Relevant bibliographies by topics / Denishawn School of Dancing

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

Academic literature on the topic 'Denishawn School of Dancing'

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

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Journal articles on the topic "Denishawn School of Dancing"

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Ruyter, Nancy Lee Chalfa. "Dancing the Bolero School." Dance Chronicle 26, no. 3 (January 10, 2003): 347–50. http://dx.doi.org/10.1081/dnc-120025270.

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Trebilcock, June. "Country dancing in the special school." Journal of the British Institute of Mental Handicap (APEX) 11, no. 4 (August 26, 2009): 154–56. http://dx.doi.org/10.1111/j.1468-3156.1983.tb00164.x.

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Sackville-Ford, Mark, and Gabrielle Ivinson. "Tables Dancing." Paragrana 28, no. 2 (October 25, 2019): 83–94. http://dx.doi.org/10.1515/para-2019-0025.

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Abstract This article is written in response to Method Lab #2, reacting to and reading scenes from the theatre and the school classroom. We responded to ‘The table and the dancer’ by Carla J. Maier with drawings by Janna R. Wieland, and ‘The book and the authors reading’ by Elise v. Bernstorff and Carla J. Maier. Our responses are within the ontological turn and specifically posthuman studies and new material feminism(s). We move beyond representational thinking to explore vibrant matter and experiment with what more the text, scenes and pictures can become.
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Wallace, Nancy V., Carlos R. A. Jones, Deborah Lipa-Ciotta, and Corinne M. Kindzierski. "Dancing through the Decades in Middle School." Middle School Journal 45, no. 4 (March 2014): 13–22. http://dx.doi.org/10.1080/00940771.2014.11461892.

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Risner, Doug. "Dancing Boys: High School Males in Dance." Journal of Dance Education 17, no. 4 (October 2, 2017): 163. http://dx.doi.org/10.1080/15290824.2017.1285197.

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Vaisman, Nachum. "Weight Perception of Adolescent Dancing School Students." Archives of Pediatrics & Adolescent Medicine 150, no. 2 (February 1, 1996): 187. http://dx.doi.org/10.1001/archpedi.1996.02170270069010.

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Silverman, Joseph A. "Weight Perception of Adolescent Dancing School Students." Archives of Pediatrics & Adolescent Medicine 150, no. 11 (November 1, 1996): 1221. http://dx.doi.org/10.1001/archpedi.1996.02170360111025.

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Bronner, Eva. "School Curricula in Germany: Dancing on the Edge." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 273–77. http://dx.doi.org/10.1017/s2049125500001217.

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In the German federal states of North-Rhine-Westfalia (NRW) and Baden-Württemberg dance isn't a school subject. However, there is dance within physical education—with big differences: In NRW physical education is committed to the purpose of holistic education. Dance is an essential part thereof and obligatory for girls and boys at all class levels and in all types of schools. In Baden-Württemberg dance diminishes within physical education the higher the class and educational level of the student. Unfortunately it has degenerated into a semisport without artistic or pedagogical depth. As an elective matter it can be chosen—or not.
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Кравчук, Т. М., and К. М. Голівець. "Peculiarities of Use of Dancing Exercises in Physical Education of Female High Schoolers." Teorìâ ta Metodika Fìzičnogo Vihovannâ, no. 4 (December 25, 2015): 11–16. http://dx.doi.org/10.17309/tmfv.2015.4.1151.

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The purpose of the research is to ground and develop the methods of the use of dancing exercises at physical training classes in high school and to experimentally verify their effectiveness. Research methods. Theoretical ones: study and analysis of pedagogical, scientific and methodological literature on the problems under research; a complex of empirical research methods: research and experimental work, observations, questionnaires, testing; statistical methods of research and data reduction. Research results. The paper reveals the peculiarities of the use of dancing exercises at physical training classes in high school. It shows that dancing exercises can and must be part of the physical education of high schoolers to develop their strength, flexibility, endurance, coordination abilities and to cultivate movement culture, musicality, dancing abilities and aesthetic taste. The study proves that the use of dancing exercises of classical choreography, rhythmic gymnastics and health-improving aerobics at the physical training classes in high school helps increase the level of development of flexibility, strength and agility.
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Rudisill, Kristen. "My School Rocks! Dancing Disney's High School Musical in India." Studies in Musical Theatre 3, no. 3 (December 1, 2009): 253–71. http://dx.doi.org/10.1386/smt.3.3.253/1.

