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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.
Повний текст джерелаАнотація:
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.
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.
Повний текст джерелаАнотація:
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.
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.
Повний текст джерелаАнотація:
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.
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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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.
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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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.
10
Kuppers, Petra. "Crip/Mad Archive Dances." Theater 52, no. 2 (May 1, 2022): 67–77. http://dx.doi.org/10.1215/01610775-9662255.
Повний текст джерелаАнотація:
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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Samuel, Gerard M. "Eclipsed on Centre Stage: The (Dis)Abled Body." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 1–6. http://dx.doi.org/10.1017/s2049125500000832.
Повний текст джерелаАнотація:
In working with children with special educational needs both in South Africa and in Denmark, I continue to reflect upon who should dance and how to train dancers who are differently abled. The label of “other” dancer profoundly challenges the notion of “ideal dancing bodies” as “cultures collide.” This paper sets out to engage with the notions of “disability arts” by suggesting some working definitions for this loaded term and provides an examination within the South African context of the multiculturalism of the disabled community, which could be seen as a cultural grouping in and of itself.
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Koch, Jürg. "Workshop: Ready, Set, Unset." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 254–65. http://dx.doi.org/10.1017/s2049125500001187.
Повний текст джерелаАнотація:
“Diversity” is a buzzword in higher education. Over the past twenty-five years dance companies integrating disabled and nondisabled performers have developed methodologies effective in workshop and company training. Transferring these methods into mainstream teaching, providing a comprehensive training and education, proves both difficult and problematic. This workshop provides an insight into the research and practice based on the presenter's experience in integrated dance. Central to the research is to move integrated dance beyond adaptation, developing a skill-specific curriculum and applying methodologies, class structure, and material relevant to all participants consistent with main principles of universal design of instruction.
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Fernandez, Stephen. "“Ich Bin Ein Schauspieler”: Making Crip Performance in Toronto with Theater HORA’s Disabled Theater." Canadian Journal of Disability Studies 7, no. 3 (November 26, 2018): 1–30. http://dx.doi.org/10.15353/cjds.v7i3.449.
Повний текст джерелаАнотація:
This paper attends to the making of crip performance in the 2015 production of Disabled Theater in Toronto, where eleven performers with intellectual and physical disabilities took to the stage to perform a series of dance solos set to popular music. The performance was directed by the French choreographer Jérôme Bel and produced by the Zurich-based Theater HORA, a professional theatre company that is fully comprised of performers with disabilities. As an experienced choreographer, Bel is portrayed in the performance program as the “brains” behind Disabled Theater. It seems as though the performers were simply executing Bel’s artistic ideas through the embodied materiality of their dance performances. As such, the performers’ desire to be seen as proper artists exists amid the specter of an ableist ideology in “normative” culture that could potentially influence the audience members’ interpretation of their dance solos. Drawing on the work of Rosemarie Garland-Thomson, Carrie Sandahl, and Robert McRuer on the intersection of disability and performance, as well as the Italian dramaturge Eugenio Barba’s concept of the “pre-expressive state” of the actor’s body, I argue that the inclusion of persons with disabilities who confidently describe themselves as “actors” through the German phrase, “Ich Bin Ein Schauspieler”, unfolds the possibility of crip performance in Disabled Theater, which, unlike an ableist conception of performance, acknowledges disability as a reality that is constitutive of everyday life. Through crip performance, persons with disabilities do not need to downplay their disability in order to be publicly acknowledged as artists.
14
Hermans, Carolien. "Differences in Itself: Redefining Disability through Dance." Social Inclusion 4, no. 4 (November 10, 2016): 160–67. http://dx.doi.org/10.17645/si.v4i4.699.
Повний текст джерелаАнотація:
This paper brings together two different terms: dance and disability. This encounter between dance and disability might be seen as an unusual, even conflicting, one since dance is traditionally dominated by aesthetic virtuosity and perfect, idealized bodies which are under optimized bodily control. However, recently there has been a growing desire within dance communities and professional dance companies to challenge binary thinking (beautiful-ugly, perfect-imperfect, valid-invalid, success-failure) by incorporating an aesthetic of difference. The traditional focus of dance on appearance (shape, technique, virtuosity) is replaced by a focus on how movement is connected to a sense of self. This notion of the subjective body not only applies to the dancer's body but also to disabled bodies. Instead of thinking of a body as a thing, an object (Körper) that is defined by its physical appearance, dance is more and more seduced by the body as we sense it, feel it and live it (Leib). This conceptual shift in dance is illustrated by a theoretical analysis of <em>The Cost of Living</em>, a dance film produced by DV8.
15
Oh, Hyun-Ju. "A Study on Personality Education through Arts-integrated Dance Activities for Children with Disabilities." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 6 (March 31, 2023): 177–94. http://dx.doi.org/10.22251/jlcci.2023.23.6.177.
Повний текст джерелаАнотація:
Objectives This study aims to explore how personality education is practiced in arts-integrated dance activities for children with disabilities and how it affects the personality of children with disabilities. Methods To this end, 15 rounds of personality education through art integrated dance activities were provided for a total of 6 people with disabilities, 1 class facilitator and 1 volunteer once a week at the Bitna Disabled Welfare Center over the period between August 6, 2021 and November 30, 2021. Class journals, in-depth interviews, and expert meetings were employed to collect data, and case analysis and inductive category analysis were conducted for data analysis. Results The personality aspect of art-integrated dance activities had a major impact on children with disabilities in two aspects. First, it was found to have an effect on the good heart and bright expression of benvolence and propriety (harmony and harmony, intimacy and group bond, joy), and second, to have an impact on the wonderful behavior and good attitude of righteousness and wisdom (promise, concentration, praise, courage, creativity). Conclusions Children with disabilities had many difficulties because they lacked the ability to accept and understand other people's emotions, responsibility, and attention. However, as they experienced arts- integrated dance activities, they clearly discovered themselves, and learned about good minds such as communication and empathy, bright expressions, wonderful behaviors, and good attitudes. Children with disabilities can grow into good people through the personality contained in art integrated dance activities, and they can feel the joy of being with others as members of society. Therefore, arts- integrated dance activities will foster personality, personality education will be conducted through arts, and it will help achieve all purposes for the growth of disabled children.
