This article presents a phenomenological study on lived and living conscious experiences of improvisational dance. Six experienced improvisational dancers and one dance piano accompanist were interviewed individually, and shared the past-lived experience of improvisational dance. After the interviews, the six dancers agreed to perform solo…

In the past a typical performance situation consisted of a proscenium stage, performers on the stage and audience seated somewhere in the front. In today's technological age, audiences are prone to watching performance on their smart devices. This live-disconnect between the audience and performer/performance has affected the industry on multiple…

This article addresses the notion of touch and its constitutive role in the participatory sense-making process (de Jaegher and Paolo 2007) of play and dance improvisation. It is argued that touch is always relational, as it continuously changes the contours of self, other(ness), and world(ing). It is therefore surprising that touch traditionally…

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…

Research evidence indicates the ability of dance to improve physical and mental health and wellbeing through its unique combination of creative expression, movement and social connections. This article explores the wellbeing of independent dance artists/practitioners delivering initiatives for the UK's social prescribing scheme. The article…

In 2017, I developed a computer application entitled "Sanka Play," which enables audience members to participate in improvisational performances by making real-time requests to performers. In most cases of free improvisation, the audience atmosphere influences performers. While audience--performer interaction is generally nonverbal,…

There is international consensus that creativity is a fundamental outcome of schooling. Opportunities exist to enhance the creativity of schoolchildren, particularly in movement-based subjects such as physical education (PE). In this pilot study, we investigated the effect of a six-week dance-based PE intervention on children's creativity in a…

This article presents an exploratory and interpretative study on the development of self-reflection and self-knowledge in university teachers by an embodied experience. Dance Movement Therapy and Body-Mind Centering share the fundamentals of the paradigm of embodied cognition through a first-person full-body experience. Using these principles, a…

Background: In the United Kingdom, creative dance is classified as part of physical education rather than an important core subject. Purpose: Taking the U.K. National Curriculum as an example, the article's primary aim is to examine literature exploring the benefits of creative dance, for children aged 3 to 11 years in mainstream state education,…

This study sheds light on dance as democracy among people 65+. The article presents a study that is part of the project Age on Stage, in which elderly people were offered to express themselves through dance as an aesthetic form of expression. Hannah Arendt and Simone de Beauvoir are applied as philosophical lenses. Elderly people's participation…

This paper presents a pilot study of creative movement workshops that enriched the school life of fourth graders at a primary school in Slovenia during the closure of educational institutions due to the COVID-19 pandemic. The project involved a dancer who met with students via the Zoom platform for four months, preparing, leading, and facilitating…

Reflecting on "The Antidote," created with performers in recovery from addiction, this paper theorises theatre-making practice that attends to being as formed through affective and emotive relation with others, including the non-human. It suggests that theatrical activity generates spaces, or liminal milieus, that facilitate new patterns…

This paper contributes to understanding the power of participating in work-based doctoral research after a fulltime career. It explores ways in which active older people choose to participate in "creative dance" activities and how this may benefit them. It draws upon the first author's experiences in using her leadership, management,…

Alexithymia is characterized by deficits in the ability to identify, differentiate, and describe emotions--abilities that are of importance for social interactions, well-being, and, consequently, also for health. The aim of this study was to investigate whether achievements in cultural activities are associated with alexithymia. Participants from…

The aim of this study was to learn about the effectiveness of two dance teaching techniques, the creative examination technique and the direct instruction technique, on the satisfaction of basic psychological needs, the level of self-determination, the perception of usefulness, enjoyment and effort of physical education students. Likewise, it…