Готові списки джерел за темами / Disabled dance

Добірка наукової літератури з теми "Disabled dance"

Автор: Grafiati
Опубліковано: 27 липня 2024
Оновлено: 29 липня 2024

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Статті в журналах з теми "Disabled dance"

1

Pohjola, Hanna. "Ruumiillinen erilaisuus: tanssi ammattina?" Nordic Journal of Dance 9, no. 2 (December 1, 2018): 24–36. http://dx.doi.org/10.2478/njd-2018-0009.

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Abstract Over the past three decades Western theatrical dance has been experiencing time of growth, development and change in its ontology. As a part of this shift of paradigm, dancers with bodily differences have made an entrance and initiatives across various contexts in dance: on stage, education and research. Most commonly, inclusive and integrated discourse of dance and disability research has been focusing on access and participation in dance. Dance artists with disabilities, and their experiences on bodily difference has been under-researched. Hence, emphasis on bodily difference has been on social meaning, instead of dancer’s movement. This article focuses on professional dancers with disability within the context of socialization. Thus, factors such as dance ontology and its normative expectations, education, employment and spectators’ gaze that may facilitate or hinder dancer with disability are discussed. In short, the change for disabled dancer has been gradual, and obstacles partly still remain. Thus, it is essential to ensure that this progression continues. One possibility could be in utilising knowledge and experience existing in disabled dance artists as well as acknowledging the art behind the hypervisibility of bodily difference. Therefore, dance as an art form would be valued in its all existence.
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2

Cheesman, Sue. "A Dance Teacher’s Dialogue on Working within Disabled/Non-Disabled Engagement in Dance." International Journal of the Arts in Society: Annual Review 6, no. 3 (2011): 321–30. http://dx.doi.org/10.18848/1833-1866/cgp/v06i03/36041.

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3

Stamp, Kathryn. "Exhibiting Images of Disabled Dancers: Comparison, Reconstruction or Disruption?" Dance Research 40, no. 1 (May 2022): 41–60. http://dx.doi.org/10.3366/drs.2022.0357.

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When People Dancing’s 2013 ‘11 Million Reasons’ (11MR) project was first advertised, the vision for the photography exhibition was to ‘recreate iconic dance moments in film’. 1 When the 2016 follow-on project ‘11 Million Reasons to Dance’ (11MRTD) was conceptualised, the exhibition’s premise was described as commissioning ‘images of iconic dance moments from film, all reimagined by Deaf, sight impaired and disabled dancers’. 2 This shift from ‘recreated’ to ‘reimagined’, as well as the decision to use a RE approach at all for an intervention, was intriguing. This article explores the meaning, purpose and use of the RE prefix, evaluating its use in dance contexts, its impact when used within disability contexts and its use for the 11MRTD project, as well as considering questions raised by the project regarding the recreation of popular dance scenes in relation to the viewing of non-normative bodies by public audiences.
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4

Michalikova, Monika, Lucia Bednarcikova, Jana Demeterova, and Jozef Zivcak. "Personalized modification of sport dance wheelchairs." Acta Tecnología 09, no. 04 (December 31, 2023): 115–19. http://dx.doi.org/10.22306/atec.v9i4.180.

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Standard modifications of active wheelchairs are commonly performed, but they often do not take into account the individual needs of dancers. The presented article aims to propose the optimization and personalization of the Quickie Argon Ti dance wheelchair for a specific subject. A visualization of a personalized dance wheelchair was created, abiding by the dimensional frame. The quality of the performance of physically disabled individuals in sports dancing on wheelchairs is significantly influenced by its construction and parameters. In this article, a standard sports wheelchair, and the requirements placed on a sports wheelchair used for dancing were described. After addressing the shortcomings, the modifications of selected components of the disabled sports wheelchair were presented.
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5

Pavis, Mathilde, Charlotte Waelde, and Sarah Whatley. "Who can Profit from Dance? An Exploration of Copyright Ownership." Dance Research 35, no. 1 (May 2017): 96–110. http://dx.doi.org/10.3366/drs.2017.0185.

