A format in which 20 slides are timed to be shown each for 20 seconds (no more than 7 minutes total). Scholars who have developed a strong research focus but are in the beginning processes of writing and presenting their research are encouraged to present in this format. This format is especially good for graduate students wanting to clarify research purpose statements and gather feedback and possible insights from other researchers. Scholars whose first language is not English may find this format useful since the key points can be placed on slides.
All Pecha Kucha presentations will occur Wednesday, July 29 @ 11:00 am – 12:30 pm in Lecture Hall 1 (Room to be announced)
Melanie Dalton, Doctoral Candidate
Texas Woman’s University, USA
The space that I explore in this research is based on my current dissertation study: the movement studio in American colleges/universities for African dance techniques classes. What is happening? Who is teaching? What are teachers experiencing? The dance narratives I discuss in this presentation are derived from the insights of five individuals who teach African dance in five different American universities. I will describe the experiences of and intended objectives for teaching African dance to a diverse population of college students. To broaden my view of African dance in higher education settings, I also conducted Internet research into curricular offerings by several American colleges/universities with dance programs that either have an African dance focus or offer African dance courses. This research will add to the rapidly growing conversations concerning differing forms of world dance as major curricular offerings, rather than their more prevalent current status as peripheral electives. Further, this research will be helpful as university faculties across the country reevaluate their dance programs with regards to the present inclusion/exclusion of world dance in many forms within future curricular frameworks.
Melanie Dalton is a lecturer in Dance at North Carolina Agricultural &Technical State University and Assistant Director of The E. Gwynn Dancers of NC A&T. Affiliated with the company since 1993, Dalton has studied traditional dance in Jamaica extensively. Additionally, she has studied in Puerto Rico, Cuba, South Africa, Ghana, Guyana, and Brazil. She holds a bachelor’s degree in elementary education and has classroom teaching experience in the North Carolina public schools. Dalton earned a master’s degree in dance at the University of North Carolina at Greensboro, and her master’s thesis work titled Students’ Experiences with African and African-derived Dance: Stages of Awareness has facilitated her teaching and learning of different African dance forms. She is currently a doctoral candidate at Texas Woman’s University. Her research area is world dance in higher education with particular interest in dance of Africa and the African Diaspora.
Tanya Evidente, Assistant Professor
Ryerson University, Canada
This pilot study is for a larger scale project on internationally renowned Canadian choreographer, James Kudelka. This study looks at a recent choreographic piece The Man in Black that was created for Ballet Met in 2010. For this study, I compare two more recent productions of The Man in Black to illustrate how the work changed when performed in two dramatically different spaces in terms of performance space, house capacity, and technical facilities. The comparisons of both productions are performed by a major ballet company and the other a contemporary dance company. I have examined the production done by the National Ballet of Canada in 2014 and more recently in March 2015, in a large performance space of two thousand seven hundred seats. The second company, Coleman Lemieux Compagnie is a small contemporary dance company that performed in a small intimate studio space of sixty five seats. Performed by two different genres in two different performance spaces can create powerful but different experiences. I also considered the impact of training of a ballet dancer versus a contemporary dancer. Through this examination, I demonstrate the various spaces that can alter the audiences experience of the work.
Tanya Evidente began her dance training at The School of Toronto Dance Theatre and continued her formal ballet training at Canada’s National Ballet School in Toronto, Canada and Prodanza in Havana, Cuba. Ms. Evidente began her professional career in Havana with La Joven Guardia directed by Laura Alonso and Ballet Nacional de Cuba under the artistic directorship of prima ballerina Alicia Alonso. She continued her career with Ballet Ciutat de Barcelona in Spain for several years and returned to Canada to dance with Ballet Jörgen. In 1998 Ms. Evidente joined the National Ballet of Canada under the artistic directorship of James Kudelka followed by Karen Kain where she continued her career performing throughout Canada and the U.S. Ms. Evidente holds an M.A. in dance from York University and is an Assistant Professor of Dance at Ryerson University Theatre School in Toronto, Canada.
Hiroki Koba, JSPS Research Fellow
University of Tokyo, Japan
This paper examines how two pioneers of dance education, Margaret H’Doubler in the United States and Chiyoe Matsumoto in Japan, incorporated dancing into education. Margaret H’Doubler founded the first dance major in higher education in 1926 at the University of Wisconsin-Madison. Her work at UW-Madison and her many books and journals about dance education, including Dance: A Creative Art Experience, influenced numerous dance educators during her tenure. Based on H’Doubler’s insights into anatomical knowledge and her unique theories about rhythmic movement in the body, she developed dance curricula that was steeped in the study of the moving body, a study that continued to influence dance education in the U.S. over the years. On the other hand, Chiyoe Matsumoto, Japanese dance educator, incorporated creative dance into the course of study as a part of physical education after World War II. She studied and practiced progressive education and is known as the person who translated H’Doubler’s Dance: A Creative Art Experience into Japanese. By considering the philosophical trends and socio-cultural situations for both of these countries during the 20th century, this paper will discuss what made it possible for these dance educators to create dance curricula that continues to influence how dance is taught in both countries’ educational systems for all students.
