3rd DANCE EDUCATION CONFERENCE 2010
‘Unleashing
the Potential of Dance Education’
Organised by the Ministry of
Education
7, 8 and 9 September 2010, The Republic Cultural Centre
PROGRAMME
7 SEPTEMBER 2010 ( TUESDAY )
|
TIME |
ACTIVITY |
VENUE |
|
8:45am
to 9:45am |
Registration |
Studio
Entrance |
|
10am
to 11am |
General Assembly |
Studio |
|
11am
to 12:30pm |
Reception and viewing of dance resources 12:05pm to 12:25pm: Showcase by NAFA
Dance students in Studio |
TRCC
foyer |
|
12:30pm
to 2pm |
Presentation by Dr. Miriam Giguere and Associate
Professor Ralph Buck Unleashing the Potential of Dance Education – The value of approaches and associative challenges to effective dance
teaching |
Studio |
|
2pm
to 2:30pm |
Tea Break |
TRCC
foyer |
|
2:45pm
to 4:15pm |
CONCURRENT SESSIONS A |
|
How ‘Space, Time, Body, Energy’
Saved My Life |
Studio |
|
Learning from the Masters in Dance History |
Dance
Studio 1 |
|
The Next Step |
Dance
Studio 2 |
|
Innovating Contemporary Chinese Dance |
Practice
Room 3B |
|
|
4:15pm
to 5:15pm |
Summative comments by presenters/trainers and participants’
reflections |
Studio |
|
End
of Day 1 |
||
8 SEPTEMBER 2010 ( WEDNESDAY )
|
TIME |
ACTIVITY |
VENUE |
|
8:45am
to 9:15am |
Registration |
Studio
Entrance |
|
9:15am
to 10:30am |
Forum by Dr. Miriam Giguere and Associate
Professor Ralph Buck |
Studio |
|
10:30am
to 11am |
Tea Break |
TRCC
foyer |
|
11am
to 12:30pm |
CONCURRENT SESSIONS B |
|
How “Space, Time, Body, Energy’ Saved My
Life (Repeated from Day 1) |
Dance
Studio 1 |
|
Learning from the Masters in Dance History” (Repeated from Day 1) |
Dance
Studio 2 |
|
Mindful Awareness – Powerful Practice In
Movement |
Practice
Room 3A |
|
The Aesthetic
and Artistic Value in Malay Dance |
Practice
Room 3B |
|
Innovating Contemporary Chinese
Dance (Repeated from Day
1) |
Practice
Room 3C |
|
|
12:30pm
to 2pm |
Lunch 1:40pm to 2pm: Showcase by Sri Warisan
Som Said Performing Arts Ltd, “Moving Forward With Tradition"
(Studio) |
TRCC
foyer |
|
2pm
to 3:15pm |
CONCURRENT SESSIONS C |
|
Advocating and Planning for Dance Education |
Studio |
|
The Mind in
Motion: Cognition During the Creative Process in Dance |
Dance
Studio 1 |
|
|
3:15pm
to 3:45pm |
Tea Break |
TRCC
foyer |
|
3:45pm to 5:15pm |
CONCURRENT SESSIONS D |
|
( with dancers from NUS Centre for the
Arts ) Choreolab: On
Performance Quality and Dynamics |
Studio |
|
Creative Dance
Education – What Makes It Work? |
Dance
Studio 1 |
|
Creating Spaces
in Indian Dance |
Dance
Studio 2 |
|
Keeping Our
Roots Alive: Exploration of Traditional Dance and Keeping It Relevant in
Today’s Context |
Practice
Room 3A |
|
Critical
Evaluation Of Dance Performances: Your Students and Beyond |
Practice
Room 3B |
|
|
End
of Day 2 |
||
9 SEPTEMBER 2010 ( THURSDAY )
|
TIME |
ACTIVITY |
VENUE |
|
8:45am
to 9:15am |
Registration |
Studio
Entrance |
|
9:15am to10:45am |
CONCURRENT SESSIONS E |
|
|
1.