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Dissertations / Theses on the topic "Denishawn School of Dancing"

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Mattsson, Nicodemus. "English - Dancing Trees Culture School : Organized vs. Organic." Thesis, KTH, Arkitektur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-168641.

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The assignment for this project was to design a culture school for kids. The site for this project is located in Älvsjö at the bottom corner of Stockholms Mässan. It is here where I was inspired to create a school that danced its way around the exisiting trees, allowing for the characterstics of the tree to reflect its way into the different stories of the building. "No trees were harmed in the making of this structure". It is a dance between the organization of a 2.7x6x5 meter modular system that learns to live in harmony with all of the existing nature. It is a study in how urbanization can land naturally whilst taking nature into consideration. If we keep chopping down trees eventuelly there won´t be any left, lets learn to adapt our architecture to nature instead of let architecture forcing its way into it.
Uppdraget för detta projekt var att utforma en kultur skola för barn . Platsen för detta projekt ligger i Älvsjö i nedre hörnet av Stockholms Mässan . Det är här där jag blev inspirerad att skapa en skola som dansade sin väg runt exisiting träd , vilket möjliggör vilka krav på trädet för att spegla sig i de olika berättelserna av byggnaden . " Inga träd harmed i danandet av denna struktur " . Det är en dans mellan organisationen av en 2.7x6x5 meter modulsystem som lär sig att leva i harmoni med alla befintliga naturen . Det är en studie i hur urbaniseringen kan landa naturligt samtidigt som natur beaktas . Om vi håller hugga ner träd eventuelly det kommer inte att bli några kvar , kan lära sig att anpassa vår arkitektur till naturen i stället för låt arkitektur tvinga sin väg in i den .
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Nicholson, Veronica Grace. "Dancing with dignity and meaning, addressing high levels of absenteeism at Chemainus Native College and Stu"ate Lelum Secondary School." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0004/MQ41837.pdf.

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Lipgart, Anna. "Analýza nabídky a poptávky tanečních kursů (v Praze a okolí)." Master's thesis, Vysoká škola ekonomická v Praze, 2008. http://www.nusl.cz/ntk/nusl-7471.

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The thesis analyses a demand on dancing schools, meaning the rate of intentions for dancing classes and particular customers' wishes about the form and content of a dancing class. It further compares wishes in question with the contemporary supply of dancing schools and, regarding to this information, formulates problems and ways of solving by changing components of the marketing mix. Thesis further summaries theoretical principles of marketing research and applies them on particular research. The practical part presents the results of evaluation and forms recommendations.
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Žůrková, Lenka. "Podnikatelský plán pro založení tanečního studia." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2011. http://www.nusl.cz/ntk/nusl-222860.

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Master’s thesis presents the prerequisites for producing a business plan for dancing-school foundation. It analyses problems, which are related to creation of business plan and of dancing-school foundation. It contains suggestions of organizational, marketing and financial plan that can be applied within creation and activity of this company. The work expresses how the project should be undertaken.
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Anjos, Isabelle de Vasconcellos Correa dos. "Dança educativa e o desenvolvimento motor de crianças." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/5/5141/tde-25082017-083815/.