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Morris, Merry L. "Mobile Bodies: Reimagining Design Through a Dance Lens." Technology & Innovation 21, no. 1 (October 31, 2019): 29–41. http://dx.doi.org/10.21300/21.1.2019.29.
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This article delves into the ways in which dance practice revises traditional approaches to assistive technology design, adding a productive dimension to current momentum in the design field at large. Based upon research with dancers who have disabilities that was approved by an Institutional Review Board, as well as practice-based research, the author examines the art of dance as a catalyst for reframing design thinking for assistive technology. Specifically, attention is drawn to the interpersonal and embodied facets of assistive technology. This research-based analysis expands the creative landscape in design thinking through attending to the disabled dancing body while carving an innovative space for dialogic intersections between the fields of dance, disability, and assistive technology design.
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배주옥. "Analysis on the Research Trend of Dance for Disabled People." Journal of Korean Dance 32, no. 2 (August 2014): 129–48. http://dx.doi.org/10.15726/jkd.2014.32.2.006.
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Han yu jin, Jo Hang Hin, Park, Hye Jin, Youngmi Kim, Lee yu na, and Hwang Chan yong. "Analysis of Research Trend on Dance Education for the Disabled." Korean Journal of Dance 18, no. 1 (April 2018): 25–32. http://dx.doi.org/10.26743/kaod.2018.18.1.003.
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Xie, Yurui, Giulia Barbareschi, Ayesha Nabila, Kai Kunze, and Masa Inakage. "Movement Quality Visualization for Wheelchair Dance." Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, no. 2 (August 12, 2023): 1–12. http://dx.doi.org/10.1145/3597628.
Повний текст джерелаАнотація:
Wheelchair dance is an important form of disability art that is still subject to significant levels of ableism and art exclusion. Wheelchair dancers face challenges finding teachers and choreographers who can accommodate their needs, documenting and sharing choreographies that suit their body shapes and their assistive technologies. In turn, this hinders their ability to share creative expressions. Accessible resources and communication tools could help address these challenges. The goal of this research is the development of a visualization system grounded on Laban Movement Analysis (LMA) that notates movement quality while opening new horizons on perceptions of disabled bodies and the artistic legitimacy of wheelchair dance. The system uses video to identify the body landmarks of the dancer and wheelchair and extracts key features to create visualizations of expressive qualities from LMA basic effort. The current evaluation includes a pilot study with the general public and an online questionnaire targeting professionals to gain feedback supporting practical implementation and real-world deployment. Results from the general public evaluation showed that the visualization was effective in conveying basic effort movement qualities even to a novice audience. Expert consulted via questionnaire stated that the tool could be employed for reflective evaluation, as well as performance augmentation. The LMA visualization tool can support the artistic legitimization of wheelchair dancing through education, communication, performance, and documentation.
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Valentini, Manuela, Laura Teloni, and Anna Prokopiak. "Play and dance therapy: a review of theories, techniques and didactic methodologies for the motor recovery of children with disabilities." F1000Research 12 (July 25, 2023): 878. http://dx.doi.org/10.12688/f1000research.133918.1.
Повний текст джерелаАнотація:
Background: This research is aimed at analysing the effectiveness of play activities and dance-therapy programmes in improving the psycho-physical condition and increasing the well-being of individuals with disabilities. Methods: Online search engines (e.g., EBSCOhost, PubMed, the American Journal of Dance) were consulted using parameters such as "physical disabilities" or "dance with music" or "childhood" and excluding protocols published before 2010. Eleven intervention protocols were analysed. These concerned play and dance-therapy courses targeted at disabled subjects under 14 years of age. Results: It was found that at the end of the play sessions, higher muscular activation and improvement of quality of communication exchanges with the family members was found. With regard to the dance-therapy protocols, improvement was reported in general coordination, balance ability and a decrease in maladaptive behaviour in children with disabilities. Conclusions: With the improvement in physical performance, an increase in the subjects' state of well-being is also noted, underlining a strong body-mind connection. For future studies, it is recommended that the number of participants in individual studies should be larger and to include a control group to make the results generalisable on a large scale.
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Wielgosz, Justyna, Dariusz Boguszewski, and Dariusz Białoszewski. "Assessment of physical activity and health-related behaviours of disabled dancers." Polish Journal of Sports Medicine 39, no. 3 (September 30, 2023): 105–11. http://dx.doi.org/10.5604/01.3001.0053.8766.
Повний текст джерелаАнотація:
Background. Disabled sport is coming one of the method of physical, mental and social rehabilitation. The main objective of the study was to assess physical activity and selected health behaviours of disabled people training in para dance.Material and methods. Twenty-five people took part in the study, aged 9-27 years old. The subjects were divided into two groups. Group 1 included people with at least two years of training experience, who train systematically throughout the year and participate in competitions. On the other hand, people with less training experience or who do not have the opportunity to systematically participate in dance training were assigned to Group 2. The survey included the following questionnaires: Modified International Physical Activity Questionnaire (IPAQ), Juczyński’s Health-Related Behaviour Inventory (HRBI) and the author’s questionnaire.Results. The dancers’ health behaviours assessed using HRBI showed no statistically significant differences between the two groups. Overall physical activity measured by IPAQ is significant higher in professionally dancers (p<0.05). Analysis of the results of the each categories of IPAQ showed slight differences between the study groups. Conclusions. Participation in dance training had an impact on the health-related behaviour of people with disabilities. Dancers practising athletically and recreationally were paying attention to a healthy lifestyle.
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Van Goidsenhoven, Leni, Jonas Rutgeerts, and Carrie Sandahl. "Differing bodyminds: Cripping choreography." Choreographic Practices 13, no. 2 (December 1, 2022): 197–202. http://dx.doi.org/10.1386/chor_00051_7.
