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Journal articles on the topic 'Disabled dance'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

Pohjola, Hanna. "Ruumiillinen erilaisuus: tanssi ammattina?" Nordic Journal of Dance 9, no. 2 (2018): 24–36. http://dx.doi.org/10.2478/njd-2018-0009.

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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 be

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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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Leng Poh Gee. "Dua Space Dance Theatre of Malaysia: Exploring Wheelchair Dance." Wacana Seni Journal of Arts Discourse 23, Supp. 1 (2024): 36–51. http://dx.doi.org/10.21315/ws2024.23.s1.4.

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Dua Space Dance Theatre, founded by Anthony Meh and Aman Yap in 1998, is a full-time contemporary dance company emphasising technical virtuosity and narrative choreography and often selecting themes centred on the local Chinese community. The dance company is highly associated with highlighting intercultural collaboration and embracing diversity. In 2006, with the nebular concept of Shang Jian Yi Jia (one family regardless of whether disabled or normal), Anthony and Aman were invited to establish a wheelchair dance troupe, Shuang Fu Performing Arts Troupe. This article explores the interaction

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Stamp, Kathryn. "Exhibiting Images of Disabled Dancers: Comparison, Reconstruction or Disruption?" Dance Research 40, no. 1 (2022): 41–60. http://dx.doi.org/10.3366/drs.2022.0357.

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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,

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Michalikova, Monika, Lucia Bednarcikova, Jana Demeterova, and Jozef Zivcak. "Personalized modification of sport dance wheelchairs." Acta Tecnología 09, no. 04 (2023): 115–19. http://dx.doi.org/10.22306/atec.v9i4.180.

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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 re

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Pavis, Mathilde, Charlotte Waelde, and Sarah Whatley. "Who can Profit from Dance? An Exploration of Copyright Ownership." Dance Research 35, no. 1 (2017): 96–110. http://dx.doi.org/10.3366/drs.2017.0185.

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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

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Peers, Danielle, Alice Sheppard, Lindsay Eales, and Abbie Schenk. "Inclinations." Art/Research International: A Transdisciplinary Journal 7, no. 1 (2022): 257–66. http://dx.doi.org/10.18432/ari29627.

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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 da

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Blockmans, Inge, Anna Dujardin, Lisi Estaras, et al. "Round-table conversation on crip, dance and choreography in Belgium." Choreographic Practices 15, no. 1 (2024): 181–99. http://dx.doi.org/10.1386/chor_00076_7.

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Belgium is internationally renowned for its vibrant contemporary dance scene. Since the advent of the so-called ‘Flemish Wave’ in the late 1980s, it has been home to not only renowned companies like Rosas, Les Ballets C de la B, Ultima Vez and Damaged Goods but also a thriving community of lesser-known choreographers. Additionally, the country also houses several important art centres for dance, as well as the internationally acclaimed school for contemporary dance, P.A.R.T.S. Amidst this dynamic scene, however, a silence looms – a scarcity of inclusivity, particularly the absence of disabled

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9

Apelmo, Elisabet. "“They really looked, looked and looked:” Contemporary dance, disability and the circulation of emotions." Alter 18-1 (2024): 5–21. http://dx.doi.org/10.4000/vyi7.

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Over the past decade, several inclusive dance projects, in which professional dancers with and without disabilities collaborate, have been started in Sweden. The article explores disabled and able-bodied dancers’ and leaders’ experiences of and strategies for managing gazes and emotions – in encounters with the audience and other surrounding people – from a phenomenological perspective. Eleven qualitative interviews were conducted. The interviewees meet gazes filled with benevolence, surprise, pity and fascination. The emotions stick to the disabled dancers’ bodies, distance them from their ow

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10

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 (2013): 9–21. http://dx.doi.org/10.26522/vp.v10i2.837.

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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 con

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11

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 (2022): 159–74. http://dx.doi.org/10.14361/zkmm-2022-080208.