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A proposta deste estudo foi comparar o desenvolvimento motor de crianças que praticaram Dança Educativa com o desenvolvimento motor de crianças que não praticaram e verificar a permanência dos resultados obtidos, após seis a oito meses do término da intervenção. O estudo foi realizado com 85 crianças matriculadas no 1º ano do Ensino Fundamental de duas escolas da zona sul de São Paulo, randomizadas por sorteio em dois grupos (intervenção e controle). Os dois grupos tiveram seu desenvolvimento motor avaliado em três momentos: antes da intervenção, após a intervenção e após seis a oito meses do término da intervenção. O grupo intervenção participou de um programa de aulas de Dança Educativa por sete meses. Foram excluídas da análise as crianças com deficiência intelectual e/ou física, prematuras, entre outros critérios de exclusão. Os resultados indicaram que as crianças que participaram do programa de Dança Educativa obtiveram ganhos significativos em seu desenvolvimento motor geral e nas bases: equilíbrio, praxia fina e global, em comparação às crianças que não participaram. Foram analisados através de comparação dos resultados dos grupos controle e intervenção com os testes qui-quadrado e test t. A Dança Educativa auxiliou na evolução do desenvolvimento motor de crianças e seus resultados mantiveram- se, parcialmente, meses após o término da intervenção
The purpose of this study was to compare the motor development of children who practiced Educational Dance with the motor development of children who did not practice and to verify the permanence of the results obtained after six to eight months after the intervention. The study was carried out with 85 children enrolled in the first year of Elementary School in two schools in the south of São Paulo, randomized by lottery into two groups (intervention and control). The two groups had their motor development evaluated in three moments: before the intervention, after the intervention and after six to eight months after the intervention. The intervention group participated in an Educational Dance class program for seven months. Children with intellectual and / or physical disabilities, premature, and other exclusion criteria were excluded from the analysis. The results indicated that children who participated in the Educational Dance program achieved significant gains in their general motor development and on the basis of balance, fine and overall praxis, compared to children who did not participate. They were analyzed by comparing the results of the control and intervention groups with chi-square and t-tests. The Educational Dance helped in the development of children\'s motor development and their results were maintained, partially, months after the end of the intervention
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Yeung, Kwan-yu Frederick, and 楊君儒. "Teacher and student perspectives of the "comprehensive dance project"." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B27586911.

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Delattre-Destemberg, Emmanuelle. "Les enfants de Terpsichore : histoire de l'École et des élèves de la danse de l'Académie de musique (1783-1913)." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLV056.

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Cette étude entend proposer une histoire des élèves de la danse de l'Académie de musique au XIXe siècle (1783-1913). À travers l’étude des étapes de la mise en place institutionnelle de cette école émerge l'identité des élèves de la danse comme apprentis danseurs. Au-delà d'une histoire administrative, ce sont bien les conditions socioéconomiques de l’enfance au travail que révèle ce travail de thèse. Des questions économiques relatives à leur formation aux pratiques culturelles de la danse, les élèves de l'Académie de musique sont au coeur de la vie urbaine et théâtrale parisienne du XIXe siècle. Enfin, l’examen de la circulation des danseurs et des pédagogies à l'échelle européenne a permis d’identifier les mécanismes d’un discours de domination culturelle, construit et revendiqué par l'Académie de musique, à l’échelle du monde occidental
This study aims at introducing a story of the Music Academy ballet students in the 19th century (1783-1913). The ballet students’ identities and their positions as apprentices come to light through the different steps of the institutional setting-up of that Academy. This thesis goes beyond administrative history and unveils the genuine socioeconomic conditions of children at work. For many reasons going from economic issues concerning their training to ballet cultural practises, the Music Academy students are at the heart of urban and theatrical life of XIXth century Paris. Eventually, an analysis of the ballet dancers ‘ freedom of movement and of the different teaching methods in Europe allows to pinpoint the mechanisms of a cultural domination speech, built by the music Academy and claimed to come from it too, throughout the Western world
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Wang, Hung-Jen, and 王鴻珍. "The Development of the Dancing Interest Scale (DIS) for primary school pupils." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/67163012208982989970.