Повний текст джерелаАнотація:
In this position paper we start to articulate what crip theory can open up for choreography and dance. Crip theory is a critical perspective that analyses, exposes and critiques systems of normalcy in representation and social practices as well as a framework for imagining alternatives based on disabled ways of being in the world. The term crip, short-hand for the derogatory term ‘cripple’, is a re-appropriation by disabled individuals and communities, an act of pride, a demand for inclusion in mainstream life, and, paradoxically, a defiant occupation of the margins. ‘Crip theory and choreography’ was also the topic of a symposium and doctoral school we organized in Belgium in the spring of 2022. The aim of that event was to adopt the contemporary performing arts as a realm for our theorizing in embodied and experiential forms of knowledge-making in research and art practice. Over the course of the symposium and doctoral school, we explored how ‘crip dance’ might produce difference not as a divergence from the norm, but rather as a constant process of differing that opens up multiple ways of relating to body, mind and movement. Inspired by our explorations and encounters during the event, we are guest editing a Special Issue of Choreographic Practices. What we would like to contribute to conversations already happening in this journal is extended exploration of how disability studies and its unruly offspring, crip theory, not only critique the ableist structures that define mainstream dance, but offer alternative possibilities created by non-normative bodyminds.
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Bachman, Jan E., and David Sluyter. "Reducing inappropriate behaviors of developmentally disabled adults using antecedent aerobic dance exercises." Research in Developmental Disabilities 9, no. 1 (1988): 73–83. http://dx.doi.org/10.1016/0891-4222(88)90021-2.
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Frazee, Catherine. "Disability Pride within Disability Performance." Canadian Theatre Review 122 (March 2005): 10–12. http://dx.doi.org/10.3138/ctr.122.002.
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It moves us, impassions us, emboldens us. Disability art – for many of us, the stuff and business of our everyday and particular lives. Far beyond offering simple entertainment – performance, song and dance – disabled artists and creators push back the demons of shame and humiliation, wrench the cameras away from the distorting angles of mainstream media and bite a goodly chunk or two out of the benevolent hand of charity.
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홍애령. "Reexploring the concept and the value of disabled dance for the enjoyment of culture & art of disabled people." Journal of Cultural Policy 29, no. 1 (January 2015): 78–103. http://dx.doi.org/10.16937/jcp.29.1.201501.78.
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Baek, Seungho, and Miyoung Kim. "A Study on the Effectiveness of Dance/Movement Therapy Group Counseling Program for the Non-disabled Siblings of Disabled Children." Journal of Dance Society for Documentation & History 62 (September 30, 2021): 57–90. http://dx.doi.org/10.26861/sddh.2021.62.57.
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Oh, Hyun-Ju. "The Educational Effect of the Integrated Dance Education Program for Intellectually Disabled Children." Korean Association For Learner-Centered Curriculum And Instruction 20, no. 15 (August 1, 2020): 631–52. http://dx.doi.org/10.22251/jlcci.2020.20.15.631.
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김보라, jihyun lee, and CHO JUNGHO. "Effects of a Dance Activity Program on the Depression Symptom in Disabled College Students." Official Journal of the Koeran Society of Dance Science 30, no. 2 (July 2013): 115–28. http://dx.doi.org/10.21539/ksds.2013.30.2.115.
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Durham-Wall, Meghan. "What are you looking at?: Staring down notions of the disabled body in dance." Choreographic Practices 6, no. 1 (April 1, 2015): 25–40. http://dx.doi.org/10.1386/chor.6.1.25_1.
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Nagrani, Menka. "Raising the Bar in Disability Arts." Canadian Journal of Disability Studies 10, no. 2 (October 8, 2021): 269–82. http://dx.doi.org/10.15353/cjds.v10i2.802.
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This article discusses my pedagogical approach towards teaching dance, movement, and theatre to artists with cognitive disabilities. I have developed a training method for artists participating in my classes and productions that invites individual creative exploration and professional rigour. My inclusive dance-theatre company, Les Productions des pieds des mains, creates productions that are presented on professional artistic platforms and not limited to the context of disabled art presentations. Our productions are regularly subject to the same selection criteria as would be a non-inclusive company. With this in mind, I aim for excellence. I work towards creating high quality shows while helping artists with a disability push past their perceived limits and surpass themselves. In this article I will share my findings and strategies, perfected throughout my many years of experimentation, explaining how to reach a high-level of quality in inclusive productions, as well as how I help artists with a disability reach a level of quality in their performances which allows them to find gainful employment within the artistic domain.
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Lee, Myung Woo, and Hyun Ok Oh. "A study on the Device to Activate the Disabled People Dance Sports by Importance-Performance Analysis(IPA)." Journal of Sport and Leisure Studies 54 (December 31, 2013): 617–28. http://dx.doi.org/10.51979/kssls.2013.12.54.617.
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Byczkowska-Owczarek, Dominika. "Body and Social Interaction—The Case of Dance. Symbolic Interactionist Perspective." Qualitative Sociology Review 16, no. 4 (October 31, 2020): 164–79. http://dx.doi.org/10.18778/1733-8077.16.4.10.
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The article aims at presenting the symbolic interactionism as a useful and flexible theoretical perspective in research on the human body. It shows the assumptions of symbolic interactionism in their relation to the human body, as well as explains how basic notions of this theoretical perspective are embodied—the self, social role, identity, acting, interacting. I depict the unobvious presence of the body in the classical works of George H. Mead, Anselm Strauss, Howard Becker, Erving Goffman, and in more recent ones, such as Bryan Turner, Ken Plummer, and Loïc Wacquant. I also describe the Polish contribution to the field, including research on disability, hand transplant, the identity of a disabled person, together with the influence of sport, prostitution as work, yoga, climbing, relationships between animals and humans based on gestures and bodily conduct, the socialization of young actors and actresses, non-heteronormative motherhood, and the socialization of children in sport and dance. In a case study based on the research on ballroom dancers, I show how to relate the theoretical requirements of symbolic interactionism with real human “flesh and bones.” I depict three ways of perceiving own bodies by dancers: a material, a tool, a partner; and, two processes their bodies are subjected to: sharpening and polishing a tool. I draw the link between the processual character of the body, of the symbolic interactionist theoretical perspective, and process-focused grounded theory methodology.
