Dance Research

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The relationship between behaviour problems and intelligence was examined in a sample of 106 three-year-old boys and girls selected for the presence of either conduct problems or hyperactivity. Parents' reports of hyperactivity, but not conduct problems, were negatively related to IQ, scores for both boys and girls. There was a significant sex difference in the association between conduct problems and IQ. For girls IQ was positively correlated with conduct problems. The implications of the results for existing models of the relationship between behavioural deviance and cognitive functioning in childhood is discussed.

Dances from African communities are gradually getting incorporated into formal education at pre-tertiary and tertiary levels in the United States. Whereas strides have been made to embrace this artistic and cultural diversity, the instructional methodologies that are applied in teaching these dances are commonly founded on Western pedagogic canons and thought. This article locates the place of African dances within the existing body of literature, with emphasis on the scholarly, pedagogic, and research dilemmas, prospects, challenges and implications of integrating these dances in to formal education. Building on my orientation as a learner and teacher of dance in academic and non-academic settings in Uganda, the US and New Zealand, I explore my autoethnographic teaching experiences and reflections on how I have integrated and applied pedagogies of Ugandan traditional dances such as communal random mirroring; music as a teaching aid; ethnic dance terminologies; children games as warm up exercises; and storytelling as modalities of dance instruction in formal education. Moreover, I demonstrate how theories of spiral curriculum (Brunner 1960) and experiential learning (Kolb 1984) have participated in nourishing this pedagogic synthesis and philosophy

What is the boundary of the academic space, and who can belong within it? The migration of skilled practitioners into Academia from other workplaces brings with it the opportunity to expand the understandings and functions of higher education. Similar to processes of geographic/political migration, the acculturation resulting from this professional resettlement can lead to the assimilation, integration, separation or marginalization of academic migrants. Within this article, we explore how differing pathways within and into Academia from other professional contexts can impact upon an academic immigrant’s sense of belonging.
Adopting the roles of an economic migrant, a refugee, an internally displaced person and a temporary visitor, we entangle our professional narratives with themes of citizenship and migration, to examine the complexity of integration and inclusion within higher education. Our imaginative reconceptualization of academic migration leads into a discourse analysis guided by contemporary theory on acculturation and recollections of the acculturative queries we have encountered on our own journeys.

This article examines how pedagogy of African dances can act as a site where issues of Afrocentricity and horizontal interconnection can be activated, negotiated, and embodied. I draw on the selected reflections of the participants in dance workshops and my experiences as a teacher of Ugandan dances in Jamaica to demonstrate how pedagogy allowed the learners to embody, deconstruct, and conceptualize kinaesthetic, storied, and musicalized dance material as valued and valid knowledge that is anchored in the worldviews, dignities, and ontologies of indigenous Ugandan communities from where the dances originate. The article frames pedagogy of the dances as an epistemological and ontological framework through which the learners sought to know, think, do, question, connect, and become. For people of African descent, partaking in teaching and learning processes of the dances created possibilities for cultural connections through experiential, imaginative, participatory, and reflective dance activities. The analysis further reveals how teaching dances from African cultures, a subject that is treated as insignificant within academic and artistic thought, positioned me to en/counter, rationalize, and address the challenges, dilemmas, and anxieties surrounding Black dance scholarship. It is hoped that this article

This randomized controlled trial compares the dance movement therapy (DMT) group’s effect on stress management improvement and stress reduction with a wait-listed control group (WG). 162 self-selected clients suffering from stress were randomly assigned to a WG or a DMT intervention that received 10 group therapy sessions. Stress management (SVF 120), psychopathology and overall distress (Brief Symptom Inventory/BSI) were evaluated at baseline (t1: pre-test), immediately after completion of the ten sessions DMT group intervention (t2: post-test), and 6 months after the DMT treatment (t3: follow-up test). Analysis of variance was calculated to evaluate the between-group (time x condition) and within-group (time) effect of the DMT intervention. Negative stress management strategies decreased significantly in the short-term at t2 (p < .005) and long-term at t3 (p < .05), Positive Strategy Distraction improved significantly in the short-term (p < .10), as well as Subtest Relaxation (p < .10). Significant short-term improvements were observed in the BSI psychological distress scales Obsessive-Compulsive (p < .05), Interpersonal Sensitivity (p < .10), Depression (p < .05), Anxiety (p < .005), Phobic Anxiety (p < .01), Psychoticism (p < .05), and in Positive Symptom Distress (p < .02). Significant long-term improvement in psychological distress through DMT existed in Interpersonal Sensitivity (p < .05), Depression (p < .000), Phobic Anxiety (p < .05), Paranoid Thinking (p < .005), Psychoticism (p < .05), and Global Severity Index (p < .01). Results indicate that DMT group treatment is more effective to improve stress management and reduce psychological distress than non-treatment. DMT effects last over time.
Keywords: Dance movement therapy (DMT) research, Stress management and stress reduction, Randomized controlled trial (RCT), Treatment effectiveness.

