This article is an account of Sela Kiek-Callan’s postgraduate research journey in “Dancing Design”, an exploration of affinities between architecture and dancing bodies which become manifest in embodied responses of weight, rhythm and intensity when dancers pay attention to the built environment in which they are encased.
Avril Huddy and Kym Stevens (both lecturers in dance at Queensland University of Technoology) cover the latest pedagogical concepts in the training of dance teachers across a broad spectrum at a university level.
What better way to wrap up our year in dance than to recall some of the big 2014 moments in dance.
This year dance gave us much celebrating—what a wonderful way to spend a year! We honoured the discipline and dedication of our professional dance artists. We danced to make us happier and healthier. We saw dance used for rehabilitation. We made dance that celebrated all bodies. We watched dance that challenged our ideas about what dance should be. We were excited by new choreographic talent. We were inspired by the latest Australian dance thinking on show at the 2014 World Dance Alliance Global Summit. We celebrated big birthdays and said goodbye to old friends.
A historical overview of the development of the New Zealand dance curriculum from the early twentieth century to the present day reveals shifting meanings and emphases from military drills to gymnastics, eurhythmics, creative movement, European folk dance and cultural Maori dance. In the last decade however, dance in the New Zealand school curriculum has arguably gone through its most influential change as it shifted from the physical education curriculum to the arts curriculum.
This curriculum shift refined and focussed the academic study of dance in New Zealand primary, secondary and tertiary education contexts. This article focuses upon curriculum and the key persons shaping curriculum development and its delivery in New Zealand from the early 1900s to the present day.
Andrew Morrish, 2015 National Dance Forum facilitator, shares his vision for this forum: an NDF that embodies our diversity, its history, its present and its future, and to experience the forum as a living community.
Highlights from the 24th Annual Meeting of IADMS—enhancing the health, wellbeing, training and performance of dancers by cultivating educational, medical, and scientific excellence.
It's been described as the most significant platform for dialogue across the Australian contemporary dance sector. For two days, escape the isolation and immerse yourself in discussion, debate, networking, new ideas and reflection on artistic practice.
Leigh Warren will be honoured with the Lifetime Achievement Award at the 2014 Australian Dance Awards for his outstanding contribution to dance as a performer, choreographer, teacher, director and mentor over four decades.
As part of developing the 2015 National Dance Forum's 'lines of focus', curatorial panel members shared their thoughts about the inherent concerns and realities affecting current professional practice in Australia. This is Matthew Day's response.
23 students participated in Sydney Dance Company's 2014 Pre-Professional training program. Two of them talk about their experience.