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Hewitt, Michelle. "Reflections on Advocating for Age-Appropriate Care in B.C.: An Intricate Dance of Crip Time and Governmental Processes." Canadian Journal of Disability Studies 9, no. 3 (September 26, 2020): 104–19. http://dx.doi.org/10.15353/cjds.v9i3.648.
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What happens when you’re chronically ill and your community supports can no longer care for you at home? In B.C., you go into a long-term care facility, if there are beds available, where the average age of clients is 85. Multiple sclerosis (MS) affects four times more women than men, and many women face these decisions in their thirties and forties. Those who enter long- term care facilities often never leave, and are forced to live in a medicalized environment designed for people twice their age. Advocating for change as a disabled activist requires an intricate dance, weaving in the strands of crip time and the political calendar to achieve change for those who are forced to live in a time that is out of step with their needs and desires.
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Lykkemark, Marie. "Object.Mirror.Tempo." Nordic Journal of Dance 9, no. 2 (December 1, 2018): 52–63. http://dx.doi.org/10.2478/njd-2018-0011.
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Abstract This article is an exploration using practice-based research in which I investigated a question: How can I, as a dance practitioner and facilitator, collaborate with a differently abled person on compositional work? I explored how to be open to various ways of communicating and collaborating, not only as verbally, but also by letting disabled bodies and minds’ expertise communicate in their own ways to allow for questioning and challenging normative perspectives. This research was conducted in Denmark at the participants’ group residence. The institutional context was logistically convenient and served as familiar surroundings for the participants. It also was a foundation on which to explore dance research within other institutional spaces. I collaborated with three participants with disabilities in one-on-one sessions, creating a shared physical practice. Together with each participant, I was curious about finding our common interests within the field of dance, and how we could explore them with our individualised bodily expertise. It later became: The Object practice The Mirror practice The Tempo practice By proposing a quadruple loop structure as the methodological framework, I discuss the findings while taking a hermeneutic phenomenological approach. The empirical data were collected through video documentation of the sessions, observations and interviews. The four central topics of this shared experience entailed an examination and discussion of how to comprehend education, uncovering the validity of bodily feedback, exploring Crip time as a tool to question a normative understanding of time, and acknowledging the importance of showing. To get the full experience while reading this article, the reader is asked to ensure Internet access is available so that they can shift back and forth between the text and video excerpts.
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Kuncoro, Jonet Sri, Eko Supendi, and Eko Supendi. "Penciptaan Tari Anak-anak Disabilitas Kami Tak Berbeda." Acintya Jurnal Penelitian Seni Budaya 12, no. 1 (August 3, 2020): 59–67. http://dx.doi.org/10.33153/acy.v12i1.3148.
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ABSTRACT The dance work entitled "Kami Tak Berbeda” (We Are Not Different) is a dance work specifically for children with disabilities. This work is a development of previous works made by Jonet Sri Kuncoro. In this work combines deaf children, the blind, and physically disabled. This work is supported by three extraordinary schools in Solo Raya, namely SLB Cangakan Karanganyar and SLB B-C Hamong Putro Sukoharjo. This work was created with the approach of developing a pattern of six arising dots cell consisting of three rows with two dots on Braille letters made of 4/4 measure and sign language for the deaf and poetry reading. The peak process of the practice is a dance performance that has a form of performance combining the development of Braille letters pattern with sign language in group choreography supported by musical accompaniment as a power to express the atmosphere. Keywords: Disability, Deaf, Blind, Braille, Sign Language. ABSTRAK Karya tari berjudul “Kami Tak Berbeda” merupakan karya tarian yang dikhususkan untuk anak-anak disabilitas. Karya ini merupakan pengembangan dari karya-karya sebelumnya yang dibuat oleh Jonet Sri Kuncoro. Pada karya ini menggabungkan antara anak-anak tuna rungu, tuna netra, dan tuna daksa. Karya ini di dukung oleh tiga sekolah luar biasa Kota Solo Raya, yaitu SLB Negeri Cangakan Karanganyar, dan SLB B-C Hamong Putro Sukoharjo. Karya ini diciptakan dengan pendekatan pengembangan pola enam sel titik timbul yang terdiri dari tiga baris dengan dua titik pada huruf Braille yang dibuat birama 4/4 dan bahasa isyarat bagi tuna rungu serta pembacaan puisi. Sebagai proses puncak dari latihan adalah pergelaran karya tari yang memiliki bentuk pertunjukan memadukan pengembangan pola huruf Braille dengan bahasa isyarat dalam koreografi kelompok yang didukung oleh iringan musik sebagai daya ungkap suasana. Kata kunci: Disabilitas, Tuna Rungu, Tuna Netra, Braille, Bahasa Isyarat.
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Jang, Sun-Mi. "The Impacts of Self-expression on the Self-efficacy of Intellectually Disabled Children Who Participated in a Art Integration Movement Program." Exercise Science 29, no. 2 (May 31, 2020): 188–94. http://dx.doi.org/10.15857/es.2020.29.2.188.
Повний текст джерелаАнотація:
PURPOSE: The purpose of this study is to analyze how the self-expression of intellectually disabled children participating in movement programs applied at art integration education affects their self-efficacyMETHODS: To investigate the effects of the art-integrated movement program, 20 students with a second-grade intellectual disability were recruited from 1st grade to 4th grade of a special school in B metropolitan city. Ten students that applied for the dance program were assigned the art-integrated movement program, whereas the other students were who did not participate in the dance class but participated in a school program (music, art, and physical education class) were assigned the control group. Each of the classes were consists of 40 minutes sessions per week (two times/week) for a period of 12 weeks. Data were compiled and analyzed by SPSS window program (Ver. 21.0). Additionally, regression analysis was conducted to analyze the effects of self-expression on self-efficacy.RESULTS: Children with intellectual disabilities who participated in the art integration movement program had an impact on their confidence in contents self-expression (t=3.087. <i>p</i><.01) and voice self-expression (t=2.766, <i>p</i><.01). contents self-expression (t=3.940, <i>p</i><.001) affected self-regulating efficacy. and contents self-expression (t=4.057, <i>p</i><.001) had a positive effect on the preference to taskCONCLUSIONS: The movement program that applied art integrated education suggests that self-expression of children with intellectual disabilities is an effective education to increase self-efficacy. A multifaceted study that is practically applicable in the field of special education is needed.