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Анотація:
Focusing on UK copyright law, this article explores ownership of the dance by reference to the work of disabled dance artists. Our attention is on this group because their position within the dance workforce has always been precarious and so perhaps have most to gain through greater recognition of authorship in their work. Through an examination of the law as it applies to two different projects featuring Caroline Bowditch, we suggest that, contrary to the views of some, the performers are either authors of the copyright in the arrangement of the dance on their bodies, or joint authors in the work of dance. This is important because the author is the first owner of copyright in a dance; income from exploitation generally flows to the owner. With the rise of social media there may be yet further opportunities for exploiting dance. Starting from a doctrinal legal perspective, and bringing together dance and law to explore the vexed questions of cultural value, audience literacy and commercial exploitation, we hope to bring attention to the labour of disabled dance artists and the different ways in which all dancers can assert the rights to their work. In taking this approach this contribution differs from recent scholarship on dance and law, most notably works by Anthea Kraut, Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance (Oxford University Press, 2015) and Caroline Picart, Critical Race Theory and Copyright in American Dance: Whiteness as Status Property (Springer 2013). These analyses examine dance and American copyright law through race and gender lenses. Reading across the contributions would suggest that the time is ripe for a truly interdisciplinary project in which experts from law, dance and, disability studies come together to deepen and extend our knowledge and understanding of this area.
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6

Peers, Danielle, Alice Sheppard, Lindsay Eales, and Abbie Schenk. "Inclinations." Art/Research International: A Transdisciplinary Journal 7, no. 1 (March 26, 2022): 257–66. http://dx.doi.org/10.18432/ari29627.

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Inclinations is an audio-described, 7-minute, site-specific, disability dance on film followed by a video discussion between three of the disabled artist-researchers. Throughout this project, we embraced a research-creation methodology to engage with the research question: How can we fully embed intersectional disability justice, not only as a theoretical lens, but also, as a methodological imperative? This work centres the concepts of disability culture and disability generativity, and purposefully diverges from more popular traditions of physically-integrated dance in favour of disability dance. We demonstrate and discuss how this choice—alongside various filmic practices—seeks to decentre the ableist gaze, normalizing narratives, and the ubiquitous non-disabled referent. Other methodological considerations enacted and discussed in this work include centring access aesthetics, consent, care, disability justice principles, and questions of power in every aspect of the creation process.
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7

Muller-Jaecki, Marie-Paule. "Altérité et inclusion. Du corps propre au corps social en classe de langue : emprunts à la danse contemporaine." Voix Plurielles 10, no. 2 (November 28, 2013): 9–21. http://dx.doi.org/10.26522/vp.v10i2.837.

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Анотація:
La classe de langue étrangère, par la transformation du corps propre qu’elle présuppose afin d’accéder à un nouveau corps social, place-t-elle l’élève en situation de handicap et génère-t-elle de la souffrance ? Est-il possible de l’éviter ? La réflexion menée part de l’observation d’expériences vécues en danse contemporaine autour de la création de performances incluant des danseurs en situation de handicap. L’analyse de la démarche pédagogique adoptée fait émerger des constantes qui contribuent à l’inclusion de chaque danseur. Elle peut être source d’inspiration pour l’enseignant afin de construire une dynamique d’apprentissage d’une langue étrangère où chaque élève se sente compétent. Otherness and inclusion. What can contemporary dance bring to the foreign language class for learners to access a new social body? The foreign language class implies a transformation of the learner’s own body in order to access a new social body. Does it thereby handicap pupils, generating suffering? Is it possible to avoid this? The following reflection starts from the observation of experiences in contemporary dance, related to the creation of performances including disabled dancers. The analysis of the pedagogy reveals constants which contribute to the inclusion of every dancer. It can inspire teachers in order to design a foreign language learning approach in which each pupil feels competent.
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8

Tonkin, Maggie. "Lessons in Survival: The De-funding of Restless Dance Theatre." Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 8, no. 2 (December 1, 2022): 159–74. http://dx.doi.org/10.14361/zkmm-2022-080208.

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Abstract In March 2020, Michelle Ryan, Artistic Director of Restless Dance Theatre, an Australian dance company that includes both disabled and non-disabled dancers, was awarded Australia’s highest dance honour by the Australia Council, the federal arts funding body, for her transformative leadership of the company. Almost simultaneously, the very same Australia Council removed funding support for Restless, threatening the company’s survival. This essay examines Restless’s response to the fundamental incoherence of the Australia Council’s decision and situates it within the broader context of the company’s own evolving practice in disability art, which in effect saw it attempt to create policy in the field. I outline the government policy contexts that underpin both the funding cuts and Restless’s pivot to an alternate source of funding: the ideologically driven ‘culture wars’ underpinning the Coalition government’s hostility to the arts sector, and the establishment of a National Disability Insurance Scheme that enables individual ‘clients’ to access money for arts training. Finally, the essay examines the implications of a dance company receiving funding from a disability service provider rather than from a mainstream arts funding body, questioning whether this is a further ‘ghettoization’ of disability art.
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9

Tonkin, Maggie. "Lessons in Survival: The De-funding of Restless Dance Theatre." Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 8, no. 2 (December 1, 2022): 159–74. http://dx.doi.org/10.14361/zkmm-2022-0207.