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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

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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 (2022): 159–74. http://dx.doi.org/10.14361/zkmm-2022-0207.

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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

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Kuppers, Petra. "Crip/Mad Archive Dances." Theater 52, no. 2 (2022): 67–77. http://dx.doi.org/10.1215/01610775-9662255.

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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.

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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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15

Hannuksela, Riina, Sydney Erlikh, and Kelsie Acton. "Choreographing the disabled spectator: Disrupting audience expectations in Dancer and rampa landscape." Choreographic Practices 15, no. 1 (2024): 157–80. http://dx.doi.org/10.1386/chor_00074_1.

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Representation of ‘differing bodyminds’ in dance has expanded how dancing bodies are imagined. Examining two performances in Helsinki, Finland, Dancer and rampa landscape: lazy, late, absent through collaborative autoethnography we consider in what ways these works might choreograph for disabled spectators. We argue that choreography addressing disability and neurodivergence that does not consider the diverse access needs of spectators, risks creating hermeneutical injustice. This occurs when individuals experience harm due to their inability to understand or articulate their own experiences.

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16

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.

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“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 applyi

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17

Hermans, Carolien. "Differences in Itself: Redefining Disability through Dance." Social Inclusion 4, no. 4 (2016): 160–67. http://dx.doi.org/10.17645/si.v4i4.699.

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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 (shap

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18

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 (2018): 1–30. http://dx.doi.org/10.15353/cjds.v7i3.449.

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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 perfo

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19

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 (2023): 177–94. http://dx.doi.org/10.22251/jlcci.2023.23.6.177.

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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, an

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20

Morris, Merry L. "Mobile Bodies: Reimagining Design Through a Dance Lens." Technology & Innovation 21, no. 1 (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

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21

배주옥. "Analysis on the Research Trend of Dance for Disabled People." Journal of Korean Dance 32, no. 2 (2014): 129–48. http://dx.doi.org/10.15726/jkd.2014.32.2.006.

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22

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 (2018): 25–32. http://dx.doi.org/10.26743/kaod.2018.18.1.003.

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23

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 (2023): 1–12. http://dx.doi.org/10.1145/3597628.

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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) tha

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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.

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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

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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 (2023): 105–11. http://dx.doi.org/10.5604/01.3001.0053.8766.

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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 opp

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Van Goidsenhoven, Leni, Jonas Rutgeerts, and Carrie Sandahl. "Differing bodyminds: Cripping choreography." Choreographic Practices 13, no. 2 (2022): 197–202. http://dx.doi.org/10.1386/chor_00051_7.

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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 choreogra

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Dai, Guiyu, and Yichen He. "Deconstruction of Disability Identity in Peel My Love Like an Onion." English Language and Literature Studies 15, no. 2 (2025): 86. https://doi.org/10.5539/ells.v15n2p86.

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Ana Castillo&rsquo;s novel Peeling My Love Like an Onion tells the story of Carmen Santos, a disabled flamenco Chicana dancer and singer, who suffers from an ethnic identity crisis and the internal and external problems of mainstream cultural marginalization during her career. The changing nature of Flamingo dance enables Carmen to overcome both mental and physical barriers, break the internal boundaries between normal and abnormal in the white-dominated American society, and realize the reconstruction of the adaptive and mobile identity of the Chicana people. This paper explores how Carme

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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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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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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 (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 (2020): 631–52. http://dx.doi.org/10.22251/jlcci.2020.20.15.631.

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Hanafi Hussin. "Editor’s Introduction: Arts and Community Engagement: Intersect Music, Dance and Drama in Arts Education, Arts Therapy, and Arts Practice with Community Engagement Projects." Wacana Seni Journal of Arts Discourse 23, Supp. 1 (2024): 1–3. http://dx.doi.org/10.21315/ws2024.23.s1.ed.