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Jang, Sun-Mi. "The Impacts of Self-expression on the Self-efficacy of Intellectually Disabled Children Who Participated in a Art Integration Movement Program." Exercise Science 29, no. 2 (May 31, 2020): 188–94. http://dx.doi.org/10.15857/ksep.2020.29.2.188.
Повний текст джерелаАнотація:
PURPOSE: The purpose of this study is to analyze how the self-expression of intellectually disabled children participating in movement programs applied at art integration education affects their self-efficacyMETHODS: To investigate the effects of the art-integrated movement program, 20 students with a second-grade intellectual disability were recruited from 1st grade to 4th grade of a special school in B metropolitan city. Ten students that applied for the dance program were assigned the art-integrated movement program, whereas the other students were who did not participate in the dance class but participated in a school program (music, art, and physical education class) were assigned the control group. Each of the classes were consists of 40 minutes sessions per week (two times/week) for a period of 12 weeks. Data were compiled and analyzed by SPSS window program (Ver. 21.0). Additionally, regression analysis was conducted to analyze the effects of self-expression on self-efficacy.RESULTS: Children with intellectual disabilities who participated in the art integration movement program had an impact on their confidence in contents self-expression (t=3.087. <i>p</i><.01) and voice self-expression (t=2.766, <i>p</i><.01). contents self-expression (t=3.940, <i>p</i><.001) affected self-regulating efficacy. and contents self-expression (t=4.057, <i>p</i><.001) had a positive effect on the preference to taskCONCLUSIONS: The movement program that applied art integrated education suggests that self-expression of children with intellectual disabilities is an effective education to increase self-efficacy. A multifaceted study that is practically applicable in the field of special education is needed.
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Darti, Fera Dwi, and Iis Daniati Fatimah. "Upaya Meningkatkan Kemampuan Motorik Kasar Anak melalui Gerakan Tari pada Siswa Kelas V SDLB Negeri Tuban." ELSE (Elementary School Education Journal) : Jurnal Pendidikan dan Pembelajaran Sekolah Dasar 4, no. 1 (February 27, 2020): 103. http://dx.doi.org/10.30651/else.v4i1.4223.
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Abstrak: Tunagrahita diklasifikasikan menjadi tiga berdasarkan tingkat ketunaannya yaitu tunagrahita ringan, tunagrahita sedang, dan tunagrahita berat. Anak tunagrahita ringan disebut juga dengan tunagrahita mampu didik. Pada kategori ini mereka tidak mempunyai perbedaan secara signifikan secara fisik dengan anak normal. Mereka mempunyai keterlambatan dalam intelektual, kekurangan penyesuaian tingkah laku, kurang komunikasi, dan sosialisasi terhadap lingkungan. Dilihat dari konsepnya, secara umum motorik mengacu pada pengertian gerakan. Sedangkan psikomotor merupakan gerakan-gerakan yang dialihkan melalui gerakan-gerakan elektronik dari pusat otot besar. kemampuan motorik kasar anak dapat dilakukan dengan melatih anak untuk meloncat, memanjat, memeras, bersiul, membuat muka ekspresi senang, sedih, gembira, berlari, berjinjit, berdiri di atas satu kaki, berjalan di titian dan sebagainya. Pada kegiatan Tari ini merupakan salah satu alternatif untuk meningkatkan kemampuan motorik kasar anak terutama bagi anak- anak tuna grahita. Setelah diadakan siklus I meningkat menjadi 53% (8 anak), pada siklus II meningkat menjadi 87% (13 anak). Dari aspek keseimbangan gerak tubuh setelah diadakan siklus I meningkat menjadi 33% (5 anak), pada siklus II meningkat menjadi 66% (10 anak). Dari aspek anak dapat mengekspresikan berbagai gerakan setelah diadakan siklus I meningkat menjadi 40% (6 anak), pada siklus II meningkat menjadi 60% (9 anak), dan dari aspek anak mendengarkan musik sesuai dengan gerakan tari. Kata Kunci: Kemampuan Motorik Kasar, Anak Tuna Grahita, TariAbstract: Developmental impairment is classified into three based on the level of disability, namely mild mental retardation, moderate mental retardation, and severe mental retardation. Children with mental retardation are also called mentally retarded. In this category they do not have significant differences physically with normal children. They have intellectual delays, lack of behavior adjustment, lack of communication, and environmental socialization. Judging from the concept, in general motor refers to the notion of movement. Whereas psychomotor is movements that are diverted through electronic movements of large muscle centers. gross motor skills of children can be done by training children to jump, climb, squeeze, whistle, make faces happy, sad, happy, running, standing on tiptoe, standing on one foot, walking on the footbridge and so on. In this dance activity is one alternative to improve the gross motor skills of children, especially for mentally disabled children. After holding the first cycle increased to 53% (8 children), in the second cycle increased to 87% (13 children). From the aspect of bodily balance after the first cycle was held it increased to 33% (5 children), in the second cycle it increased to 66% (10 children). From the aspect of children being able to express various movements after the first cycle was increased to 40% (6 children), in cycle II it increased to 60% (9 children), and from the aspect of children listening to music in accordance with dance movements. Keywords: Gross Motor Skills, Mentally Disabled Children, Dance
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Christensen-Strynø, Maria Bee, and Camilla Bruun Eriksen. "Embodied practices of prosthesis." Kvinder, Køn & Forskning, no. 2 (July 1, 2021): 40–53. http://dx.doi.org/10.7146/kkf.v31i2.127874.