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Анотація:
Abstract In March 2020, Michelle Ryan, Artistic Director of Restless Dance Theatre, an Australian dance company that includes both disabled and non-disabled dancers, was awarded Australia’s highest dance honour by the Australia Council, the federal arts funding body, for her transformative leadership of the company. Almost simultaneously, the very same Australia Council removed funding support for Restless, threatening the company’s survival. This essay examines Restless’s response to the fundamental incoherence of the Australia Council’s decision and situates it within the broader context of the company’s own evolving practice in disability art, which in effect saw it attempt to create policy in the field. I outline the government policy contexts that underpin both the funding cuts and Restless’s pivot to an alternate source of funding: the ideologically driven ‘culture wars’ underpinning the Coalition government’s hostility to the arts sector, and the establishment of a National Disability Insurance Scheme that enables individual ‘clients’ to access money for arts training. Finally, the essay examines the implications of a dance company receiving funding from a disability service provider rather than from a mainstream arts funding body, questioning whether this is a further ‘ghettoization’ of disability art.
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10

Kuppers, Petra. "Crip/Mad Archive Dances." Theater 52, no. 2 (May 1, 2022): 67–77. http://dx.doi.org/10.1215/01610775-9662255.

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Анотація:
Petra Kuppers reflects on her work in the crip/mad archive, which explores the work of mad, queer, and disabled predecessors in the fields of dance and performance. Kuppers consider how her personal relationship to therapeutic dance has changed (particularly therapeutic practices led by nondisabled artists such as Anne Wilson Wangh) and the importance of movement and embodiment in Kuppers’s own work—including a close description of ritual dance reenactments she conducted alongside her archival work at Lincoln Center in New York in 2021.
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Більше джерел

Дисертації з теми "Disabled dance"

1

Marsh, Kate. "Taking charge : dance, disability and leadership : exploring the shifting role of the disabled dance artist." Thesis, Coventry University, 2016. http://curve.coventry.ac.uk/open/items/5c914aba-ec0a-4559-92b5-9f4854e18e4c/1.

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Анотація:
Over the past two decades dancers with disabilities have made a significant contribution to the professional contemporary dance sector. Key shifts and initiatives across various contexts in dance have increased debate and practice concerned with dance and disability and the intersections between these two areas. Discourse focussed on dance and disability has been centred upon access and participation in dance, there is a considerable deficit in practice, research and scholarly activity that explores the progression of the disabled dancer into leadership roles in dance. A lack of disabled role-models holding autonomous, high profile, decision making positions in the sector is detrimental to the position of both disabled dance artists currently practicing and those aspiring to work and train in contemporary dance. Dance artists with disabilities possess knowledge of training and working in dance that is as yet under-researched and under-represented in both academic and practice based contexts. Understanding and utilising the knowledge and experience existing in disabled dance artists is central to ensuring progression in the sector. Underpinning this thesis is the claim that disabled dance artists are valued, assessed and critiqued within an existing epistemological framework in dance that is based on normative bodies, rather than through systems and a vocabulary that account for the individual dancer. The research, centred around the UK and undertaken by a disabled dance artist-researcher, addresses an existing lack of scholarly activity about dance and disability produced by a disabled researcher. Chapters 6.1, 6.2 and 6.3 offer 3 case studies of disabled dance artists these sections give insight into the lived experience of training and working in dance with a physical disability, in addition these chapters offer discussion specifically relating to the case study participants perception of themselves as leaders in dance. The penultimate chapter 7, Reflections on Practice presents autoethnographic research relating to the authors’ experience of using practice as both a vehicle and an artefact for research into dance, disability and leadership. Offering the practice and research of disabled artists within this thesis contributes a new perspective to the field of dance and disability, specifically by privileging the voices and practice of disabled artists and researchers. By challenging a hierarchy of normative leadership ideologies the potential of the disabled dance artist as leader is presented at the forefront of this study.
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2

Williams, G. "Disability, the dancer and the dance with specific reference to three choreographers : Caroline Bowditch, Marc Brew and Claire Cunningham." Thesis, Coventry University, 2014. http://curve.coventry.ac.uk/open/items/49662a71-d15a-48a7-a817-7bae88d03a9b/1.

