Relevant bibliographies by topics / Dance Advocacy

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Dance Advocacy'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Dance Advocacy"

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McGreevy-Nichols, Susan, and Lori Provost. "Focus on Dance Advocacy." Journal of Dance Education 14, no. 2 (April 3, 2014): 83–84. http://dx.doi.org/10.1080/15290824.2014.906869.

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Lothian, Judith A. "The Dance of Advocacy." Journal of Perinatal Education 14, no. 2 (2005): 36–39. http://dx.doi.org/10.1624/105812405x44718.

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Cardinal, Marita K., Kim A. Rogers, and Bradley J. Cardinal. "Inclusion of Dancer Wellness Education Programs in U.S. Colleges and Universities: A 20-Year Update." Journal of Dance Medicine & Science 24, no. 2 (June 15, 2020): 73–87. http://dx.doi.org/10.12678/1089-313x.24.2.73.

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During the 1990s dancer wellness education began to be codified and understood empirically in U.S. colleges and universities. Those efforts stemmed from a burgeoning knowledge base in dance medicine and science that continues to evolve. However, the current status of dancer wellness education remains largely undocumented. The purpose of this study was to explore the inclusion of dancer wellness education in U.S. colleges and universities. The results were derived from a cross-sectional study of 199 higher education dance administrators at 4-year institutions that were selected using stratified random sampling procedures with data collected through an online survey. Seventy-two participants (36.18%) completed at least part of the survey, and of those 62 (86.11%) completed the entire survey. The majority of dance programs were undergraduate-only (71%), not accredited by the National Association of Schools of Dance (67%), and emphasized dance performance and choreography (89%). Sixty percent offered a formal dancer wellness program, 70% had at least one dancer wellness specialist on faculty, and 20% offered training programs to become dancer wellness specialists. Fewer than half (42.19%) preferred their faculty to have college or university level study in dancer wellness, and only 17.19% required it. Of 11 possible curricular topics, the typical undergraduate program included 64.52% and the typical graduate program 51.87%. Regardless of program level, the top five topics were anatomy, kinesiology, somatics, dance conditioning, and dance injuries. The average school offered 58% of identified supplementary programs at "high levels." Only modest differences were found between programs based on degree level, accreditation status, or program affiliation. Although some positive trends in the evolution of dancer wellness education have occurred over the last two decades, there remains a need for ongoing advocacy and widespread implementation in U.S. colleges and universities.
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Bennetts, Wanda, Christopher Maylea, Brian McKenna, and Helen Makregiorgos. "The 'Tricky Dance' of Advocacy: A study of non-legal Mental Health Advocacy." International Journal of Mental Health and Capacity Law 2018, no. 24 (October 25, 2018): 12. http://dx.doi.org/10.19164/ijmhcl.v2018i24.746.

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<p align="LEFT">Advocacy in compulsory mental health settings is complex and contested, incorporating legal, non-legal, representational and best interests advocacy. This paper presents an approach to non-legal representational advocacy used by Independent Mental Health Advocacy (IMHA), in Victoria, Australia, drawing on in-depth qualitative interviews with advocates and other key stakeholders. After outlining the Victorian context and the IMHA model, this paper shows how IMHA privileges the consumer voice using representational advocacy, which is rights-based and works for systemic change. Using a supported decision-making model, the paper highlights the enablers and challenges which exist, before discussing the implications in terms of rights, power, capacity building and systemic change. The participants saw IMHA as working to address one of the most troubling tensions in mental health care, between the perceived need for coercion and the need to support people to make their own decisions. Representational advocacy provides a clear, easily transferable and tested framework for engaging in supported decision-making processes with people in the mental health system.</p>
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Stuffelbeam, Katharine. "Performing advocacy: women's music and dance in Dagbon, northern Ghana." African Music: Journal of the International Library of African Music 9, no. 2 (2012): 154–69. http://dx.doi.org/10.21504/amj.v9i2.1808.

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Margari, Zoi N. "Dance Advocacy in the Age of Austerity: UNESCO's Intangible Cultural Heritage Convention and the Case of Dance." Congress on Research in Dance Conference Proceedings 2016 (2016): 240–50. http://dx.doi.org/10.1017/cor.2016.33.

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In 2003, UNESCO adopted the “Convention for the Safeguarding of the Intangible Cultural Heritage” and introduced within a global perspective, new socio-political and economical international parameters for the protection and promotion of cultural heritage. In this context, dance, as an immaterial cultural aspect, lies at the heart of international developments. In my essay, I will present cases of dance phenomena figuring in UNESCO's Intangible Cultural Heritage Lists and discuss the ways in which ubiquitous dance practices are changing due to the processes of (re)negotiating their existence values in the novel international socio-cultural context.
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Gore, Georgiana, Andrée Grau, and Maria Koutsouba. "Advocacy, Austerity, and Internationalization in the Anthropology of Dance (Work in Progress)." Congress on Research in Dance Conference Proceedings 2016 (2016): 180–90. http://dx.doi.org/10.1017/cor.2016.25.