Dance Education Research Sharing
Session (1)
|
Studio |
|
|
2.
Workshop by Mr
John Mead Creative Dance Education – What Makes
It Work? (Repeated from Day
2) |
Dance
Studio 1 |
|
|
3.
Workshop by Mr
Osman Abdul Hamid Keeping Our Roots Alive: Exploration
of Traditional Dance and Keeping It Relevant in Today’s
Context (Repeated from Day
2) |
Dance
Studio 2 |
|
|
10:45am to 11:15am |
Tea Break |
TRCC
foyer |
|
11:15am to 12:45pm |
Dance Education Research Sharing Session (2) § Dr. Caren Carino § Mdm Som Said § Dr. Stephanie Burridge |
Studio |
|
12:45pm to 2:15pm |
Lunch 1.45pm to 2.10pm: Showcase by Dance Horizon Troupe
(Studio) |
TRCC
foyer |
|
2:15pm to 3:45pm |
CONCURRENT SESSIONS F |
|
Dance Creativity |
Studio |
|
Choreolab:
On Performance Quality and Dynamics (Repeated from Day
2) |
Dance
Studio 1 |
|
Creating Spaces in Indian Dance (Repeated from Day 2) |
Dance
Studio 2 |
|
|
3:45pm to 4:30pm |
Summative forum by all key presenters and dance educators The Future of Dance Education – Where to from Here? |
Studio |
|
End
of DEC |
||
DETAILS ON
CONCURRENT SESSIONS
7 SEPTEMBER 2010 ( TUESDAY )
|
TIME |
ACTIVITY |
VENUE |
|
2:45pm
to 4:15pm |
CONCURRENT SESSIONS A |
|
How ‘Space, Time, Body, Energy’ Saved My
Life This workshop
explores how primary and secondary school teachers may begin and develop
dance lessons. We will use our own dance experiences (limited or expansive)
in tandem with Rudolf Laban’s and Janet Adshead- Lansdale’s conceptual models for dance education.
A process of action and reflection is valued as we build our knowledge of
teaching dance. |
Studio |
|
Learning from
the Masters in Dance History This workshop
will show examples of how to incorporate dance history, particularly the
history of modern dance, into technique classes. Using the work of
established choreographers not only teaches students about the art form
of dance, but also provides interesting material for technique class
combinations and choreographic projects. Participants will experience
two such lessons- one featuring the work of Alvin Ailey and another
featuring the work of Merce Cunningham. This
teaching method is particularly useful for teachers of teens. |
Dance
Studio 1 |
|
The Next Step This
lecture-demonstration aims to provide an insight into tertiary dance
education – the ‘next step’ chosen by some secondary students interested in
pursuing dance as a profession. The audience will learn how a contemporary
Asian dance work is created utilising an integrated
approach – i.e. incorporating technique, creative and contextual studies
towards the production of a dance performed by informed students. |
Dance
Studio 2 |
|
Innovating Contemporary Chinese Dance with demonstration by choreographers from Dance
Horizon Troupe (Singapore) The foundation of dance lies in body
language or movements. Without movements, dance will lose its meaning. This
workshop seeks to explore how to utilize breathing techniques to enliven body
movements and build on basic Chinese dance movements to incorporate elements
of “sharpness”, “complexity”, “calm” and “vigour”,
among others. These accents enrich one’s thoughts and generate a new
experience of “innovating” through dance. |
Practice
Room 3B |
|
8 SEPTEMBER 2010 ( WEDNESDAY )
|
TIME |
ACTIVITY |
VENUE |
|
11am
to 12:30pm |
CONCURRENT SESSIONS B |
|
(repeated from day 1) |
Dance
Studio 1 |
|
|
Dance
Studio 2 |
|
Mindful Awareness – Powerful Practice In Movement This workshop leads participants through
activities in mindful awareness, engaging in
mind-and-sense-focused movement. Tasks in brainstorming and problem solving
will bring participants together working to invent, rearrange and integrate
movement, in fun and enjoyable ways. Dance literacy, in essence to explore,
to experience and to enhance, is thus attained. Participants’ willingness to
participate in group activities is essential. |
Practice
Room 3A |
|
The Aesthetic
and Artistic Value in Malay Dance This workshop
provides participants with a better understanding of the above, based on the
Malay cultural values, philosophy and the character of each Malay dance