Повний текст джерелаАнотація:
While the prosthesis is often thought of as a technology or an artefact used to ‘fix’ or make ‘whole’ a disabled body, it has also become an important figuration and metaphor for thinking about disabled embodiment as an emblematic manifestation of bodily difference and mobility. Furthermore, the ambiguity and broadness of prosthesis as an object and a concept, as well as its potential as a theoretical and analytical thinking tool, show up in widely different areas of popular culture, art and academic scholarship. In this article, we explore the opportunities of the ways in which prosthesis might be a helpful and productive fi gure in relation to framing, analyzing and understanding certain healthcare-related practices that are not traditionally associated with disability. Our aim is to suggest new ways of building onto the idea of the performative value of the prosthetic fi gure and its logics as a continuum through which very different forms of embodied practices could be meaningfully understood and analyzed. Thus, we argue that the logic of the prosthesis can be helpful in uncovering tensions related to idealistic and dominant ideas about health and embodiment. First, we engage with the theoretical discussions from cultural studies, including critical disability studies, in which we broaden the scope of the concept of prosthesis. Second, we introduce and discuss two illustrative case examples in the form of dance therapeutic practices for people with Parkinson’s disease and group therapeutic practices in male-friendly spaces. In doing so, we seek to raise new questions about the ongoing cultivation of bodily and health-related interventions through the lens of the prosthetic spectrum, which we have labelled embodied practices of prosthesis.
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Загорская, Любовь, Lyubov Zagorskaya, Валерия Назаркина, and Valeriya Nazarkina. "RESEARCHING THE OLDER PEOPLE’S NEEDS FOR SPECIALIZED SERVICES OF THE WELLNESS INDUSTRY IN NOVOSIBIRSK." Services in Russia and abroad 11, no. 4 (July 4, 2017): 156–67. http://dx.doi.org/10.22412/1995-042x-11-4-13.
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The article is devoted to the considering theoretical and practical issues of the wellness industry development in Novosibirsk and the use of its opportunities for organizing leisure time for older people. The authors consider the development tendencies in the wellness industry as way for organizing the leisure of consumers whose physical, psycho-emotional and financial possibilities are lower than active age people. The statistical data cited in the article indicates that the development of services in this sector is rapidly growing, the range of services are expanded, wellness companies are oriented to different groups of consumers: children, pregnant women, disabled people, etc. However, attention is not paid to people of the third age. This research provides mapping the market of services of enterprises and organizations rendering wellness services. In particular, those organizations that provide fitness and dance services are considered. It is these services in the wellness industry that can solve for the elderly at least two tasks at a time - maintaining and strengthening psychosomatic health and creating conditions for versatile communication. The results of mapping show that Novosibirsk has large number of such organizations, however, only two among them (included in the federal fitness network) provide services for the elderly people. The survey of elderly people in Novosibirsk allowed to identify the need for fitness and dance services, and made it possible to determine priorities in time, cost and types of employment in the centers of the wellness industry. Also the authors note that classes for people of this target group should take into account its features and should be conducted by trainers with special education. According to these features specialized programs should be developed, including the use of recreational and service technologies as an alternative to the usual fitness.
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Knappová, Věra, and Gabriela Kavalířová. "Drums Alive® – bubnování na gymnastických míčích jako prostředek rozvoje koordinace." Studia sportiva 7, no. 3 (December 16, 2013): 137–45. http://dx.doi.org/10.5817/sts2013-3-11.
Повний текст джерелаАнотація:
Quality of coordination of movement significantly influences everyday life of a man and creates preconditions for effective acquiring motor skills. Stability, locomotor movement and manipulative movement belong among fundamental motor skills (Doty, McEven, Parker & Laskin, 1999). People with disability are not often able to perform many of them on the same level as their same-age peers without disability. Imperfections in movement coordination can be negatively reflected in quality of their life. On the basis of published knowledge about appropriate movement interventions on development of movement coordination by people without disability we can apply individually adjusted specific movement programs for people with various disabilities. Our paper is focused on use of new specialization of music-movement therapy Drums Alive® (drumming on exercise balls in holders). Drums Alive® joins the dynamic and dance movements with the pulsating rhythms of the drums. It is sensorimotor program, which the author Carrie Ekins designed as combination of drumming activities and targeted movement activity (Ekins, 2012). By means of these activities it is possible to influence the quality and level of motor skills and better movement coordination used primarily in common life of disabled people.
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FAUTLEY, MARTIN, and ALISON DAUBNEY. "Inclusion, music education, and what it might mean." British Journal of Music Education 35, no. 3 (November 2018): 219–21. http://dx.doi.org/10.1017/s0265051718000219.
Повний текст джерелаАнотація:
The issue of inclusion is currently a hot topic in music education both in the UK and elsewhere. There are many discussions about what it means, what it should involve, and how it can be enacted. This is to say nothing of the positive effects inclusion can have on the lives of young people in terms of personal fulfilment, as well as musical participation. For a journal concerned with educational research in music education, as is clearly the case with the BJME, there is, or there should be, more to it, however, than just these simple matters. After all, having children and young people in wheelchairs participating in a musical event is all very well – even if it does not happen often enough - but is this really all we mean by inclusion? And it is this aspect which needs problematisation for music education. After all, having young people who are disabled in some form, visible or invisible, taking part in music education should be something which just happens, we shouldn't need, pardon the phrase, to be making a big song and dance about it!
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Pivtorak, Alexandr N. "An Analysis of the "Wheelchair Dance" Authorial Program for Social and Cultural Rehabilitation of Middle-Aged Disabled People by Means of Ballroom Choreography." Vestnik Tomskogo gosudarstvennogo universiteta, no. 457 (August 1, 2020): 214–20. http://dx.doi.org/10.17223/15617793/457/25.
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Carretti, Giuditta, Daniela Mirandola, Eleonora Sgambati, Mirko Manetti, and Mirca Marini. "Survey on Psychological Well-Being and Quality of Life in Visually Impaired Individuals: Dancesport vs. Other Sound Input-Based Sports." International Journal of Environmental Research and Public Health 19, no. 8 (April 7, 2022): 4438. http://dx.doi.org/10.3390/ijerph19084438.