Abstract
This study examines the treatment outcome of a 10 weeks dance movement therapy intervention on Quality of life (QOL). The multicentered study used a between subject-design with pre-test, post-test, and six months follow-up test. 162 participants who suffered from stress were randomly assigned to the dance movement therapy treatment group (TG) (n= 97) and the wait-listed control group (WG) (65). The World Health Organization Quality of Life Questionnaire 100 (WHOQOL-100) and Munich Life Dimension List were used in both groups at all three measurement points. Repeated measures ANOVA revealed that dance movement therapy participants in all QOL dimensions always more than the WG. In the short term, they significantly improved in the Psychological domain (p>.001, WHOQOL; p>.01, Munich Life Dimension List), Social relations/life (p>.10, WHOQOL; p>.10, Munich Life Dimension List), Global value (p>.05, WHOQOL), Physical health (p>.05, Munich Life Dimension List), and General life (p>.10, Munich Life Dimension List). In the long term, dance movement therapy significantly enhanced the psychological domain (p>.05, WHOQOL; p>.05, Munich Life Dimension List), Spirituality (p>.10, WHOQOL), and General life (p>.05, Munich Life Dimension List). Dance movement therapy is effective in the short- and long-term to improve QOL.
Keywords: Dance therapy, Dance movement therapy, Research, Quality of Life (QOL), Randomized controlled trial, Treatment outcome and Efficacy.

The field of integrated dance brings together dancers with and without disabilities to create a novel art form. In dancing together, participants engage in a process of "translation" to interpret and enact movement, a practice I term embodied translation. This practice involves distilling a movement to its kinesthetic and expressive core, then exploring potential manifestations of those elements through various uses of space, objects, and bodies. Performed among people whose means and range of movement vary widely, embodied translation necessitates the recognition of multiple pathways toward shared expression, engendering a collective of kinesthetic multiplic-ities. Based on fieldwork with projects of integrated dance in Israel and the United States, I examine participants' verbal, embodied, kinesthetic, and material means of translation, questioning whether translation can in fact produce commensurability among diverse bodies. [translation, disability, dance, embodied knowledge, anthropology of movement, nonhuman]

This paper examines a belly dancing workshop through a qualitative phenomenological methodology. It presents a case study of how a group of women in Israel (Muslim, Arab-Jewish, and Western Jewish) from a range of professional levels (lower administration to professors in the same university), through a belly dancing workshop, experience their bodies and construct their sexuality contextualised within the specific social and cultural realities of being a women of different religion, class, and culture, in Israel, all working in a patriarchal university context that refuses to fund the group. The women address personal, group, and social- political levels through their experience of their body and their re-definition of power and of sexuality through the belly dancing itself, and through their struggle to enable the group to continue

This chapter examines three works by Danish artist Jeannette Ehlers that involve dance as ritual movement in what I call“museumised space”. Examining these dances as creolised products arising from the enslavement of Africans by European nations, I will argue that Ehlers performs through them an Afropean decolonial praxis of ‘re-edification’ around the silences surrounding Denmark’s colonial past, involving in particular a dialectic between spectrality and material sumptuousness that draws purposely on dance in relation to the materiality of sound.