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碩士
國立臺灣海洋大學
教育研究所
95
Abstract The aim of this research is to develop a standardised Dancing Interest Scale (DIS) for evaluating students’ dancing interest. The item development based on a series of deep semi-structured interviews for exploring pupils’ perception of dancing interest. Therefore, the content analysis has been employed to build up the prototype items, and based on item analysis, the standardised discriminative items have been established. Hence, based on the content analysis from the two advanced dancing teachers (average teaching experiences are around 7 years), 36-item prototype DIS has been established. Furthermore, the survey sample will be involved in 319 pupils in four primary schools with dancing courses in Taiwan. Furthermore, based on item analysis, there were two items with low discrimination power has been deleted, and using Principal Component Analysis with direct oblimin rotation, the major four dimensions are: (1) Dancing appreciation, (2) Dancing insistency, (3) Dancing cognition, and (4) Music sensitivity. These accounted respectively for the following percentages of the variance: 22.582, 5.838, 5.716 and 4.878. The internal reliability meets the acceptable requirement (Cronbach alpha = 0.753). It is proposed that the DIS can not only provide a standardised instrument for evaluating primary school dancing teachers’ teaching performance but also can be a tool for evaluating pupils’ dancing learning situation for improving the whole performance in ‘teaching’ and ‘learning’. Key words: Dancing Teaching Evaluation, Dancing Interest Scale, Scale Development
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Liu, Lee-Yun, and 劉麗雲. "A Study on the Ballet Teaching Behaviors of Junior High School Dancing Class." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/q92ekw.

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碩士
國立體育學院
體育研究所
90
The purpose of this study was to investigate the ballet teaching behaviors for dancing teachers. The subjects were three ballet teachers who taught dancing classes for the 2nd grade students from three dancing classes from junior high schools from Taipei City and Taipei County. As for the methodology: both qualitative and quantitative approaches were employed, including observatory systems, teaching observation inventories, interviews, and video monitoring, etc. After statistical and analytic tasks, we had the following conclusions: I. The time allocation of teaching behaviors for the dancing teachers were understood: (I) Organization: 15.04% for Subject A, 7.09% for Subject B, and 6.13% for Subject C. And time for equipment management and usage: 5.2% for Subject A, 2.14% for Subject B, and 3.95% for Subject C. (II) Teaching: 31.44% for Subject A, 24.93% for Subject B, and 29.63% for Subject C. Time allocation for rule instruction: 0% for Subject A, 0.05% for Subject B, and 0.72% for Subject C. (III) Supervision: 51.42% for Subject A, 65.31% for Subject B, and 58.15% for Subject C. Specific field supervision time allocation: 32.48% for Subject A, 39.13% for Subject B, and 38.07% for Subject C. II. Feedback employment in teaching behaviors (I) Modified feedback time allocation: 47.97% for Subject A, 57.61% for Subject B, and 52.83% for Subject C. Negative feedback: 45.49% for Subject A, 44.17% for Subject B, and 51.12% for Subject C. (II) General Feedback time allocation: 43.72% for Subject A, 23.08% for Subject B, and 16.21% for Subject C. Negative feedback: 33.52% for Subject A, 18.76% for Subject B, and 12.84% for Subject C. (III) Non-verbal feedback time allocation: 8.31% for Subject A, 19.31% for Subject B, and 30.97% for Subject C. Negative non-verbal feedback: 7.44% for Subject A, 18.01% for Subject B, and 30.10% for Subject C. III. Episode employment in dance teaching (I) Teaching episode: the average minute/time: 1.95 for Subject A, 1.65 for Subject B, and 1.5 for Subject C. (II) Teacher movement: the average time/minute: 1.08 for Subject A, 1.5 for Subject B, and 2.33 for Subject C. IV. Dancing teachers’ effective teaching behaviors (I) Teaching preparation: little difference was observed amongthe subjects: 4.17 for Subject A, 4.67 for Subject B, and 4.0 for Subject C. (II) Teaching design: little difference was observed among the subjects: 3.72 for Subject A, 3.86 for Subject B, and 3.86 for Subject C. (III) Teaching behavior: little difference was observed among the subjects: 3.70 for Subject A, 4.10 for Subject B, and 3.86 for Subject C. (IV) Feedback behavior: there was difference among the subjects: 3.0 for Subject A, 4.0 for Subject B, and 4.0 for Subject C. (V) Students’ learning and responses: there was difference among the subjects: 2.84 for Subject A, 3.0 for Subject B, and 4.0 for Subject C.
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Henry, Kristin. "Dancing Across Borders: Women Who Become Lesbians in Mid-Life." 2003. http://eprints.vu.edu.au/272/1/02whole.pdf.