genre. Upon completion of the workshop, participants will be able to define
the aesthetic value of each dance form that can be implemented in Singapore’s
Malay Dance training. |
Practice
Room 3B |
|
|
Practice
Room 3C |
|
|
2pm
to 3:15pm |
CONCURRENT SESSIONS C |
|
Advocating and
Planning for Dance Education How teachers
fight, reason, articulate and then plan for dance in their school is one of
their biggest tasks and challenges. What rationale do you use when arguing
for dance in your classroom? How will you convince parents that dance is
worthwhile for their children’s education? How will you plan for dance in the
school? This session looks at how teachers can articulate a rationale for
dance education and how to systematically plan for the future implementation
of a dance programme. |
Studio |
|
The Mind in
Motion: Cognition During the Creative Process in Dance This
presentation will examine the ongoing research study conducted by the author
into how we think and reason as we are creating dances. The presentation
will look at the phenomenographic research method
used, as well as the preliminary findings of the research. These findings
include a listing of specific thinking strategies employed during the
creative process, the importance of creating in a group, a model of the
creative process in dance and the social, pedagogical and aesthetic
influences on this process. |
Dance
Studio 1 |
|
|
4pm to 5:30pm |
CONCURRENT SESSIONS D |
|
(with dancers
from NUS Centre for the Arts) Choreolab: On
Performance Quality and Dynamics Through the
incorporation of live choreography showcase and candid sharing, this
experiential dance movement session examines choreographic
intent in making dances and also
discusses how performance dynamics brings meaning to the
movement and communicates choreographic intent.
It also discusses performance structures from improvisation and the
structural and conceptual aspects of constructing dances. |
Studio |
|
Creative Dance Education – What Makes It Work? Mr. Mead will explore the basic principles of
creative dance education in this 90-minute workshop. Participants will
have a chance to experience first hand what the amazing potential of the
creative movement process is; and have fun doing so. Topics to be addressed
will include: consistency, spontaneity, rationality, positive reinforcement,
communication skills and the importance of understanding limits. Participants
will be free to ask Mr. Mead questions that pertain to their particular
situations and that tap on Mr. Mead’s 35-year experience as an
internationally recognised dance educator and
choreographer.” |
Dance
Studio 1 |
|
Creating spaces
in Indian dance A workshop
exploring movements in Indian dance for new choreographies/themes.
Participants will be introduced to movements in Indian dance. Participants
will then be encouraged to explore movements and understand the possibilities
in dealing with new themes and movement structures. No prior training in
Indian dance is required. |
Dance
Studio 2 |
|
Keeping Our
Roots Alive: Exploration of Traditional Dance and Keeping It Relevant in
Today’s Context (Dance Experiential Workshop) |
Practice
Room 3A |
|
Critical
Evaluation Of Dance Performances: Your Students and Beyond All dance
programmes should incorporate the elements of creation, performance and
evaluation. Students regularly attend dance performances and may keep a
journal or write reviews of their experience.
How do we assess these? How do
we help students evaluate their own and other performances? How
can we make aesthetic judgments and write about these? The session will explore the components of
reviewing dance - describing, analysing,
contextualizing and critical evaluation and provide some valuable
guidelines to help teacher’s work with students from the creation, to
choreography, rehearsal and performance stage. It will be valuable for classroom and specialist dance teachers. |
Practice
Room 3B |
|
9 SEPTEMBER 2010 ( THURSDAY )
|
TIME |
ACTIVITY |
VENUE |
|
9:15am
to 10:45am |
CONCURRENT SESSIONS E |
|
§
Dr.