The entire book is uploaded here; my essay is on pp 41-55

In this article, I analyse screendance texts from Hindi cinema to introduce a theoretical framework called the ideology of amateurism which, I argue, made space within the narrative of the Hindi film for the ‘ideal’ Indian woman to dance publicly while simultaneously disavowing modernity. Through an analysis of selected film dance texts, I show how this turned the dancing heroine into the restorer of the moral order of the narrative. I argue that this ideology of amateurism amounted to a denial of dance labour, which was a necessary precondition for the cultural legitimation of the viewers’ desire for the screendancer in particular and a disavowal of the desire for modernity in general. Following this, I show how with the liberalization of the Indian economy and the rise of neoliberalism, and interestingly, also the replacement of the erstwhile ‘union-dancers’ on-screen Bollywood film dance texts today not only acknowledge the labour of screendance but promotional materials lay out the ‘labouring process’. This, I suggest, is symptomatic of the emergence of a new work order and the entry of a new class into this sphere. I read this in conjunction with the rise of dance as an established profession, as seen through the mushrooming of Bollywood dance schools, in order to show how the ideology of amateurism is challenged through a reconfiguration of work practices in neoliberal economies.

Although recreational dancing is associated with increased physical and psychological well-being, little is known about the harmful effects of excessive dancing. The aim of the present study was to explore the psychopathological factors associated with dance addiction. The sample comprised 447 salsa and ballroom dancers (68% female, mean age: 32.8 years) who danced recreationally at least once a week. The Exercise Addiction Inventory was adapted for dance (Dance Addiction Inventory, DAI). Motivation, general mental health (BSI-GSI, and Mental Health Continuum), borderline personality disorder, eating disorder symptoms, and dance motives were also assessed. Five latent classes were explored based on addiction symptoms with 11% of participants belonging to the most problematic class. DAI was positively associated with psychiatric distress, borderline personality and eating disorder symptoms. Hierarchical linear regression model indicated that Intensity (ß=0.22), borderline (ß=0.08), eating disorder (ß=0.11) symptoms, as well as Escapism (ß=0.47) and Mood Enhancement (ß=0.15) (as motivational factors) together explained 42% of DAI scores. Dance addiction as assessed with the Dance Addiction Inventory is associated with indicators of mild psychopathology and therefore warrants further research.

In this publication, we present artistic and technical developments in creating and presenting dance performances in media art, where embodiment is crucial in the artistic process. We study and compare three distinct performances with dancers and one choreographer in the same dance company between 2009 and 2020. The degree of immersion in performance is then compared between the three pieces, created at Balleteatro, in Porto, addressing the transition from the real to the virtual in the performance perspective, with practical cases and direct observations in the way the audience learns different states of body representation through technological means. We initially present the NUVE performance (2010), interpreted by Né Barros, Co:Lateral (2016-2019), a performance that crosses different realities, and, finally, the transition to the UNA work (2020) that takes place in total virtuality. This publication focuses on the developments, the public experience, and the results obtained in more than 20 exhibitions in different locations, either in theater or auditorium and in conference venues.

Beginning with Giorgio Agamben’s alignment of ethics and potentiality, this essay questions the ethical dimension of gesture in the field of dance as an eminently potentiality-bound art form. This draws on Daniel Sibony’s concept of law and dance, according to which the body simultaneously repels and longs for the law as a nexus of heteronomous structures. I frame this through a revision of Aby Warburg’s rhetorical concept, pathos formula, into the corollary term, ethos formula, as the encoded movement patterns of ethical attitudes or comportments which are motivated by decision-making rather than emotional content. Do gestures and their citation in dance bear an ethical dimension similar to the encoded transmission of emotions through movement?

This new concept of ethos formula finds an excellent example in the work of the American choreographer Ted Shawn (1891–1972). His strikingly hybrid use of ethos formula from the 19th century Catholic theorist François Delsarte and his parallel practice of quoting liturgical gestures from Protestant church services, pursues the ambiguity and uncanniness of modernity itself. For Shawn—like many other protagonists of modernist dance—argues on the one hand for freeing the body from the boundaries of classical ballet in the name of individual expression, and on the other hand for an instrumentalized body that still clings to principles of taxonomy and normativity.