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This thesis combines theoretical discussion with extracts from transcribed focus groups and interviews to illuminate the impact on the identity of formerly heterosexual women who become lesbians in mid-life. I have conducted my research as participant observer who has this core experience in common with the other subjects. I have also included my poetry and journal extracts to track and comment on the project and the topic. The accounts from twenty-three focus group members and interviewees contribute in two ways to the gap in published literature about the coming out process. First, this is to my knowledge the only Australian study of this kind. Second, the women's stories differ from other collections of coming out narratives because they do not, as a rule, privilege the lesbian experience over the heterosexual one. Instead the study focuses on what changed for the women when they made this transition, and on what stayed the same. They discuss these changes and lack of change with regard to personal identity, relationships with other women, children and families, friends, the workplace and the wider culture. The study investigates how all these elements of the women's lives have been influenced by their own maturity and by the prevailing social attitudes toward homosexuality at the time they came out. It also discusses the women's various attitudes toward the lesbian community and the politics of labelling themselves according to their sexual orientation. The study is underpinned by theoretical perspectives on the formation of identity, on current thinking about sex and gender, and on an understanding of the evolving positions of lesbians and gays in the eyes of the church, the law, psychology and society in general. It pays particular attention to the relationship between lesbianism and feminism, and the impact of queer theory on lesbian identity. It also examines the changing nature of representations of lesbians in popular culture.
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Books on the topic "Denishawn School of Dancing"

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Jane, Sherman. Barton Mumaw, dancer: From Denishawn to Jacob's Pillow and beyond. Hanover [N.H.]: Wesleyan University Press, 2000.

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1912-, Mumaw Barton, and Jacob's Pillow Dance Festival, eds. Barton Mumaw, dancer: From Denishawn to Jacob's Pillow and beyond. New York: Dance Horizons, 1986.

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ill, Lucas Margeaux, ed. Dancing dinos go to school. New York: Random House, 2005.

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(Firm), OHC Group LLC. Dancing dilemma. 2nd ed. Westlake Village, CA: OHC Group LLC, 2005.

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Bray-Moffatt, Naia. Ballet school. New York, NY: DK Pub., 2003.

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Boys dancing: From school gym to theater stage. Somerville, MA: Candlewick Press, 2017.

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Pierr, Morgan, ed. Dragon dancing. New York: Viking Childrens Books, 2007.

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Ballet school. New York: Viking, 2000.

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Jessel, Camilla. Ballet school. London: Hamish Hamilton, 1999.

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McKinney-Whetstone, Diane. Blues dancing: A novel. New York: W. Morrow, 1999.

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Book chapters on the topic "Denishawn School of Dancing"

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Scolieri, Paul A. "An Interesting Experiment in Eugenics." In Ted Shawn, 75–152. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199331062.003.0003.

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This chapter examines the formation and early years of Denishawn, the first American modern dance company and school. It argues that the newlywed Ruth St. Denis and Ted Shawn harnessed the cultural fascination with eugenics—the science of race betterment—to catapult their unique brand of theatrical dancing into public renown. A cultural phenomenon, Denishawn appeared in magazines from National Geographic to Vogue, fast becoming a sensation among Hollywood directors, vaudeville producers, and high society elites. Denishawn’s meteoric rise was curtailed by World War I and Shawn’s enlistment in the army as well as the interpersonal conflicts between St. Denis and Shawn, which led the couple to seek marriage counseling from Havelock Ellis, a pioneer of the British eugenics movement, while in London in 1922 with their company.
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Scolieri, Paul A. "Tales of a Terpsichorean Traveler." In Ted Shawn, 153–222. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199331062.003.0004.

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This chapter focuses on Shawn’s extensive travels abroad during the height of the Denishawn enterprise in pursuit of learning and adapting authentic “foreign” or “ethnic” dances for the American stage. It details Shawn’s trips to Spain and North Africa (1923), where he traveled in search of the Ouled Naïl, the nomadic tribe of bejeweled dancing girls that had captured the imagination of Romantic artists and writers. It also covers Denishawn’s groundbreaking eighteen-month tour of the Far East (1925–26), focusing on the company’s status as “America’s unofficial ambassadors” and revealing Shawn’s artistic exchanges with local artists, royalty, and colonial officials. The chapter explains how Shawn translated his experiences abroad into dances that filled his repertory for years to come—as well as into business practices that helped him build an arts empire with school franchises, a mail-order dance business, and its own Denishawn Magazine.
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"DANCING BOYS. High School Males in Dance." In Dancing Boys, 1–2. University of Toronto Press, 2016. http://dx.doi.org/10.3138/9781442617452-003.