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This thesis offers critical exploration of the intersection of four elements within the historical space, or field, of UK theatre dance between 2007 and 2012: disability, impairment, dance and artistry. It addresses four questions: What is disability? What is disability in relation to dance? What supports the entry of a disabled dance artist into the field of professional dance in the twenty-first century? How can we approach a critical analysis of the works they create? At the centre of the thesis are case studies of three self-described disabled dance artists, performers and choreographers: Caroline Bowditch, Marc Brew, and Claire Cunningham. The studies attend to the form and content of their creative work, the structures of the dance field in which they practice as artists, and their personal and career trajectories. The studies are both situated by and situate earlier chapters addressing constructions of disability, cultural representations of disability and the emerging field of Disability Arts. They demonstrate that disability, in dance as in other fields, concerns attitudes, arrangements and structures that disable participation. These are attitudes fed by imaginings around the ideal dancing body, and the illusion that variations in bodily form and capabilities are neither normal nor to be expected. I draw on Bourdieu’s concepts of habitus and field to consider the interconnections between structures, external and internalised, that support or limit the disabled artist’s perception of what is possible for them within the professional dance field. Using Cameron’s affirmative model of disability, I argue that when disabled dance artists are freed to use their experiences of living in a disabling world, and to make use of the unique capabilities of their bodies as valid sources for their art, they can and do contribute to the capacity of dance as an art form to explore the full depth and range of human experience.
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3

Swinford, Rachel R. "Adapted dance - connecting mind, body and soul." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3610166.

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Using Heideggerian interpretive phenomenology, this study illuminates the lived experience of an adapted dance program for individuals with Down syndrome and their family members. The overall pattern from both dancers and family members was adapted dance: connecting mind, body and soul. The primary theme from dancer interpretations was expressing a mosaic of positive experiences, and the primary theme from family member interpretations was experiencing pride in their loved ones. The dance program provided dancers an opportunity to express their authentic self while experiencing moments of full embodiment in the connection of their mind, body and soul. While dancers experienced the connection of mind-body-soul, family members recognized the importance of this connection in their loved one. This research is instrumental in advocating for opportunities for individuals with Down syndrome to experience dance as a social, physical and intellectual activity that results in learning and increasing social interactions. The research findings from this study can support future initiatives for dance programs that may influence a population that has limited access to physical activity and dance. The study's teaching strategies, dance activities, class procedures and sequences, and feedback techniques can be used by other professionals who teach individuals with intellectual disabilities.

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4

Poškutė, Kristina. "Kūno socialiniai atspindžiai šiuolaikiniame šokyje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130613_163227-35511.