This chapter offers an ethnographic analysis of two choreographic projects-The Sysmograph (2019) by Pélagie Gbaguidi, which addressed the Venetian Museo del Manicomio. La follia reclusa in the context of the Ultrasanity symposium in Venice and the planned contribution of Dorothée Munyaneza on the Marseille ethnographic collections in the framework of a symposium during Manifesta 13 (2021). Both choreographies are analysed as performances that sense and mediate traumatic pasts, object agency, and the continuation of modern legacies in museums. The objective of this contribution is to open a discussion on the possibilities of choreographies and dance not as illustrative practices, but as mediating, embodied, translated investigations of active matter, difficult heritage, and the traumatic pasts inscribed in museological narratives, objects, and spaces.

Objective: To investigate whether a dance intervention for adolescent girls reduces stress-related symptoms. Methods: This was a randomized controlled trial of an after-school intervention. Participants were 112 girls aged 13 to 18 years with stress-related somatic symptoms and emotional distress. The intervention comprised twice-weekly dance sessions for 8 months with a focus on enjoyment and socialization. A questionnaire was administered at baseline and after 8, 12 and 20 months. Participants rated the frequency with which they had experienced somatic symptoms and emotional distress during the previous 3 months. Results: After the intervention, there was a significantly greater reduction in somatic symptoms and emotional distress in the dance intervention group than in the control group. The difference in the mean score change on a 5-point scale was 0.26 (95% confidence interval [CI]: 0.04 to 0.47) for somatic symptoms and 0.30 (95% CI: 0.04 to 0.58) for emotional distress. Conclusion: Dance interventions may reduce somatic symptoms and emotional distress in adolescent girls, and may constitute a nonpharmacological complement to school health services. However, continued participation is needed for long-term sustainable results. Additional randomized studies are required to further evaluate the effect of this type of intervention in different settings.

Pierre Bayle's Dictionnaire Historique et Critique, a landmark in intellectual history, is a curious text. Originally intended as a collection of all errors, it became an encyclopedia of everything, enfolding rampantly growing footnotes that commented on every imaginable topic. Instead of looking at Bayle's theoretical statements in the Dictionnaire, I explore Bayle's writing practice, his critical method and his practice of forming judgments. A close study of the textual, paratextual and contextual characteristics of the first entry of the Dictionnaire (the entry "Abaris") allows me to find out how Bayle made up his mind at every stage during a contemporaneous controversy on divination. In this way, we are able to see Bayle's mind in action while he is judging the contradictory information he receives and the to-and-fro movement of changing opinions he is confronted with. Th is examination yields new insights to Bayle's practical attitudes towards key issues in his oeuvre, including scepticism, rationalism, superstition and tolerance. At the same time, the article clarifies how Bayle was involved in the Republic of Letters and how he related to his local context in Rotterdam.

This paper looks at dance practices of Romanian and Serbian villagers along the Danube Gorge which historically functioned as a natural and political boundary. Opportunities for dancing in all villages in the Gorge are still very common and frequented especially during the summer time. Based on my field reseach carried out since 2011 this paper examines the contemporary dance practice of this region. My methodological orientation will be based on ethnochoreological investigation of diverse repertoires, but also diverse dance structures as "predictable" dance texts designated during previous times as Romanian or Serbian, which are interpolated by the villagers. The notion of geographical place considered in a sense of a distinct "culture area", which, according to Bruno Nettl is grounded in the history of ethnomusicology, but also ethnochoreology, will be challenged by applying Martin Stokes’ concept of (geographical) place as a social construction which involves notions of difference and social boundary.
The following question will be raised: In what way does contemporary village dancing in the Danube Gorge correspond to the idea of establishing Romanian society as a part of the New Europe? In what way does the current (re)positioning of this historically and geographically distinct territory influence its contemporary dance practice? How is the concept of the ethnic dance (Romanian and Serbian) recognized both by insiders (villagers) and outsiders (the State institutions and scholars) and does this correspond to the new social and political context of contemporary Romanian society?

In this article, a computational platform is presented, entitled “Dance-the-Music”, that can be used in a dance educational context to explore and learn the basics of dance steps. By introducing a method based on spatiotemporal motion templates, the platform facilitates to train basic step models from sequentially repeated dance figures performed by a dance teacher. Movements are captured with an optical motion capture system. The teachers’ models can be visualized from a first-person perspective to instruct students how to perform the specific dance steps in the correct manner. Moreover, recognition algorithms-based on a template matching method can determine the quality of a student’s performance in real time by means of multimodal monitoring techniques. The results of an evaluation study suggest that the Dance-the-Music is effective in helping dance students to master the basics of dance figures.