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Scolieri, Paul A. "America’s Greatest Male Dancer." In Ted Shawn, 223–84. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199331062.003.0005.

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This chapter examines how Ted Shawn’s attempts to fulfill his vision of a “Greater Denishawn”—a physical and artistic expansion of the company and dance school into a full-fledged arts colony and dance guild—was thwarted by a number of personal, artistic, and financial factors, most especially the stock market crash of 1929 and the ensuing economic crisis. It also elucidates Shawn’s first serious relationship with a man as well as the unraveling of his marriage to Ruth St. Denis and the parallel dissolution of Denishawn, the company and school that they had founded together. It then follows Shawn to Germany where he attempted to rebuild his career as a solo artist with the financial and artistic support of Katherine S. Dreier, modern visual artist, philanthropist, and the founder of the Société Anonyme, as well as his return to the United States where he laid the groundwork for what became his all-male dance company.
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Emberly, Andrea, and Mudzunga Junniah Davhula. "Dancing Domba." In Transforming Ethnomusicology Volume II, 148–63. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517550.003.0010.

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The domba school of girls’ initiation is recognizable to many ethnomusicologists from John Blacking’s historic work in Venda communities in South Africa in the 1950s. Blacking’s study illuminated the central role of music in children’s lives in Venda communities. However, at present, domba and the unique songs and stories of Venda childhood are highly endangered, with significant ramifications for contemporary children’s education, cultural practices, and well-being in Venda communities. This chapter explores collaborative research that aims to draw together ethnomusicological methodologies such as audio and video documentation with community-driven efforts to embed the teaching and learning from domba into the school curriculum. Because children have historically been viewed as research objects, rather than participants, this collaborative effort highlights the significance of including children and young people in the research process. By connecting music to a broader cultural context, our research explores the emotional, physical, and socio-cultural transition from childhood to adulthood that is embodied musically in initiation schools and through the transmission of traditional Venda children’s musical arts practices (song, dance, instrumental performance). Our research aims to contribute to knowledge about critical issues, including the connection of well-being to arts education and the sustainability of intangible cultural heritage through unique and collaborative methodologies that prioritize the engagement of children and young people.
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Osumare, Halifu. "Dancing in Africa." In Dancing in Blackness. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056616.003.0006.

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Chapter 5 records the author’s bold move to Ghana, West Africa for nine months to study and research the basis of black dance in the Americas. She studies the curriculum of the School of Music, Dance, and Drama (SMDD) at the University of Ghana, Legon, under the ethnomusicologist Dr. Kwabena Nketia and the dance ethnologist Professor Albert Opoku. She examines the development of the internationally touring Ghana Dance Ensemble. She also explores her personal relationships with other African Americans and Ghanaians to further interrogate race and blackness from the point of view of living in West Africa. She reminisces about how her dance fieldwork in five regions of Ghana and her excursion to Togo and Nigeria broadened her perspective on herself as African American in Africa.
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Osumare, Halifu. "Coming of Age through (Black) Dance in the San Francisco Bay Area." In Dancing in Blackness. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056616.003.0002.

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This chapter tells the author’s beginnings in dance in high school and her developing dance training as an undergraduate at San Francisco State University. She also probes the unique qualities of the SF Bay Area in the latter 60s, specifically as it relates to the Black Arts Movement-West, the hippie counterculture movement, and black militancy leading to the formation of Oakland’s Black Panther Party and the SF State Strike for Ethnic Studies. She shows how she situated dance as her unique revolutionary statement and took this approach when leaving the US for Europe as a young woman.
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Ransby, Barbara. "Dancing on the Edges of History, but Never Dancing Alone." In Reshaping Women's History, 85–97. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252042003.003.0007.