Повний текст джерелаАнотація:
Sport practice has the widely demonstrated potential of promoting well-being and physical/mental health, especially in disabled individuals. Nowadays, visually impaired people can participate in several sports commonly adapted and played substituting visual input with auditory or tactile ones. By integrating movement and music, dance can simultaneously promote physical and emotional involvement and enhances vicarious sense recruitment. On these premises, we performed a survey to assess the psychological well-being (PWB) and quality of life (QoL) in visually impaired athletes, comparing dancesport vs other sound input-based sports. Twenty-one visually impaired dancers and twenty-seven visually impaired athletes practicing adapted baseball, showdown, blind futsal, or blind tennis completed a structured self-report survey including the Italian version of PWB-18 scale and the Short Form-12 (SF-12) questionnaire. Dancers reported significantly higher scores in PWB-18 autonomy, environmental mastery, and self-acceptance along with a higher PWB total score than the other athlete group. Similarly, the SF-12 questionnaire results demonstrated significantly higher scores in both physical and mental QoL of visually impaired dancers compared with other athletes. In conclusion, our findings suggest that, given its peculiarities, the practice of dancesport may have a stronger positive impact on PWB and QoL of visually impaired individuals than other sound input-based sports.
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Takahashi, Mana. "When the silence breaks a border on stage: A case study of a performance by the disabled dance and performance company the “Shizuoka No-Borders”." Journal of Silence Studies in Education 1, no. 2 (July 10, 2022): 23–32. http://dx.doi.org/10.31763/jsse.v1i2.13.
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This research examines the potential of silence to function as a social action and the significance of the use of silence in art and cultural activities by people with disabilities. While silence can be a powerful tool for social action and communication, the silence created by people with disabilities has different connotations. Such people occasionally have problems with communication and improvisation due to their disabilities, possibly leading to unintentional silence. This research analyses the artwork produced by the dance and performance company the “Shizuoka No-Borders,” whose membership includes people with disabilities. The principal research question is as follows: what messages does the silence created by performers with disabilities in their artwork convey to audiences? This research adopts a variety of approaches but primarily conducts qualitative analysis from an empirical perspective. By exploring the current situation of performers with disabilities in Japan as well as their tangible works and scenes featuring “making silence,” this research uses interviews with performers, choreographers, producers, and related stakeholders in Japan to analyse the impact of silence as social action and offer suggestions concerning the effectiveness of promoting diversity and inclusion in education via silence.
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Louw, Aimee. "Paved Trails and Shampoo Shopping." Canadian Journal of Disability Studies 10, no. 2 (October 8, 2021): 186–203. http://dx.doi.org/10.15353/cjds.v10i2.796.
Повний текст джерелаАнотація:
Poetry is a gentle but relentless coach, a lover, personal benchmark, and record for growth. She shifts beliefs, practices, and emotions, tracking pitfalls, steps back, steps around, stillness, like a smooth laketop or slow-streaming river. In this Research-Creation piece, I develop my version of ‘Crip Poetics’ through autoethnographic methods including video poems and hybrid prose-poetry writing. Drawing on Critical Disability Studies, Indigenous Studies, and Mobility Studies, I bring questions of white supremacy and settler colonialism into conversation with accessibility in Canada. I interview Indigenous people with varying relationships to disability and disabled people of multiple settler cultures, using qualitative methods including Hangout as Method (Warren Cariou) and Wheeling Interviews (Laurence Parent). Engaging with interview transcripts as text, to continue conversation and exchange with interviewees, this study offers reflections on interviewing as a method. Reflecting on the limits of participant-action research and representation, I interrogate the role of researchers in marginalized knowledge production, engaging with the limits and possibilities of ‘unsettling research’. I aim to redirect eugenic trends in disability discourse and history towards prioritizing the telling of our own stories. It's my hope that these conversations and the intersections of these struggles are brought to the fore—this selection being one avenue among many to further this work. Dance with me between words and beyond political affiliation.
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Özevin, Banu. "Humanistic, artistic and pedagogic aspects of Orff-Schulwerk music and dance pedagogyOrff-Schulwerk müzik ve hareket eğitiminin insani, sanatsal ve pedagojik yönleri." Journal of Human Sciences 15, no. 1 (January 20, 2018): 8. http://dx.doi.org/10.14687/jhs.v15i1.4991.
Повний текст джерелаАнотація:
Orff-Schulwerk Music and Movement Pedagogy is a contemporary music education philosophy, born out of the work of composer Carl Orff. Orff-Schulwerk has a holistic understanding in music education which is a combination of music, movement and language. Orff-Schulwerk enables the individual to develop his creative potential in group activities based on improvisation. Orff-Schulwerk's philosophy is that everyone can make music. With this understanding, everyone can take part in the Schulwerk lesson and have the opportunity for artistic expression of self without the distinction of gifted-talented, child-adult, and normal-developmental-disabled. As in many countries of the world, Orff-Schulwerk Pedagogy is used effectively in music education and preschool education in Turkey.In this study, in spite of the fact that it is a built-in structure, the human, artistic and pedagogical aspects of Orff-Schulwerk have been elaborated separately in order to better understand the approach. In the conclusion and discussion section, questions and problems about Orff-Schulwerk Music and Movement Education's place in Turkish Education System and adaptation to Turkish culture were shared.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetOrff-Schulwerk Müzik ve Hareket Eğitimi, besteci Carl Orff’un çalışmalarından doğan, çağdaş bir müzik eğitimi felsefesidir. Orff-Schulwerk, müzik, hareket ve dil ögelerinin birlikte kullanıldığı, doğaçlamalara dayanan, grup aktiviteleri içinde bireyin yaratıcı potansiyelini geliştirmesine olanak sağlayan bütüncül bir müzik eğitimi anlayışıdır. Orff-Schulwerk’in felsefesi herkesin müzik yapabileceği yönündedir. Bu anlayış sayesinde yetenekli-yeteneksiz, çocuk-yetişkin, normal gelişim gösteren-engelli ayrımı olmadan herkes Schulwerk dersi içinde yer alabilir ve kendini sanatsal olarak ifade etme olanağını yakalayabilir. Dünyanın birçok ülkesinde olduğu gibi Türkiye’de de Orff-Schulwerk Pedagojisi müzik eğitimi ve okulöncesi eğitiminde etkin bir biçimde kullanılmaktadır.İçiçe geçmiş bir yapı olmasına rağmen, bu çalışmada yaklaşımın daha iyi anlaşılabilmesi için Orff-Schulwerk’in insani, sanatsal ve pedagojik yönleri ayrı ayrı ayrıntılı olarak irdelenmiştir. Sonuç ve tartışma bölümünde Orff-Schulwerk Müzik ve Hareket Eğitimi’nin Türk Eğitim sistemindeki yeri ve Türk kültürüne uyarlanması ile ilgili sorular ve sorunlar paylaşılmıştır.