Translation is a key concept for interpreting cross-cultural exchanges. This article tracks the development of a transnational dance project by Rebecca Hilton and Soonho Park, presented in conjunction with Federation Square Melbourne and Art Centre Nabi in Seoul in 2011. It involved the performance of a live telematic dance that occurred in both cities and was transmitted via the use of large screens. The interaction across these physical and mediated spaces produced a dynamic exchange of learning and communication. Through our active involvement as curators, participant observers and the gathering of audience
participation data, we discovered that the corporeality of the dance placed both the addresser and the addressee in the context of the social practice of translation. In this
context, we note that artistic projects can provide an embodied experience of the forms of heterolingual address and cross-cultural translation as analysed by Naoki Sakai. We
conclude that the fascination for engaging in transnational communication was stimulated by the cross-cultural process of translating gestures.

The author provides comments on the contributions to this special issue on perfectionism in sport and dance focusing on how they provide further support for the view that perfectionism is a “double-edged sword.” In addition, the author gives his personal view on using the tripartite model versus the 2 x 2 model of perfectionism as an analytic framework and, in conclusion, outlines future research on perfectionism in sport and dance that he thinks is needed to further advance our knowledge.

There is ferment in the social sciences. After years of sustained effort to build a science of society modelled on the natural sciences, that project, long treated with suspicion by some, is now openly being rethought. A critical intervention in this period of reflection was Making Social Science Matter (MSSM) by Bent Flyvbjerg, published in 2001. In that book Flyvbjerg challenged the very idea of social science as a science modelled on the natural sciences. Flyvbjerg argued that, as the social sciences study human interactions that involve human consciousness, volition, power and reflexivity, attempts to build generalizable, predictive models such as those for the natural world are misplaced and even futile.

John Cranko's only ballet for the Batsheva Dance Company in Israel, Ami-Yam, Ami-Ya'ar (Song of My People—Forest People—Sea, 1971) is described in a program note as “A Nation and Man Move in Parallel Cycles from Death to Regeneration.” It has remained unique in Cranko's choreographic corpus and in the Batsheva repertoire. Based on recently discovered film evidence, I reread Cranko's largely forgotten project and discuss its problematic and controversial reception in Israel and abroad, in light of Adorno's statement that “writing poetry after Auschwitz is barbarism.” I situate it as a landmark in tackling the Holocaust in dance in Israel as of 1971. I problematize the ethics and aesthetics of representation in Cranko's ballet on the grounds of Giorgio Agamben's discussion of testimony and in reference to Jacques Derrida's reading of Paul Celan.

Traditionally, forms of body work such as Alexander Technique have been excluded from mainstream biomedicine and health care, despite attempts by practitioners to have the work accepted within the medical community ). Using data from a UK-based study of Alexander Technique which combined participant observation, interviews with seventeen teachers and pupils, and analysis of historical texts, this paper examines the relationship of the Alexander Technique to the field of health care, looking at its embodied practices and contrasting these with the discourses in which it is framed. Applying Foucault's concept of 'techniques of the self' (1985), the paper examines Alexander Technique's physical practices as a form of embodied knowledge, and goes on to look at its use of particular ideas about nature and evolution as guiding authorities, its emphasis on holism through its conception of the 'self', and how it has been positioned in relation to biomedical approaches. The paper argues that while the embodied practice of Alexander Technique has much to offer to mainstream health care, the discourses and knowledge systems in which it is embedded make it unlikely to receive mainstream medical acceptance.

From 2005 to 2006 LUDUS Dance, a professional contemporary dance, and dance in education, company based in the English city of Lancaster were funded by the Arts Council England to deliver a dance programme to a school for children encountering Profound and Multiple Learning Difficulties. Following an the reported impact of incorporating dance into the educational experience of the participating children this article considers why dance and somatic practice may be of particular significance for the individual encountering PMLD situating the question of the place of dance and movement in education, and its impact on those encountering PMLD, in a deeper theoretical context.

