Associate Professor Kim Vincs is the Director of the Deakin Motion.Lab, which she established in 2006. Dr Vincs’ research interests are in motion capture, dance and interactive technology and integrating practice-led artistic research with quantitative, scientific methods. Current projects include developing new mathematical methods for analysing movement signatures using motion capture data, creating dance/motion capture performances using stereoscopic projection and measuring audience response to dance. Kim also teaches motion capture at Deakin University and directs for commercial motion capture projects. She was awarded two national Australian Council of Teaching and Learning awards in 2006 for her work in dance and motion capture.
Dance Rebooted: Initializing the Grid brought together five international keynote speakers and 75 delegates from Australia, New Zealand and around the world to focus on the sustainability of dance practice and research. The 31 papers published here represent a broad diversity of methodology and of thought on how we might begin to address the critical issue of sustainability of dance practice and research.
Dr Kim Vincs (Deakin University, Melbourne) reports on her investigation into the reasons that dancers continue their practices and manage to sustain themselves in a bleak economic environment.
This paper reports on a series of experiments that measured the continuous, real time responses of a group of dance students to a range of different dances. Our findings invite a critical consideration of whether notions of ‘surface’ and ‘deep’ structure might be more deeply embedded in the students’ responses to dance than intertextual or poststructuralist dance analysis might predict. This paper will examine the implications of this idea for how dance students might learn to watch, interpret, and therefore to create dance, and how these implications might impact on approaches to choreographic training.
The present paper applies a new analytic method to facilitate a more objective approach to identifying periods of significant responses to dance assessment tasks (aesthetic, adjudication, etc). The ultimate aim is to allow dance researchers to collect continuous response data and to input a choreographic event list in a time line format. These data will be used to identify key moments, and thus new insights into the aesthetic and other time dependent responses to dance, and to cognitive and choreographic aspects of dance construction and performance, in a quasi-scientific way.
Assessment frames the focus of this paper, which emerges from our collaborative research, Dancing Between Diversity and Consistency: Refining Assessment in Postgraduate Degrees in Dance, funded by the Australian Learning and Teaching Council (ALTC). We examine the attributes of danced ‘doctorateness’, giving special attention to those factors in the Australian environment, which may endow resilience to concepts of excellence, independent thinking and originality when kinaesthetic knowledge becomes pivotal to research. Have the small pool of examiners and relationships between academia and the professional artistic environment shaped these doctorates in a particular way? Can these perspectives illuminate and forge parameters by which to legitimate danced insight? These and related issues are interrogated giving voice to supervisors, research deans, candidates and industry professionals across Australia who participated in this research project.