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Šiuolaikinė vartotojiška visuomenė žmogaus kūną akcentuoja, kaip ženklą, kuris gali reprezentuoti rasę, lytį, amžių, socialinį statusą ar vaidmenį, o kūno kalba – emocijas ir jausmus. Visuomenę galima analizuoti remiantis lyčių diskursu, turtingu socialinių, politinių ir kultūrinių procesų, formuojančių lyčių identitetą, stereotipus ir idealus. Vykstant XX a. socialiniams pokyčiams, keitėsi moters vaidmuo ir požiūris į ją. Lygiagrečiai kito ir vyro tapatumas. Kai kurios socialinės subkultūros istorijoje ir moksluose ilgą laiką nebuvo išryškintos ir nagrinėjamos. Tai – marginalinės (homoseksualai – gėjai ir lesbietės bei neįgalieji) grupės. Jos dažnai jautė savos visuomenės ignoravimą, diskriminaciją ir agresiją. Feministinis judėjimas XX a. antrojoje pusėje paspartino įvairius sociumo pokyčius visame pasaulyje. Tuo pačiu metu atsirado ir šiuolaikinis šokis – sudėtingas reiškinys mene. Tyrėjai nenubrėžia aiškios jo pradžios ar pabaigos, jame persipina įvairios šokio technikos, o šokėjai išlaisvinami iš griežtos judesio abėcėlės. Šiuolaikiniame šokyje pateikiama ir kvestionuojama tradicinė (moters ir vyro) ir marginalinė (homoseksualų ir neįgaliųjų) kūno raiška paskatino analizuoti šiuolaikinį šokį socialiniame ir kultūriniame kontekste. Diplominio darbo objektas yra kūno socialiniai atspindžiai šiuolaikiniame šokyje: tradiciniai (moters ir vyro) ir marginaliniai (homoseksualų ir neįgaliųjų). Darbo objekto laukas – Europos ir Lietuvos šiuolaikinio šokio spektakliai, sukurti per... [toliau žr. visą tekstą]
A contemporary consuming society emphasizes a human body as a sign that represents a race, gender, age, social status or role and a body language that highlights emotions and feelings. A society could be analysed on the basis of a gender discourse. It is rich with social, political and cultural processes shaping gender identities, stereotypes and ideals. Changes in the 20th century influenced the alterations in a woman’s roles ant attitudes towards her. A man’s identity was changing as well. Some social subcultures have not been defined and analysed in history or in science. These subcultures are considered to be marginal groups: gays, lesbians and disabled. Very often they felt the ignorance, discrimination and aggression. In the second half of the 20th century the feminist movement speeded social changes all over the world. At that time a contemporary dance appeared as a complex phenomenon in art. Researchers do not outline its clear beginning or the end. It is a mix of various techniques and dancers are free from a strict movement alphabet. Representation and questioning of traditional (a woman and a man) and marginal (homosexuals and disabled) reflections of a body in a contemporary dance influenced the analysis of a contemporary dance in the social and cultural context. The subject of a diploma paper is the body’s social reflections in a contemporary dance: traditional (a woman and a man) and marginal (homosexuals and disabled). The field of the subject is European and... [to full text]
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5

Townley-Cochran, Donna. "Dance: a Training Package Utilizing Videotaped Self-observation to Teach Parents to Enhance Social Interactions with Children At-risk for a Developmental Delay." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500215/.

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Previous research has demonstrated the effectiveness of programs that include a videotaped self-observation component. The self-observation protocols, however, have not been clearly specified within programs that teach and report parents’ use of general teaching strategies. The current study investigates the effects of a training package with a self-observation component to teach parents to improve teaching interactions with their children at-risk for a developmental delay using an AB design replicated across participants. Data were collected across play interactions to assess the number of parent teaching episodes, child target responses, and various parent and child relationship qualities. Relationship quality measures included parent and child affect and engagement, parent directives, parent confidence and stress, and parent and child interest. The results of this study suggest that the training package was effective in that parents engaged in higher rates of teaching, their children engaged in more desired responding, and certain aspects of the parent-child interaction were enhanced. These results are discussed in terms of the effects on the parent-child teaching interaction and implications for future use of parent self-observation techniques.
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6

Paula, Otávio Rodrigues de. "Intensidade de esforço na competição de dança esportiva em cadeira de rodas." Universidade Federal de Juiz de Fora (UFJF), 2010. https://repositorio.ufjf.br/jspui/handle/ufjf/2716.

