The teaching and creative movement course incorporates details of physical movements most suitable to be conducted face-to-face. However, the COVID-19 pandemic has undeniably changed pedagogical methodologies, forcing this course to be conducted online via the medium of technology. Therefore, this paper explains the challenges and advantages of…

Colleges and universities are increasingly called on to prepare students for the demands of democracy. Students' ability to rise to these challenges depends in part on the development of political identity. As of yet, little research centers on how political identity is linked to creative processes found within dance programs. Given the…

The creative dancing body is an ideal exemplar of the embodied mind. However, creativity research has ceased to develop due to a lack of study of the embodied mind in cognitive science. Thus, much can be gained through exploring ways in which we maximize students' creative potential by engaging 4E cognition through rich dance experiences. In my…

Archiving is a process of organizing and creating content for sustainable, long-term access. However, the "archivists" actively shape the content in the realm of the performing arts, which often involves adding a new layer of knowledge to the original artform. This article explores the archiving of a ballet repertory course conducted in…

Postsecondary dance technique teachers negotiate extensive physical demands throughout their careers. As they rise through the academic ranks, their bodies age, and with age sometimes comes limited mobility, decreasing strength, and injuries. Further, mental and emotional processes and self-perceptions sometimes change in response to diminishing…

This study explored the pedagogical implications of integrating creative dance into fifth-grade students' poetry reading and writing within the context of an educational design research project. Two teaching designs were developed and implemented by a researcher, a dance teaching artist, and two primary school teachers during two research cycles…

'Dancing Glass: Reflection of Art through Dance' was a collaborative project using artwork from the glass gallery at the Lowe Art Museum of the University of Miami, as a springboard for artistic inquiry in improvisational dance. Students enrolled in a Dance Improvisation course, guided by professors Carol Kaminsky and Jorge L. Morejón in order to…

This article presents a study regarding a school for young talented artists. Within this context and based on systems thinking and a holistic ecological approach to talent development, the researchers seek to identify emergent contextual properties that enhance talent development. The research question of the study was "Which emergent…

The role of flow experience in a group creativity task, contemporary dance improvisation, was explored through qualitative content analysis. Our focus was upon the creative process itself, rather than upon creative outcomes. Six dancers took part in an improvisation workshop, reflecting on their creative practice and any associated flow. We…

Somatic memoirs from the author's participation at dance intensives with acclaimed dancer-choreographer Moustapha Bangoura in the West African Republic of Guinea reveal how solo dance experiences can test acoustic literacy, promote music interaction, and foster an aptitude for movement invention. These skills are fundamental to West African dance…

Rhythmic virtuosity or moving with "percussive attack" is an ultimate performance quality for Black/African dance. The practice of musicality is a window into a dynamic system of intersubjective communal creativity. Drumming, for example, provides percussive sensorial information that directs a dancer's somatic and choreographic…

This study employed a research and development method to design courses that enhance creative dance skills for students in Mathayomsuksa 1 (typically aged 12-13 years). Divided into four phases, the study used background information and input from students and teachers to design a dance course that addressed the neglect of Thai culture in the…

Current theorizing in the field of cognitive science embraces the concept that cognitive activity is not centered in the brain alone but is dependent on embodiment and the environment in which it is functioning. A key component of that environment is the presence of others. This article examines the social nature of cognitive activity from a 4E…

Relationships between choreographers and dancers are sometimes defined by a particular hierarchy in which choreographers hold more power than dancers do throughout dance making processes. There is very little room for dancer input, interpretation, or feedback in traditional choreographic process models. Though these power dynamics have been…

A central key-component in children's dance education is the promotion of creativity. This involves movement exploration, experimenting, and improvising with movement material, composing, and choreographing. These are necessary prerequisites for aesthetic and artistic development. Valid domain-specific test instruments are needed for the…