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This special edition is an eclectic collection of writings focusing on Arts and Community Engagement. The articles differ from academic research and research by practice to first voice account of engagement in different communities in Malaysia, exploring voices and positioning of different stakeholders, including marginalised community members, academics, and art practitioners. This issue acknowledges different approaches and experiences to community engagements, mostly within academia, yet with a strong critical approach and a desire to raise awareness of what is possible and provide good mod

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Stich, Elizabeth. "A choreographic method of mis/fit in aerial dance." Choreographic Practices 15, no. 2 (2024): 243–64. https://doi.org/10.1386/chor_00081_1.

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This article examines the disability studies concept of misfit applied to aerial dance choreography. Rosemarie Garland-Thomson defines a misfit as an incongruency between two things, as in a square peg and round hole. Thus, misfit is not a fixed attribute but rather arises from the interaction of those two things. In aerial arts, fit or misfit is located in the relationship between a particular dancer’s body and the aerial apparatus. The aerial hoop, a rigid metal circle, is rife with potential misfits. The dancers in this project are visibly non-disabled, yet Garland-Thomson explicitly invite

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Gibson, Janet, Kate Maguire-Rosier, and Tony McCaffrey. "“We are Performance Philosophy Problems”." Performance Philosophy 9, no. 1 (2024): 59–83. https://doi.org/10.21476/pp.2024.91443.

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This article originates from a KeyGroup presentation at the June 2022 Performance Philosophy Problems conference in Helsinki in which the performers of Different Light Theatre Company, a learning-disabled theatre company based in Christchurch, New Zealand, interrogated the conference process, proposing their own research questions for the conference participants as well as questions about theatre, Zoom, and thinking. At the conclusion of the presentation, Laura Cull Ó Maoilearca, asked how ‘we’ (academics and the learning-disabled) can be together in conferences in meaningful and inclusive way

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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 (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 (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 (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

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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 (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 Pol

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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 (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, w

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Lykkemark, Marie. "Object.Mirror.Tempo." Nordic Journal of Dance 9, no. 2 (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 con

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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 (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 languag

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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 (2020): 188–94. http://dx.doi.org/10.15857/es.2020.29.2.188.

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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

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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 (2020): 188–94. http://dx.doi.org/10.15857/ksep.2020.29.2.188.

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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

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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 (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 diali

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Esteban, Jose Miguel, and Elisabeth Motley. "Fragmenting cripistemology: Gap movement and choreographic practice." Choreographic Practices 15, no. 1 (2024): 113–32. http://dx.doi.org/10.1386/chor_00069_1.

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This article attends to the creative process of our choreographic video essay, Mourning Movements (2023). Between the distances of Tkaranto (Toronto) and Lenapehoking (New York City), we explore approaches and methods for choreographic practice through gaps of space, time and differing corporealities. Theorizing our creative collaboration within these gaps, the methodological framework of fragmentation emerges as a network for disjointed choreographic sense-making. Refiguring our ‘gap’ movement as crip choreographic practice, we consider fragmentation as a basis for a choreography that embrace

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Pyatkina, E. S., E. S. Grinina, and L. V. Shipova. "DYNAMICS OF MENTAL STATES OF PERSONS WITH MENTAL DISORDERS IN THE PROCESS OF PSYCHOLOGICAL REHABILITATION USING AUDIO CORRECTION." Pedagogical IMAGE 18, no. 4 (2024): 589–602. https://doi.org/10.32343/2409-5052-2024-18-4-589-602.

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Introduction. The article analyzes the experience of using audio correction in the complex rehabilitation of people with mental disorders. Audio correction using the Tomatis method currently appears to be an effective technology for harmonizing the mental development of people with disabilities by purposefully influencing the auditory analyzer. The focus is on the dynamics of mental states of young people with mental characteristics of varying degrees of severity. Materials and methods. The study involved 36 clients of the Adaptation and Rehabilitation Center for the Disabled – young people wi

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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.

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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 mig

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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 (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

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