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Анотація:
Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-04T18:26:19Z No. of bitstreams: 1 otaviorodriguesdepaula.pdf: 426345 bytes, checksum: 18130a964ae3eb108408c82a90006fbb (MD5)
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Made available in DSpace on 2016-10-05T10:52:25Z (GMT). No. of bitstreams: 1 otaviorodriguesdepaula.pdf: 426345 bytes, checksum: 18130a964ae3eb108408c82a90006fbb (MD5) Previous issue date: 2010-03-05
A Dança Esportiva em Cadeira de Rodas (DECR) é uma modalidade esportiva adaptada da dança de salão praticada no Brasil desde 2001, porém, não há estudos que abordem as respostas fisiológicas ao esforço que os atletas/dançarinos se submetem numa competição de DECR. Objetivos: descrever os valores de freqüência cardíaca (FC) e os níveis das concentrações de lactato [La] sanguíneo, verificar o comportamento da curva da freqüência cardíaca dos dançarinos cadeirantes durante uma competição de DECR, comparar a carga física entre as rodadas e a resposta cardíaca específica entre as danças Samba, Rumba e Jive. E por último, comparar a FCMpico (freqüência cardíaca máxima de pico) obtida pelos atletas na competição, frente a FCMcal (freqüência cardíaca máxima calculada) prevista para a idade. Métodos: Participaram deste estudo 9 (nove) atletas cadeirantes com deficiência (quatro com lesão medular, três com seqüela de poliomielite e um com espinha bífida), sendo quatro homens e cinco mulheres, com média de 34,6±10,5 anos de idade, 53,7±9 kg de massa corporal, 4,1±2,4 anos de prática e que competiram durante o VII Campeonato Brasileiro de DECR. Para o registro da FC utilizou-se o conjunto de cardiofrequencímetros durante toda a competição, já para a medidas das [La] foram realizadas cinco a representação gráfica da curva da FC demonstrou-se compatível com atividade física intermitente, a média da carga física das rodadas foi de 89,9%FCpico não havendo diferença significativa entre as mesmas. Em relação aos estilos de dança, houve diferença significativa de intensidade, sendo o Jive mais intenso (p≥0,05) do que o Samba e a Rumba não havendo diferença entre essas duas. A média da FCMpico (189 bpm) foi maior (p≥0,05) do que a média da FCMcal (165,3 bpm). Em relação aos níveis de [La] a maioria dos atletas avaliados atingiu valores de pico entre 4,2 e 6,2 mM. Conclusão: a DECR é uma modalidade com características intermitentes, a média de intensidade durante as rodadas é compatível com uma atividade de alta intensidade e muito provavelmente os atletas atingem a FCM durante a competição.
The Wheelchair Sport Dance (WSD) it is an adapted sport modality of the ballroom dance practiced in Brazil since 2001, however, no there are studies that approach the physiologic answers to the effort that the athletes/dancers submit in a competition of WSD. Purpose: to describe the values of heart rate (HR) and the levels of the lactate concentrations [La] sanguine, to verify the behavior of the curve of the HR of the dancers wheelchairs during a competition of WSD, to compare the physical load between the rounds and the specific heart answer among the dances Samba, Rumba and Jive. It is last, to compare HRpeak (heart rate peak maxim) obtained by the athletes in the competition, front HRMcal (maximum heart rate calculated) foreseen for the age. Methods: They participated in this study 9 (nine) athletes wheelchairs with disabled (four with spinal cord injury, three with poliomyelitis sequel and one with bifid spine), being four men and five women, with average 34,6±10,5 years , 53,7±9 kg of body mass, 4,1±2,4 years of practice and that competed during the VII Brazilian Championship of WSD. For the registration of HR the Polar Team Systeam was used during all the competition, already for to measured of the [La] five were accomplished. The graphic representation of the curve of HR was demonstrated compatible with intermittent physical activity, the average of the physical load of the rounds was of 89,9%HRpeak not having significant difference among the same ones. In relation to the dance styles, there was significant difference of intensity, being most intense Jive than the Samba and the Rumba not having difference among those two. The average of HRMpeak (189 bpm) it was larger (p?0,05) than the average of HRMcal (165,3 bpm). In relation to the levels of [La] most of the appraised athletes reached pick values between 4,2 and 6,2 mM. Conclusion: WSD is a modality with intermittent characteristics, the average intensity during the rounds is compatible with an activity of high intensity and very probably the athletes reach HRMduring the competition.
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McLaren, Coralee. "Dancing-bodies-moving-Spaces: An Ethnography of Disabled and Non-disabled Children's Movement in a Kindergarten Classroom." Thesis, 2014. http://hdl.handle.net/1807/65705.

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Contemporary neuroscientific evidence indicates that unrestricted movement and gesture enhance children’s physical, social and cognitive development by engaging them with the external properties of their environments. Current understanding of children’s engagement with indoor environments is limited. This knowledge gap matters because children’s health, social abilities and cognitive development may be compromised in physical environments that inhibit rather than enhance their movement capacities. This gap is especially problematic for physically disabled children because their motor impairments, exclusionary societal attitudes, safety concerns and environmental barriers curtail their movement. In this study, I describe and interpret the relationship between disabled and non-disabled children’s movement and a kindergarten classroom. Their bodies were conceptualized according to Deleuze’s premise that nothing can be known about bodies until they demonstrate what they can do (1988). The classroom was conceptualized according to Gibson’s theory of affordances, which posits that people and environments are inextricably related (1979). I used a choreographic perspective underpinned by Manning’s philosophy of relational movement (2009) to accentuate the dynamic reciprocity between children’s bodies and the classroom. Eight disabled and 12 non-disabled children participated in this interdisciplinary, ethnographic study. Data were elicited through observations, video recordings and semi-structured interviews. I developed a taxonomy of indoor affordances or ‘compositional elements’ to categorize classroom objects/features that children discovered and actualized through their movement interactions. Subsequently, I observed a dance-in-the-making that led to deeper understandings of the relational and emergent properties of these interactions. Findings suggest that assemblages of bodies, objects and features trigger dynamic movement, and indicate that disabled and non-disabled children alike discover and creatively assemble affordances to facilitate their movement. Overall, my findings recast children’s body-environment interactions and contribute to understandings about environmental features that enhance or inhibit movement capacities. This knowledge could be used to design i) learning environments that are redolent of movement possibilities, ii) interventions to enhance children’s physical, social and cognitive capacities, and iii) education and rehabilitation strategies that encourage them to explore, navigate and shape their environments.
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HUANG, YU-CHING, and 黄鈺卿. "The Curriculum Design For A Study Of The Mentally Disabled Students For Their Participation In National Student Dance Competition." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/4pwe44.