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In this chapter the author reflects on what it means to be a black female historian in the twenty-first century. She challenges those who argue that it should simply mean being a good scholar and that notions of race and gender are anachronisms. She draws from her personal experiences in graduate school and in the academy as well as those of many other female historians of African descent to reflect on the slow and erratic progress but also persistent, intractable prejudice augmented by decades of institutional racism. She also elaborates on the significance of political activism, parenting, and mentors to her work and her life.
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Osumare, Halifu. "Dancing in Oakland and Beyond, 1977–1993." In Dancing in Blackness. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056616.003.0007.

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As the longest section, chapter 6 covers sixteen years of the author’s career as dancer, choreographer, dance educator, and arts administrator. During this period, she solidified her reputation in the San Francisco-Oakland Bay Area as a leader in the growing black dance and multicultural arts movements when she founds the non-profit dance institution Everybody’s Creative Arts Center (ECAC). She assess her development as a dancer-choreographer, discussing some of her key dance works as well as the creation of the center’s resident dance company, CitiCentre Dance Theatre, which was an important contemporary dance company that operated from 1983 to 1988. She also explores her simultaneous adjunct dance position at Stanford University and several of her choreographic and directorial commissions. The chapter articulates how, in 1989, her accumulated artistic and administrative experience culminated in her founding a major national initiative in black dance: Black Choreographers Moving Toward the 21st Century. She concludes with how she eventually transitioned from the arts to academia after going to graduate school, and how dance and “writing dancing” are similar.
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Salkind, Micah E. "Dancing in Brave Spaces." In Do You Remember House?, 223–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190698416.003.0008.

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The seventh and final chapter of Do You Remember House? uses auto-ethnographic research to bring together the theoretical interventions developed in the previous six chapters. Building on work in dance studies and popular music studies, this chapter employs the notion of dancing in brave spaces, rather than what have often been referred to in the extant literature on queer social dance as safe spaces. It suggests that Chicago house culture inculcates a way of living bravely with socio-sonic difference, in part by fostering experiences of inter-subjective intimacy and vulnerability. The theoretical insights articulated in this chapter are grounded in ethnographic fieldwork conducted in the spring of 2014 at Chances Dances and Queen! as well as during Boogie McClarin’s house dance classes at The Old Town School of Folk Music.
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Conference papers on the topic "Denishawn School of Dancing"

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"Experimental Research about Self-learning in Technique Acquisition in Sports Dancing-Take Students at Wuhan Physical Education School in Sports Dancing as Example." In 2018 2nd International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ssah.2018.131.

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Wijayanti, Okto. "Cooperative Learning Strategy through Dancing Extracurricular as an Effort to Establish Hard Work and Patriotism Characters for Students at Primary School." In Proceedings of the 5th Asia Pasific Education Conference (AECON 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/aecon-18.2018.28.

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Vidulin, Sabina. "MUSIC TEACHING AND LISTENING TO ART MUSIC IN THE FUNCTION OF STUDENTS’ HOLISTIC DEVELOPMENT." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.391v.

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Music is a part of a child’s everyday life. In family and in preschool institutions, its function is different from the one in school. Music teaching influences the overall students’ development, which can be seen from a pedagogical and artistic perspective. It is aimed at acquiring knowledge and developing students’ skills in the field of art; it encourages aesthetic education, but also the preservation of historical and cultural heritage. The domain in which this is mostly realized is listening to music and music understanding. With the intention of bringing art music closer to children and young people, its more intense experiencing and understanding, the paper points to the necessity for an interdisciplinary and correlative relationship of music with other subjects, but also musical activities with each other. Since the author intends to indicate the importance of creating new didactical strategies for music teaching lessons, the Stage-English-Music concepts, the Listening to Music-Music Making model and the Cognitive-emotional approach to listening to music are briefly described. These strategies for the improvement of music listening are based on an interdisciplinary and intradisciplinary approach, depending on whether they include extracurricular activities in the work (e.g. English and drama education), or the work is carried out within musical activities such as singing, playing, or dancing with musicologically, but also humanistically oriented outcomes. Practice and research indicate that in addition to acquiring musical knowledge and developing musical skills, multimodal approaches affect students’ holistic development.
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