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This paper is concerned with resonances of the tragic in twentieth-century central-European dance theatet, to be discussed with particular reference to Pina Bausch's 1975 Orpheus and Eurydice. In my study Resonances of the Tragic: Between Event and Affect (2015), I have argued that in terms of a history of the “longue durée,” the evocation of the tragic occurs in a field of tension between technique, the mise-en-scène, and conceptions, as well as procedures and moments of interruption, of suspension, of disruption and of the indeterminable resulting from ecstatic corporeality. Its structure and function can generate an event in the emphatic sense of the term; consequently, it provides a paradigm for recognizing structures of form and of an aesthetic of reception, structures emerging from individual constellations of the fictional and choric, absence and presence. From the perspective of dance studies, the tragic emanates from the representation of horrendous monstrosity testing the limits of what can be imagined by means of the moved body in all senses of the word; but how exactly does Bausch produce the qualities of the ambivalent, ambiguous, and paradoxical—and, consequently, the tragic?
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Yu, Arlene. "The Jerome Robbins Dance Division of The New York Public Library: A History of Innovation and Advocacy for Dance." Dance Chronicle 39, no. 2 (May 3, 2016): 218–33. http://dx.doi.org/10.1080/01472526.2016.1183459.

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Harvey, Marina, Greg Walkerden, Anne-Louise Semple, Kath McLachlan, Kate Lloyd, and Michaela Baker. "A song and a dance: Being inclusive and creative in practicing and documenting reflection for learning." Journal of University Teaching and Learning Practice 13, no. 2 (April 1, 2016): 28–45. http://dx.doi.org/10.53761/1.13.2.3.

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As the number of students engaging in higher education increases, so too does their diversity. Additionally, there is growing pressure on universities to better prepare graduates for the varied paths they will pursue beyond study. In responding to these conditions it is important to develop pedagogical approaches that are both inclusive and engaging. One adaptation needed is in relation to the practice and documentation of reflection for learning. Reflection is widely practiced across higher education, and is favoured by the Work-Integrated Learning field for the ways it helps students make sense of their learning. The ongoing reliance on journals for practising and documenting reflection has several benefits; however, a diverse student body, engaging with diverse learning experiences, is likely to benefit from being offered diverse, flexible ways of engaging with reflective practice. Informed by student and practitioner reflective data gathered at an Australian university, this conceptual paper accepts the challenge to “disrupt” (deFreitas 2007) the text and “move beyond the diary” (Harvey et al. 2012) to present an argument for the value and role of alternative modes of reflection, spanning arts-based, embodied, mindful and technological approaches. Underpinning this advocacy of diverse mediums for reflection are the principles of inclusivity and universal design.
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Perkins, Alisa. "Muslims at the American Vigil." American Journal of Islamic Social Sciences 36, no. 4 (October 7, 2019): 26–60. http://dx.doi.org/10.35632/ajiss.v36i4.547.

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The 2016 Orlando nightclub shooting at a gay dance club in Florida fomented a surge in Islamophobia, as pundits blamed the perpetrator’s Muslim identity for his hateful act. In the aftermath of the violence, vigils across the United States offered forums for Muslim American and other groups to publically express their shared grief and to address homophobia and Islamophobia together. The people affected most intensely by the tragedy were LGBTQ Muslims, who were simultaneously subjected to both intensified homophobia and Islamophobia in the wake of the shooting. This local ethnographic study of Orlando vigils in Michigan examines how the Orlando aftermath encouraged debate about the issue of LGBTQ Muslim visibility and conversation about the potential for Muslim civic leaders and mosque leaders to serve as their allies. During the Orlando vigils, LGBTQ Muslims, allies, and faith leaders drew on, negotiated, and/or resisted various repertoires of mourning and advocacy. Their responses to the Orlando moment provide valuable information about how connections among faith, sexuality, race, and protest are shaping the emergence of LGBTQ Muslim visibilities in the United States today.
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Dissertations / Theses on the topic "Dance Advocacy"

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"Movement Speaks: Learning of Self, Others and Civic Responsibility." Master's thesis, 2017. http://hdl.handle.net/2286/R.I.44005.