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碩士
國立臺灣體育運動大學
舞蹈學系碩士班
106
This study was based on the dancing teaching curriculum opened for the participation of national student’s dancing competition. In this study, an attempt has been made to apply Piaget’s cognitive development theory and Bandura’s social learning theory from educational psychology to the teaching of dancing; meanwhile, the influence of the teaching content on mentally retarded students and their learning history were also investigated. Moreover, students in the dancing group of certain special education school were taken as the research target, and teaching content of eight classes for a period of eight weeks was implemented. The research objectives were as follows: First, Piaget’s “cognitive development theory” and Bandura’s “social learning theory” was applied in teaching curriculum to enhance student’s action comprehension power and memorizing power. Secondly, was investigated the learning course and result of the mentally disabled students in the process of participating dancing competition training. Finally, teacher’s teaching course for that student’s participation in the dancing competition curriculum was understood. From the research analysis, it was found that after the application of teaching method using Piaget’s “cognitive development theory” and Bandura’s “social learning theory”, the comprehension action and memorizing power of the research target was enhanced. Meanwhile, their self-confidence was improved and change in positive development. Through the action research course, professional competence that was needed by the researchers in dancing teaching and special education can be greatly enhanced.
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Книги з теми "Disabled dance"

1

Matarasso, François. Making space: Disabled people and South Asian dance. Nottingham: East Midlands Shape/ADiTi, 1994.

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2

Williams, Dafydd Huw Wyn. The arts: The values and the creative provision for the disabled adult in Cardiff:BA(Hons) Human Movement Studies dissertation. Cardiff: SGIHE, 1987.

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3

Klein, Bonnie. Slow dance: A story of stroke, love & disability. Toronto: Alfred A. Knopf Canada, 1996.

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4

K, Feldman Arlene, and Mikus Karen C, eds. Parents and professionals partnering for children with disabilities: A dance that matters. Thousand Oaks: Corwin Press, 2012.

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5

Gillespie-Sells, K. She dances to different drums: Research into disabled women's sexuality. London: King's Fund, 1998.

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6

Kennedy, Dan W. Special recreation: Opportunities for persons with disabilities. 2nd ed. Dubuque, Iowa: Wm. C. Brown Pub., 1991.

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7

Gaag, Anna Van der. Communication and adults with learning disabilities: New map of an old country. London: Whurr, 1993.

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8

Benjamin, Adam. Making an Entrance: Theory and Practice for Disabled and Non-Disabled Dancers. Taylor & Francis Group, 2013.

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9

Benjamin, Adam. Making an Entrance: Theory and Practice for Disabled and Non-Disabled Dancers. Taylor & Francis Group, 2013.

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10

Kuppers, Petra. Dancing Disabled. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.55.

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This chapter provides ways of linking phenomenology, feminist analysis, embodiment in dance, and corporeal representational politics. It engages Iris Marion Young’s argument about “Throwing Like a Girl,” addressing the pervasive structure at the heart of the meaning of femininity: the “disabling” object/subject bind that throws woman out of agency, and into the image. Using Young, Simone de Beauvoir, and Maurice Merleau Ponty as historical touchstones, the chapter shows how this agency/object bracket is at work in disability representation, and how examples of contemporary dance practice can fruitfully destabilize this scene. Dancers discussed include Gerda Koenig, a German dance artist and choreographer of DIN A 13, and Bill Shannon, a US dance artist.
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Частини книг з теми "Disabled dance"

1

Kuppers, Petra. "Disabled Dance and Dancerly Bodies." In Studying Disability Arts and Culture, 114–29. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-41344-4_8.

