociology, psychology, dance pedagogy, and neuroscience to propose The Synchronicity Hypothesis of Dance, which states that humans dance to enhance both intra- and inter-brain synchrony. We outline a neurocentric definition of dance, which suggests that dance involves neurobehavioral processes in seven distinct areas including sensory, motor, cognitive, social, emotional, rhythmic, and creative. We explore The Synchronicity Hypothesis of Dance through several avenues. First, we examine evolutionary theories of dance, which suggest that dance drives interpersonal coordination. Second, we examine fundamental movement patterns, which emerge throughout development and are omnipresent across cultures of the world. Third, we examine how each of the seven neurobehaviors increases intra- and inter-brain synchrony. Fourth, we examine the neuroimaging literature on dance to identify the brain regions most involved in and affected by dance. The findings presented here support our hypothesis that we engage in dance for the purpose of intrinsic reward, which as a result of dance-induced increases in neural synchrony, leads to enhanced interpersonal coordination. This hypothesis suggests that dance may be helpful to repattern oscillatory activity, leading to clinical improvements in autism spectrum disorder and other disorders with oscillatory activity impairments. Finally, we offer suggestions for future directions and discuss the idea that our consciousness can be redefined not just as an individual process but as a shared experience that we can positively influence by dancing together.

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Section: The Synchronicity Hypothesis Of Dancementioning

confidence: 99%

Dance on the Brain: Enhancing Intra- and Inter-Brain Synchrony

Basso

Satyal

Rugh

2021

Front. Hum. Neurosci.

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“…While Black perspectives have helped shape the landscape of dance (Walker, 2019), they continue to be overlooked in the evolution of dance (Hazzard-Gordon, 1985). Black dance artists have not been appropriately recognized for their contributions to dance due to racial tensions and cultural appropriation (Stovall, 2015).…”

Section: Critical Dance Pedagogymentioning

confidence: 99%

“…Acknowledging and valuing students' cultural connection to dance provides an entry-point for students in urban contexts to authentically experience dance and to make connections to understand their identities (Walker, 2019). For this reason, CDP is a needed stance to examine structures of power and the dancing body, as well as to allow urban dance educators to contextualize how power systems and relationships shape the way they understand dance and approach teaching dance.…”

Section: Critical Dance Pedagogymentioning

confidence: 99%

The Emerging Critical Pedagogies of Dance Educators in an Urban STEAM After-School Program for Black Girls

Allen-Handy¹,

Ifill²,

Schaar³

et al. 2021

JULTR

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The preparation of urban educators has gained widespread attention across education policy, research, and practice. As US urban cities have become more diverse, the teacher workforce has not kept up, and the racial/ethnic demographics of students and teachers are disproportionately incongruent. In order to eradicate an education landscape that perpetuates white, middle-class ways of knowing and being, often at the expense of the cultural practices and cultural wealth of historically marginalized students of color, urban teacher education must be centered toward justice and rooted in critical pedagogies. The literature, albeit bleak, reveals that these perspectives must also be applied to urban dance education. Dance education programs have been significantly eliminated from urban schools over time, and although dance has historical roots in African and African diasporic cultures, dance education continues to be Eurocentric. This phenomenological case study examines the emerging critical pedagogies of undergraduate dance majors and minors who served as dance teachers in an urban Science, Technology, Engineering, Arts, and Mathematics (STEAM) after-school program for 7-12-year-old Black girls. Findings reveal that (a) navigating race, place, and space; (b) mentorship and practice; and (c) critical reflection and self-efficacy were critical components of the urban dance educators’ emerging critical pedagogies. Implications for urban dance education and the broader field of urban education are provided.

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“…Some critics disregard the artistic qualities of Hip-Hop while others disregard it because of their lack of understanding of the genre. Despite numerous criticisms and rejection of hip-hop music as a cultural phenomenon, some researchers (Walker, 2019) note its innovative nature, its popularity with listeners and performers (Tyurina, 2017;Smith, 2000) and influence on the world musical culture (Walker, 2019). https://doi.org/10.15405/epsbs.2019.07.91 Corresponding Author: Natalia G. Tagiltseva Selection and peer-review under (Walker, 2019).…”

Section: Problem Statementmentioning

confidence: 99%

“…In literary sources reveal the possibility of using youth subcultures in the process of teaching and raising children and young people (Cason, Young, Foster, & Ortiz, 2017;Kumar, 2018;Love, 2015;Vasyagina, 2013;Walker, 2019). But, in the life of the younger generation -adolescents and young men, who are the creators, carriers and consumers of this culture, it has far from always a positive meaning.…”

Section: Introductionmentioning

confidence: 99%