Bridging dance anthropology and multimodal discourse analysis, the article focuses on language used to teach and/or describe various versions of the pas de basque step in Highland, Scottish country, Scottish step and "called" Ceilidh dancing of Scotland. It analyses pedagogic discourse observed during on- and offline classes and dance events across the globe alongside the author's own embodied experience as a Scottish dancer, learner and teacher. When examining culturally and somatically contextualised uses of English in Scottish dance pedagogy, the article takes into account a range of dance manuals and instructions published between 1950 and 2020 by the Royal Scottish Country Dance Society, the Royal Scottish Official Board of Highland Dancing, the United Kingdom Alliance of Professional Teachers of Dancing and other organisations and individuals. Revisiting issues of communicating (and delegating) authority, (re)shaping the dance tradition(s) and providing/refraining from regulation, the study is aimed at helping to better appreciate the mutual interconnectedness between pedagogic discourse, on the one hand, and dance learning and teaching as an embodied social and cultural experience, on the other.

The term ‘phronetic social science’ was coined in Making Social Science Matter (Flyvbjerg 2001). However, as pointed out in that volume and by Schram (2006), phronetic social science existed well before this particular articulation of the concept, but it was just not organized, recognized or named as such. Rather, it occurred here and there as scholars had adopted phronesis-like methods for their own purposes. The present title is the first organized volume of empirical–practical work in phronetic social science. Before Making Social Science Matter, phronesis, as a critical term of Aristotelian philosophy, had been theorized and its continuing importance as a key concept in Western thought had been convincingly argued by distinguished philosophers like Hans Georg Gadamer, Hannah Arendt, Alasdair MacIntyre and Richard J. Bernstein, among others. But no one had developed the theory and philosophy of phronesis into a practical methodology that could be applied by researchers interested in actually practising a phronetic social science. Making Social Science Matter developed such a methodology. Its implications were discussed and developed further in Making Political Science Matter (Schram and Caterino 2006). After these two theoretical–methodological contributions, it was evident that an important next step in demonstrating the usefulness of phronetic social science would be to illustrate, with concrete examples, how applied phronesis works in practical, empirical social science research. The contributions on applied phronesis contained in the present volume make clear that this next step has now been taken.

In the 1960s, the initial decade of the Cuban Revolution, policies of proletarianization of culture intersected an economic model built upon the heroic labor of the New Man--the ideal revolutionary and communist worker. Adapting the practice of ballet to this Marxist context, ballet dancers took their art to the working classes through popular performances and outreach events in farms and factories. Given the centrality of manual work to the Revolution's ideology, dancers drew upon their own physical labor both in ballet and agriculture to establish an even stronger association with the working classes and embody the New Man's morality. Known for their strict work ethic, Alicia Alonso and other baller dancers became public examples of hard work for the nation--one way of fulfilling the politico-pedagogical role that the state expected from artists. At the same time, media representations of female dancers' labor enabled formulations of the New Man's gendered counterpart: the New Woman.

Research is a crucial element in advancing our collective knowledge of somatic psychology, but body and movement psychotherapists often struggle to engage in meaningful relationships with the psychology research literature and the
community of scholars who typically produce it. This paper elaborates the common ground between research and somatic psychotherapy by linking the values, attitudes and skills of somatic psychotherapists with specific research
methodologies. It traces the similarities between doing therapy and doing research, with a focus on the role of the therapist/researcher, and outlines a research method that somatic psychotherapists might consider as a basic
framework when undertaking their own formal research.

In the present study, we examined mood changes following dancing. Previous works suggested that contextual factors may influence affective states; it has been shown that changes in mood following competition differ from those following recreational exercise. The study has been conducted in Warsaw, Poland. Mood was assessed before and after dance activity in three groups of ballroom dancers: recreational (n = 32) and competitive (n = 38) dancers doing ordinary training and competitive dancers taking part in a dance competition (n = 35). We observed a moderately positive change in recreational dancers doing ordinary training; they reported higher energetic arousal (EA) and hedonic tone (HT) and lower tense arousal (TA) after dance activity. In comparison dancers taking part in a competition were higher on TA before dancing and felt less pleasure after dancing than recreational and competitive dancers doing ordinary training; HT, TA and EA moderately decreased during competition. In general, the current study suggests that dance can elicit changes in mood; however,
situational context has to be taken into consideration when explaining the influence of dance on mood.

