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Shem-Tov, Naphtaly – Research in Drama Education, 2018
This article focuses on a teaching case, Rona, a student in the educational dance-theatre programme that adopted improvisational teaching to deal with her lack of self-confidence. This lack had denied her feeling free and teaching without inhibitions in the classroom. Rona found a way to release her lack of self-confidence by spontaneously acting…
Descriptors: Creative Teaching, Teaching Methods, Dance Education, Creative Activities
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Vimal C., Akhila – Research in Drama Education, 2017
This paper analyses "Bharatanatyam on Wheels" by Ability Unlimited Foundation, Delhi. It interrogates the possibilities and challenges that disability performance presents to codifications in the form and grammar of "Bharatanatyam," a "classical" dance form of India. The Indian classical scriptures of performance…
Descriptors: Assistive Technology, Kinesthetic Perception, Kinesthetic Methods, Dance
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Parry, Rachel – Research in Drama Education, 2017
Speckled Egg Dance was established in Galway, Ireland, in 2013, to facilitate opportunities for learning disabled dance artists to develop semi-professional dance skills and independent choreographic practice. The company aims to contest normative perceptions of learning disabled dance ability, and to make learning disabled dance aesthetics…
Descriptors: Foreign Countries, Learning Disabilities, Dance, Dance Education
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Berselli, Marcia; Lulkin, Sergio A. – Research in Drama Education, 2017
The article presents performance practices created with deaf students in the project "Theater and dance with deaf students," an outreach activity of the Federal University of Rio Grande do Sul (UFRGS). The project took place in the Bilingual Deaf Municipal Elementary School Salomão Watnick in Porto Alegre, Brazil from 2013 to 2015. The…
Descriptors: Foreign Countries, Drama, Dance Education, Theater Arts
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Hunter, Mary Ann – Research in Drama Education, 2008
Performance-making and peace-building are processes predicated on the production of safe space. But what is "safe space"? In performance-making, what is it that makes space safe without losing the creative potential of tension? What role is there for risk? And, once achieved, how does safe space become meaningful beyond its immediate…
Descriptors: Social Change, Teaching Experience, Classroom Environment, Theater Arts