Miriam Giguere The Cognitive Benefits of Dance Making with Children: Maximising Dance as a Tool for Thinking This paper examines the ways in which research has shown that making
dances can develop a student’s thinking and reasoning skills. Thinking and
reasoning strategies such as brainstorming, pattern recognition, abstraction,
metaphorical thinking and others will be described. Specific attention will
be paid to pedagogical techniques that a teacher can employ to bring out
these benefits. The techniques discussed include group dance creation,
journaling, self-reflection and group critique. § Associate Professor Ralph Buck Our Dance
Stories This paper
investigates creative practices, teaching and learning approaches and diverse
stories of local and indigenous artists, teachers and community members
around the world as they negotiate cultural modernity and globalisation.
Specifically, the research values intimate voices of individuals as they tell
their own story. § Ms
Teresa Pee Report on World
Conference on Arts Education 2010 - Unleashing Arts (dance) Education: the
potential of the Road Map by UNESCO The 1st World
Conference on Arts Education, "Building Creative Capacities for the 21st
Century," co-organised by UNESCO and the
Government of Portugal, in March 2006 in Lisbon was the first world-wide
gathering solely devoted to arts education to explore the possibilities of
international co-operation. At this first conference, the document: “Road Map
for Arts Education” was formulated. The 2nd world conference, co-organised by UNESCO and the Government of Korea, in May
2010, in Seoul, was to revaluate the Road Map. This presentation looks to
report on the document: the Road Map, and to explore the potential and
possibility of developing arts (dance) education in the local context of
Singapore. § Dr. Siri
Rama Connecting and
Creating: Changing Dialogues in the
Indian Dance Studio There has been a
huge change in the cultural scenario in India which has been impacted by globalisation over the last decade. Media and other
cultural forces have introduced many new ideas and concepts in the dance
class/ studio. These changes in the classroom impact on student (shishya) – teacher (guru) relationship, and performance
aspects of the dance. This paper aims to discuss changing dialogues that take
place in a classroom scenario in India today and in Singapore. Since most of
the technically taught dance training still happens in the Indian classical
dance studio – the primary focus of the discussion will on the classical
dance scene with references to more contemporary changes. |
Studio |
|
|
2.
Workshop by Mr John Mead (repeated from day 2) |
Dance
Studio 1 |
|
|
3.
Workshop by Mr Osman Abdul Hamid (repeated from day 2) |
Dance
Studio 2 |
|
|
11:15am to 12:45pm |
Dance Education
Research Sharing Session (2) § Dr. Caren Carino Re-envisioning
Contemporary Dance Education in the Context of Asia Contemporary
dance is often understood and approached in dance education as a Western
construct, i.e. curriculum structure, content and teaching methods typically
reflect and perpetuate contemporary dance as Western. However, Western
contemporary dance may not be completely relevant in the context of Asia.
Arts education institutions/programmes located in Asia are in a significant
position to design and deliver programmes/courses that explore contemporary
Asian expressions through dance. New strategies, approaches and tools are
required to produce dancers/choreographers who are able to view, understand
and create within the context of Asia. Dance education can play a key role
towards young dance artists finding something more meaningful and relevant a
contemporary Asian voice. § Mdm Som Said Cultural Values in Dance Malay
dance is deeply rooted in the rich heritage of Malay customs and traditions.
This sharing touches on the grace and beauty of Malay dance as well as its
rich cultural value and significance. § Dr. Stephanie Burridge Classroom Ethnography:
Methodology for tracking Teaching And
Learning In Your Dance Class The paper draws from
observations of dance occurring in schools in Singapore over the past few
years. Methodologies that can assist teachers with a multi-modal strategy
through considering a ‘checklist’ for student engagement and creativity;
incorporating the ‘narrative mapping’ process that partners classroom teacher
and the dance coach; and methods for student and teacher evaluation will form
the basis of the discussion |
Studio |
|
2:15pm to 3:45pm |
CONCURRENT SESSIONS F |
|
|
1.
Lecture-Demonstration
by Mdm Som Said Dance Creativity |
Studio |
|
(with dancers from NUS Centre for the
Arts) (repeated from day 2) |
Dance
Studio 1 |
|
|
Dance
Studio 2 |
|