For over fifty years, successive waves of critique have underscored that the apolitical character of much of Political Science research betrays the founding mission of the discipline to have science serve democracy. The Caucus for a New Political Science was originally based on such a critique, and the Perestroika movement in the discipline included a call for more problem-driven as opposed to theory- or method-driven work that would better connect Political Science research to ongoing political struggles. In recent years, movements for a public Sociology and public Anthropology as well as dissonant movements in Economics and related fields have added to the insistence that social science research was too often disconnected from the real world. Phronetic Social Science has emerged out of the ferment for change in the social sciences, starting with the much-debated book by Bent Flyvbjerg, Making Social Science Matter (Cambridge 2001). Flyvbjerg critiqued the social sciences for mimicking the natural sciences while proposing an alternative approach that focuses research on helping people address the problems they are facing in the context they are facing them. Today, Phronetic Social Science goes beyond the call for an alternative approach to social inquiry and its growing adherents are providing evidence that this alternative approach to doing research can enrich the social sciences by more effectively connecting research to efforts to address real world problems as people experience them. This essay provides a genealogy of efforts to connect Political Science to politics, a review of the major critiques of mainstream research, an explication of the rationale for more problem-driven, mixed methods research, a specification of the key principles of the phronetic approach, and examples of its application in the public realm. The essay concludes with implications for realizing a more political Political Science by way of taking a phronetic approach.

O artigo parte do princípio de que a educação somática articula questões próximas aos estudos da percepção tanto das ciências cognitivas como da filosofia. Indica que as abordagens somáticas podem ampliar sua área de atuação e transbordar sua função inicial de manutenção da saúde e melhora da qualidade técnica para habitar o campo da pesquisa e da criação em dança. A fim de estreitar a relação entre educação somática e dança, busca-se abordar alguns princípios do estudo da Coordenação Motora de Béziers e Piret e apontar seus possíveis desdobramentos no processo de investigação e criação em dança via percepção.

‘Dancing Glass: Reflection of Art through Dance’ was a collaborative project using artwork from the glass gallery at the Lowe Art Museum of the University of Miami, as a springboard for artistic inquiry in improvisational dance. Students enrolled in a Dance Improvisation course, guided by professors Carol Kaminsky and Jorge L. Morejón in order to create dance pieces based on the exploration of shape, line, design, and symbolism of glass art. Several works of art were identified for this project which allowed a moving dialogue based on authentic and aesthetic responses. Students’ generated movement, combined with sound, photo, film, and written responses, resulted in themes that emerged from their personal connection to the art. However, the course was just the frame for a bigger research project whose objective was to find out whether glass sculptures influenced creativity in dance improvisation, and how creativity, in turn, affected the students’ self-esteem and self-confidence. The performance, along with their journal entries, the audience surveys and their personality measurement assessments brought the semester to a successful closure as students gained in self-esteem and self-confidence through dance improvisation.

KEYWORDS: Dance improvisation, dance research, glass art, self-esteem, embodied learning self-confidence

Arts-based learning activities are gaining popularity and acceptance within leadership programmes around the globe. While dance as a learning method is still emerging as a practice within leadership education, we argue that dance-making can open up new possibilities and understandings for organizational management. More than simply using dance as a metaphor, the concepts of embodiary and embodied leadership explore how the moving body can be a key site for individual and collective creative realizations and communications.

Following a grounded theory approach, within this article we draw on the perspectives of dance academics, artists and leadership academics engaged in arts-based learning. Through reviews of Leadership and Dance Studies literature and qualitative, semi-structured interviews, we identify key themes related to how and why dance is being used within leadership education. These themes prompt critical reflections on the use of dance as an experiential learning method to enhance creativity and communication within organizational contexts.