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abstract: What is driving my applied project are questions derived from lived and observed experiences as an African American female born and raised in Los Angeles California to a non-native of twelve years in Arizona. I recognize situations I have gone through may not have happened if I was not a person of color and a woman. This is also true for Hispanics, Latinos, Native Americans, Pacific Islanders, Asians and other immigrants. The history of America as taught in public, secondary and post-secondary institutions speaks to this truth and raises the questions that I will explore in this document in relation to the process of creating my performance work Movement Speaks.
Dissertation/Thesis
Masters Thesis Dance 2017
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Books on the topic "Dance Advocacy"

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Van Buren, Kathleen, and Brian Shrag. Make Arts for a Better Life. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878276.001.0001.

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Make Arts for a Better Life: A Guide for Working with Communities provides a groundbreaking model for arts advocacy. Drawing upon methods and theories from disciplines such as ethnomusicology, anthropology, folklore, community development, and communication studies, the Guide presents an in-depth approach to researching artistic practices within communities and to developing arts-based projects that address locally defined needs. Through clear methodology, case studies from around the world, and sample activities, the Guide helps move readers from arts research to project development to project evaluation. It addresses diverse arts: music, drama, dance, oral verbal arts, and visual arts. Also featured are critical reflections on the concept of a “better life” and ethical issues in arts advocacy. The Guide is aimed at a broad audience including both scholars and public sector workers. Appendices and an accompanying website offer methodology “cheat sheets,” sample research documents, and specific suggestions for educators, researchers, and project leaders.
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Albright, Ann Cooper. The Politics of Perception. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.42.

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Perception is the place where vision and sensation merge to produce embodied meaning, the crossroads where individuals meet or miss one another—either connecting in good faith with a shared experience, or stumbling through missteps that can result in a defensive posture or a sense of distrust of others. It is through individuals’ bodies that perception meets up with politics. This chapter was precipitated by the author’s reflections on the actions, demonstrations, and events instigated by the shootings of Michael Brown in Ferguson, and of Tamir Rice in Cleveland, especially with respect to how those events rippled through a politically active Midwestern campus. The chapter argues that dance practices focused on perception can be mobilized to train for a politically responsive body, one that is both capable of strategic resistance and resilient enough to survive the exhaustion of public advocacy and action.
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Marshall, Wallack Lawrence, ed. News for a change: An advocate's guide to working with the media. Thousand Oaks, Calif: Sage Publications, 1999.

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Wallack, Lawrence, Lori Elizabeth Dorfman, Katie Woodruff, Iris Diaz, and Lori Dorman. News for a Change: An Advocate's Guide to Working with the Media. Sage Publications, Inc, 1999.

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Wallack, Lawrence, Lori Elizabeth Dorfman, Katie Woodruff, and Iris Diaz. News for a Change: An Advocate's Guide to Working with the Media. Sage Publications, Inc, 1999.

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Book chapters on the topic "Dance Advocacy"

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King-Meadows, Tyson D. "Invitations to the Dance." In After Obama, 72–103. NYU Press, 2021. http://dx.doi.org/10.18574/nyu/9781479807277.003.0003.

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In this chapter, I argue that the impact of the Obama presidency is best gauged not by examining shortfalls in Obama’s overt advocacy for race conscious policies but, rather, by examining what Obama did to assert that Black representatives should be more concerned about the enactment of legislation that advances Black progress than about credit claiming via overt advocacy. To illustrate, I examine select public speeches by Obama, White House documents, and press accounts to outline the Obama administration’s engagement with the Congressional Black Caucus and other elites over Black unemployment. Subsequent political clashes showcased Black dismay that a Black executive had not delivered tangible race-specific benefits, White fear that a Black president would practice racial favoritism, and an intergovernmental struggle between the executive and legislative branches over who should control employment policy. These clashes best illustrate how the “inclusionary dilemma” required Obama to utilize a complex engagement strategy with Black Americans to navigate Black dismay about job creation and to outline his socio-cultural-economic policy agenda. In the conclusion, I discuss how Obama used his final days in office to prepare the Obama coalition for the Trump presidency and to warn Black voters and Black elites about privileging style over substance.
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Wells, Christi Jay. "“A Fine Art in Danger”." In Between Beats, 150–204. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197559277.003.0005.