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2

Davidson, Michael. ""how to dance / sitting down"." In Edition Kulturwissenschaft, 73–96. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839462836-007.

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The topic of aging has been somewhat overlooked in disability studies, perhaps owing to the adage that "everyone is disabled if they live long enough." If the life course is simply a state of debility, why create a distinct category for bodily and sensory impairment? Disability in old age, I argue, is not a mark of precarity but of capability. The work of writers and artists who continue to experiment formally while becoming increasingly disabled in later years (Beethoven, Henry James, Merce Cunningham) offers an opportunity to complicate " late style" as developed by Theodor Adorno and Edward Said and account for the role of complex embodiment in the production of new work. Finally, I consider Samuel Beckett, whose characters are often aging and disabled and for whom bodily and sensory decline are central to their ability to "go on."
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Christensen-Strynø, Maria Bee, Louise Phillips, and Lisbeth Frølunde. "Disability as dialogue." In Dialogue Studies, 67–87. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/ds.33.04chr.

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This chapter takes a view of disability as embodied knowing. This knowing formed the basis for a collaborative research process between dancers with Parkinson’s disease, dance practitioners and university researchers. Drawing on dialogic communication theory and critical disability studies, we develop a dialogic and discursive theorization of embodied knowing by centering on the productive particularities of disabled embodiment in and about Parkinson’s dance as important forms and sites of knowledge production. The analysis focuses on data from dance sessions and discussion panels in a dance and research symposium in which disability is examined and thematized in terms of productive ways of knowing. By displaying critical insights into dialogic enactments and articulations of embodied knowing, the analysis shows how a framing of disability as dialogue enriches our understanding of particular marginalized forms of embodiment in and about dance.
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Lee, Heunjung. "Dancing Relational Bodyhood." In Edition Kulturwissenschaft, 97–124. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839462836-008.

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In contrast to the idea of disability-free aging as 'positive' and 'successful' aging, ill, impaired, older persons who are 'dependent' (physically, socially, economically) are often devalued and stigmatized in ageist and ableist societies. Tracing the extraordinary life course and artistic practices of Tuuli Helkky Helle (1933-2018), an older Finnish dancer who lived with cerebral palsy, this paper highlights how she reclaimed 'dependency' as a positive term and visualized the beauty and power of the interconnected, interrelated, and caring relationships in her arts and life. From her 60s until her 80s, as an artist and activist, she participated in various dance pieces, radical nude photography series, and activist performances for older adults with disabilities. This article is the first academic article that documents her remarkable works and examines her dancing body. Drawing on the theoretical perspective of Ann Cooper Bright (2017; 2019) about gravity, interconnectedness, and disabled and aged bodies and Pia Kontos's notion of "relational citizenship" (2017), this paper illuminates the alternative danceability of the aged-disabled body.
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Harmon, Shawn, Charlotte Waelde, and Sarah Whatley. "Disabled Dance:." In Dance, Disability and Law, 13–46. Intellect Books, 2018. http://dx.doi.org/10.2307/j.ctv36xvhmg.5.

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Harmon, Shawn. "Disabled Dancers: Agents of Change?" In Dance, Disability and Law, 373–76. Intellect Books, 2018. http://dx.doi.org/10.2307/j.ctv36xvhmg.34.

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Cunningham, Claire. "The (Disabled) Artist Is Present." In Dance, Disability and Law, 271–92. Intellect Books, 2018. http://dx.doi.org/10.2307/j.ctv36xvhmg.23.

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Harmon, Shawn. "A Wider Significance for a Philosophy of Disabled Dance?" In Dance, Disability and Law, 265–68. Intellect Books, 2018. http://dx.doi.org/10.2307/j.ctv36xvhmg.22.

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9

Hadley, Bree. "Disability, Disabled Dance Audiences and the Dilemma of Neuroaesthetic Approaches to Perception and Interpretation." In Dance, Disability and Law, 293–316. Intellect Books, 2018. http://dx.doi.org/10.2307/j.ctv36xvhmg.24.

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Matos, Lúcia. "Cartografando espaços fronteiriços: a produção da dança inclusiva (Disabled Dance) no Brasil." In Dança e diferença: cartografia de múltiplos corpos, 63–82. 2nd ed. EDUFBA, 2014. http://dx.doi.org/10.7476/9788523218164.0005.

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