Certain trends in the recital of Western art music composition and performance have embraced indeterminacy through an emerging sonic aesthetic that seeks to redefine the notion of failure. From Charles Ives' adoption of bi-tonality in the early twentieth century to the ‘glitch’ movement in contemporary computer music, this article traces ways in which musicians have sought to embrace the risk for failure in performance with special attention to virtuosic instrumental music (Cascone 2006; Rodgers 2003; Godlovitch 1998; Rosen 2002). Drawing upon the author's recent interdisciplinary practice-led research ‘Woman=Music=Desire’ (2010) and adopting a choreographic approach to the re-appropriation of musical gesture, the author explores how the risk for failure contributes to live musical experience. This discussion is then extended to the process of corporeal acquisition necessary in rehearsing and performing a piece of music which, the author suggests, results in a degree of gestural self-simulation. In this way, the performer's personal authenticity is discussed as a potential locus of failure in which the physical manifestation of emotional expression helps to determine empathetic identification between performer, spectator and instrument (Kivy 1995). Drawing upon Steven Baker's notion of ‘botched taxidermy’ (2000), the author suggests that this empathetic identification creates a space in which the potential risk for failure might be considered intrinsic to conceptions of corporeality in music performance. In this way, live musical experience is posited a site of risk in which the performer, as a desiring subject, emerges as the embodiment of failure. A short excerpt of the case study ‘Woman=Music=Desire’ may be viewed at: http://www.imogene-newland.co.uk/perf_women_md.php

This article discusses an artistic research project that investigates the impact of Body Weather performance training on the perceptual process and modes of knowing of the performer. It revisits an early stage of my doctoral research, in which my main concern was to develop an
embodied approach to the articulation of the knowledge created by the training practice. It begins with a brief introduction of the Body Weather training programme and the practice that is the focus of my investigation: the Manipulations. Drawing on the concept of bodily
knowledge, it indicates the difficulty in providing a linguistic articulation of the tacit knowledge that is embodied in artistic practice. The article discusses how I address this issue by developing a ‘research score’ and creating a ‘Glossary’, and how these two are combined in order to think through the Manipulations. It provides a close reading of the process of alteration that is enabled by the Manipulations and a thick description of the research score, arguing that the latter allows for an equal relationship between practice and writing. It concludes by sharing observations regarding the expansion of training practice into a medium of research and the potential of my approach to research into training to become a mode of training research.

Tone Pernille Østern Meaning-making in the Dance Laboratory. Exploring dance improvisation with differently bodied dancers. Manuscript for doctoral thesis at the Theatre Academy, Helsinki 2009 Publisher: Teatterikorkeakoulu © Teatterikorkeakoulu and Tone Pernille Østern Cover photo: Pekka Stokke The photo is taken in the Dance Laboratory in 2004. Layout: Päivi Talonpoika-Ukkonen ISBN 978-952-9765-52-2 (paperback) ISBN 978-952-9765-53-9 (PDF)

This paper presents a unified framework for recognizing and scoring dance motion using 2-layer classifier so that computation complexity is distributed into two layers. This research examines the performance of sliding window, hidden Markov Model (HMM) and conditional random field (CRF) as the first layer classifier to segment the input video into a sequence of motion primitive label. The second layer classifier is stochastic error-correcting context-free grammar, built based on dance master knowledge, to parse the sequence of labels, builds a parse tree, and computes the accumulated dance score. The dataset for this research is captured using one Kinect camera. The training dataset is: 212 samples of 12 motion primitive samples and seven videos of Pendet dance performance. From 5-fold cross-validation, accuracy of sliding window, HMM, and CRF are 0.63, 0.79, and 0.86 respectively. This result shows that CRF achieves higher performance as a dance motion primitive recognizer than HMM as proposed by [1]. The CRF model achieves 0.88 of accuracy when motion feature is all skeleton joint angular coordinates as proposed by [2] but increases to 0.93 if the motion feature is only upper-body joint coordinates. Stochastic error-correcting context-free grammar is chosen as dance choreography model. The experiment using synthetic sequence label with cost factor ci=1 and error-sequence labels up to 50 percent shows the grammar can tolerate the input label sequence error up to 25 percent. The experiment using Pendet dance performances show that the average dance score is 79.3. The low dance score is due to several factors including: dance skill variation, unstable basic gesture repetition, high cost contributed by replacing deletion and substitution of local error by insertion operation, duration variation due the absence of timing guideline of body part motions, and limited training dataset to capture possible basic gesture variations. Index Terms-dance motion recognition and scoring.