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During the 1950s and 1960s, jazz music became solidly entrenched in America’s institutions of high art patronage as the music’s most prestigious venues shifted from popular clubs and ballrooms to concert halls and upscale summer festivals, most notably the Newport Jazz Festival. While for most professional jazz dancers, this period marked a time when the work “dried up,” there were several lindy hop and rhythm tap dancers who managed to access these spaces through their relationships with jazz historian Marshall Stearns. Stearns was a key player in the adoption of jazz history as an academic subject and an advocate for the serious study of Black vernacular dance. This chapter asks why Stearns’s efforts to “legitimize” and institutionalize jazz dance largely failed, given that his similar advocacy for jazz music clearly succeeded. It argues that Stearns’s folkloric conceptualization of “vernacular jazz dance” fell short of the successful “consensus narrative” he built for jazz music in that concertized adaptations of Black vernacular dance practices by choreographers such as Katherine Dunham and Alvin Ailey were not legible to Stearns as contiguous extensions of the traditional folk and popular dance forms he problematically fetishized as dying folk art in need of preservation. The discursive barrier Stearns built between the worlds of vernacular and concert dance, while intended to safeguard from cultural appropriation so-called authentic or vernacular jazz dance forms, ultimately reinforced primitivist narratives that discursively foreclosed many possibilities for dance as a vital creative partner in jazz music’s present or future.
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"Discovering Maine’s Intangible Cultural Heritage." In Cultural Sustainabilities, edited by Timothy J. Cooley, 283–94. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042362.003.0023.

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This chapter reviews the historic and ongoing research of the state of Maine's intangible cultural heritage and shows how this work addresses the need for conservation, advocacy, education, and stewardship of this heritage. Maine is especially rich in intangible cultural heritage including the knowledge involved in crafting fine Native American basketry, boat building, fiddle music and dance, knowledge of the natural world among fishermen, woodsmen, millworkers, and farmers, folk singing, storytelling and much more. Cultural rights and ownership, the role of community scholars, and the impact of tourism is considered. The chapter concludes by suggesting that culturally-sensitive and engaged research has strengthened our understanding of how the ecosystem is essential to human life and culture.
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Snow, K. Mitchell. "Competing Modernisms." In A Revolution in Movement, 142–70. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066554.003.0008.

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Through Carlos Mérida’s advocacy of the Graham technique, the Secretaría de Educación Pública invited U.S. choreographer Anna Sokolow to perform and teach in Mexico City. The SEP also invited Waldeen Falkenstein to perform, setting up a competition between their opposing styles of socially engaged choreography. Sokolow’s approach was closely aligned to Graham’s ideas; Waldeen claimed to have found her inspiration in specifically Mexican ways of moving. Their antagonistic approach mirrored ongoing divisions in the visual arts community over local inspiration versus an international orientation, though the disciples of both dancers vehemently rejected suggestions of any foreign elements in their work. Sokolow would come to be known as the originator of modern dance in Mexico, but it was Waldeen who created its watershed work, La Coronela (The Woman Coronel), with a distinctly female-centric evocation of Mexico’s revolution.
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Treloyn, Sally, and Rona Goonginda Charles. "Music Endangerment, Repatriation, and Intercultural Collaboration in an Australian Discomfort Zone." In Transforming Ethnomusicology Volume II, 133–47. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517550.003.0009.

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To the extent that intercultural ethnomusicology in the Australian settler state operates on a colonialist stage, research that perpetuates a procedure of discovery, recording, and offsite archiving, analysis, and interpretation risks repeating a form of musical colonialism with which ethnomusicology worldwide is inextricably tied. While these research methods continue to play an important role in contemporary intercultural ethnomusicological research, ethnomusicologists in Australia in recent years have become increasingly concerned to make their research available to cultural heritage communities. Cultural heritage communities are also leading discovery, identification, recording, and dissemination to support, revive, reinvent, and sustain their practices and knowledges. Repatriation is now almost ubiquitous in ethnomusicological approaches to Aboriginal music in Australia as researchers and collaborating communities seek to harness research to respond to the impact that colonialism has had on social and emotional well-being, education, the environment, and the health of performance traditions. However, the hand-to-hand transaction of research products and represented knowledge from performers to researcher and archive back to performers opens a new field of complexities and ambiguities for both Indigenous and non-Indigenous participants: just like earlier forms of ethnomusicology, the introduction, return, and repatriation of research materials operate in “social spaces where disparate cultures meet, clash, and grapple with each other, often in highly asymmetrical relations of domination and subordination” (Pratt 2007 [1992]). In this chapter, we recount the processes and outcomes of “The Junba Project” located in the Kimberley region of northwest Australia. Framed by a participatory action research model, the project has emphasized responsiveness, iteration, and collaborative reflection, with an aim to identify strategies to sustain endangered Junba dance-song practices through recording, repatriation, and dissemination. We draw on Pratt’s notion of the “contact zone” as a “discomfort zone” (Somerville & Perkins 2003) and look upon an applied/advocacy ethnomusicological project as an opportunity for difference and dialogue in the repatriation process to support heterogeneous research agendas.
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