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Elliott, Erin. "Abilities Festival: A Celebration of Disability Art and Culture 2005." Canadian Theatre Review 127 (June 2006): 99–101. http://dx.doi.org/10.3138/ctr.127.019.
Повний текст джерелаАнотація:
The Abilities Festival: A Celebration of Disability Art and Culture made its Toronto debut 27–30 October 2005. This project of the Canadian Abilities Foundation involved four days of multidisciplinary work by artists and performers from around the world. In addition to the gala performances, art exhibitions and concerts, the event included a series of panel discussions and workshops, which covered such broad-ranging topics as storytelling for children, broadcast journalism and career advice for artists with disabilities. Artistic director and producer Sharon Wolfe explains that the interaction made possible by the festival fosters a climate of inclusivity and understanding, as the participants build “bridges that will lead to inclusion. Bridges that will reduce attitudinal barriers and negative perceptions about people with disabilities, bridges that will lead us all to an enriched appreciation for the full spectrum of creative talent that exists here and beyond” (1). These points of contact were directly enabled by the liveness of the festival. Theatre with a Difference, the gala evening held at the Glenn Gould Studio, showcased bold pieces by Chaika, a dance—mime troupe from Moscow; Max Fomitchev, a mime artist from Vancouver who was born in Russia; and American humorist David Roche. Within the live performance setting, there exist tensions, pressures and reactions that serve, in this case, to reveal buried assumptions about persons with disabilities. The festival not only promotes a thriving and creative disabled culture by example but, through its live performances, is able to draw out hidden attitudes so they can be recognized, confronted and ultimately transformed.
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Pąchalska, Maria. "Lurian Approach and Neuropsychology of Creativity." Lurian Journal 1, no. 1 (July 16, 2020): 77–108. http://dx.doi.org/10.15826/lurian.2020.1.1.7.
Повний текст джерелаАнотація:
Background. Alexander Romanovich Luria (1902–1977) is a widely recognized authority, attributed with the birth and development of neuropsychology. Reading the list of Luria’s publications makes us aware of the wide range of his interests: from the brain location of mental functions, through methods of rehabilitation and education, cognitive processing, issues of language, intellectual development or the impact of culture on human development, to intercultural research, and consequently to the neuropsychology of creativity. The purpose of this article is to show the link between Luria’s approach and the neuropsychology of creativity, and to demonstrate that a process thinking, taking into account brain/mind state, offers a new way of conceptualizing different approaches to creativity, which can be a step toward their unification, bringing into relation the continuum of passage in nature to a transition from repetition to innovation to genius. Objective. The aim of the present paper is to present the brain mechanisms of creativity. It discusses the neuropsychology of creativity as a subdiscipline developing on the borderline of: (1) medical neuroscience — using clinical and experimental neuroanatomical, neurophysiological, neurobiological, neurosurgical, neurological, neuropsychiatric and (2) social neuroscience — using social psychology and neuropsychology, social linguistics and neurocultural studies to help disabled people. Special focus is placed on the functioning of artists with various forms of brain damage. The relationships between brain damage and the quality of creation are also discussed. In addition, a review of opinions of various authors from around the world on the relationship of the healthy and the damaged brain with creativity is presented in the paper. Case study. Described also are ways to avoid pitfalls in the interpretation of works of art taking into account Luria’s syndrom analysis. While studying the neurological and neuropsychiatric basis of the creativity of people with various brain injuries, one should take into account the possibility of the co-occurrence of syndromes as well as the overlapping of symptoms. The paper presents a case history of the illness of an artist that illustrates the importance of performing a syndrome analysis based on the Lurian approach. It also indicates the significance of supporting any neuropsychological assessment with the use of neuromarkers to avoid arriving at a false diagnosis. In the case of the patient described neurophysiological studies (neuroimaging studies of the brain, quantitative electroencephalography (qEEG), event-related potentials (ERPs) and standardized Low Resolution Electromagnetic Tomography (sLORETA) have proved to be very useful in the confirmation of his neuropsychological and neuropsychiatric diagnosis. Conclusions. The paper has presented data confirming the importance of Luria’s approach in the development of the neuropsychology of creativity. It was also an attempt to explain why we create, and what goes on in our bodies and minds when we begin to explore creative possibilities. Art in all of its manifestations (visual art, music, literature, dance, theater, and more) is an important feature of human societies in both norm and pathology, and therefore deserves further study.
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Belser, Julia Watts. "Drawing Torah from Troubling Texts: Gender, Disability, and Jewish Feminist Ethics." Hiperboreea 6, no. 2 (May 1, 2021): 140–52. http://dx.doi.org/10.5325/jjewiethi.6.2.140.
Повний текст джерелаАнотація:
Abstract This article argues for the importance of developing queer feminist disability ethics in ways that push beyond the conventional canon, acknowledging the violence present in many traditional texts and their failures to do justice to lived disability experience. Critiquing a famous debate in the Babylonian Talmud, Ketubot 17a, in which Hillel and Shammai debate the permissibility of telling a lie in order to praise the beauty of a disabled bride at her wedding, the author argues for a Jewish disability ethics that engages secular disability arts. Examining the artistry of queer disabled dancer Claire Cunningham, the essay draws out the embodied ethical insights expressed through disability arts and argues that Cunningham's work offers a more compelling answer to the Talmud's question—in her claim that love lodges in the tangible acts of paying attention to another.