The author explores the relationship of play to choreography. He defines choreography as the rules that guide body movements from their minute physicality to their broad social and cultural contours. He conducts a review of the literature and accentuates five general topics--learning through creativity; choreography as writing and pedagogy;…

This article presents explorations of co-choreographing the early years dance pedagogical settings through dialogical and intra-active approaches in the context of artistic research. It discusses how to choreograph the pedagogical settings in such a manner, that the distribution of the artistic agency would become more equal, and the complex…

Research on the role of the ballet pianist is limited. A gap in the literature concerns the ways in which dance instructors and accompanists 'make sense' of their collaboration. The working relationship between a dance teacher and a dance musician in a ballet class was investigated. The researcher, a ballet pianist, conducted a semi-structured,…

This research intended to identify effective teaching styles that nurture "creativity" in the teaching of dance choreography in Korea. This research is based on the first phase of research that identified choreographic knowledge as educational content aiming to cultivate creativity in the teaching and learning of dance choreography in…

'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…

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…

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…

The major importance of preschool children's mental health with regard to their emotional and social development has a documented ground in the literature. In these domains, it is crucial for young children to learn how to express their emerging emotions appropriately and efficiently. Creative dance and movement is already being used as a…

The extent to which creativity and perfection can be considered compatible aims for dancers was investigated. Also investigated were how creativity and perfectionism are (1) nurtured versus inhibited, and (2) related to basic psychological needs (autonomy, competence, relatedness). Seventy-seven ballet students (12-19 years old) in Stockholm,…

Elin Lobel has been teaching dance to physical education and dance education majors since 1994. This particular course has been taught in both a large state university in the Midwest and in a large metropolitan university on the east coast. She focuses on teaching dance forms that allow the learners to appreciate their moving bodies, and their…

Dance Improvisation is an essential skill and tool for dancers. It is grounded in the kinesthetic experience and its constantly changing dynamic qualities through self-movement. It requires a spontaneous kinesthetic response in a spatiotemporal vigorous qualitative dynamic happening of affect and movement; a momentum that allows dancers to perform…

"Professional performance experience versus pedagogical knowledge in teaching technique class as a creative process" is a qualitative examination of the practices of six contemporary technique teachers that identifies the ways in which their educational and professional performance experiences have affected their teaching practices.…

Ballet training is designed to develop creative, expressive artists. However, an explicit approach to technical instruction may not assist in the development of individual creativity and may encourage counterproductive perfectionistic goals. This paper describes a five-day intervention designed to enhance creativity in thirteen adolescent…

Teaching the creative process through analysis and understanding of one's choreographic research inspires and motivates students to create their own meaningful movement.