Hiroki Koba, JSPS Research Fellow, is a dancer, choreographer, researcher, and graduate student at the University of Tokyo majoring in education. His research interest is dance education, especially the history of dance education in Japan and the U.S. As an exchange artist of the US-Japan Friendship Commission Program and as a Ph.D. candidate, he studied in the University of Wisconsin-Madison Dance Department from September 2013 to September 2014. To date, he has presented his research about dance education in the 2014 WDA Global Summit in Angers, France, and in the annual conference of the Japanese Society for Dance Research (JSDR). His paper was published in differing journals including Choreologia, the annual journal of JSDR. Koba also directs the MACOBA Dance Company and has performed internationally in Madison (U.S.), Kuala Lumpur (Malaysia), Seoul (South Korea) as well as many major cities in Japan, such as Tokyo, Osaka, and Fukuoka.
Presenter: Yuko Nakano, Co-author: Takeshi Okada
University of Tokyo, Japan
Although many previous studies have focused on choreographers’ strategies to generate dance movements, the detailed process of a choreographer’s dance creation in an actual choreographic setting has not yet been adequately described. This study investigates the process of one choreographer creating a novel choreography in contemporary dance. In collaboration with renowned choreographer and dancer Kaiji Moriyama, the researchers conducted the following processes: 1) participant observation at Moriyama’s dance workshop, especially, during the creation of his choreography ‘Amenonioi’ and, 2) a retrospective interview with the choreographer. Using the interview data, the researchers analyzed which aspects of dance the choreographer focused on while creating his choreography. The results show that the choreographic process in this contemporary dance can be captured through the following aspects: ‘input’, ‘output’, and ‘purpose’. ‘Input’ indicates what the choreographer is inspired by: in this case various stimuli such as feedback from his own body movements, internal images, music, place, and space. ‘Output’ refers to how, when inspired by the ‘input’, the choreographer uses body movements in relation to place and space. ‘Purpose’ relates to the aim of the choreographer’s expression to organize and guide the cycle of ‘input’ and ‘output’. The researchers also examined how this cycle changed during the creation process. The results reveal that the cycle of ‘input’, ‘output’, and ‘purpose’ of expression are refined and developed through three different phases (generation, elaboration, and performance). This study provides basic knowledge uncovering the role of place and space in choreographic process.
Yuko Nakano is a PhD student at the University of Tokyo, and a dancer. The focus of her research is on the creation process of contemporary dance. She received her Master’s Degree from the Department of Interdisciplinary Information Studies at the University of Tokyo, and two Bachelor’s Degrees from Ochanomizu University, where she majored in Developmental Clinical Psychology; and Osaka University, where she majored in Letters. To investigate the creation process empirically, she combines various methodologies such as interview and experiment. She has interviewed numerous accomplished dancers, including Anna Halprin. In her experiments, she collaborates with neuroscientists to reveal the creation process from various viewpoints. Yuko has worked with the renowned Japanese choreographer Kaoruco for fourteen years as a core dancer and an assistant in her barrier-free dance workshops. In addition, Yuko creates original contemporary dance pieces merging elements of folk dance such as Japanese Ryukyu Buyo.
Takeshi Okada is a professor of psychology and cognitive science at the University of Tokyo. He received his Ph.D. in psychology from Carnegie Mellon University. He has been studying the artistic creation process in various art domains such as contemporary art, contemporary dance, and street dance by conducting psychological experiments, field observations, and interviews.
Zheng De Junior High School, Taiwan
The language of the moving body creates a space in which the imagination unfolds; simultaneously in this imaginative unfolding a record of social development and change can emerge. As the body records new images and ideas, it further transforms the imagination into multiple meanings for differing topics and events. Therefore, in the field of teaching, creative dance can provide a medium in which students are inspired to observe, think, create, express, and give diverse feedback on a particular topic emerging from bodily actions. The use and need for water has increasingly become a topic of attention in many countries. Water is a basic necessity for life and enables overall socio-economic prosperity. However, with the rapid development of human civilization and industry, the potential of a water crisis due to excessive water use, development, pollution, and other issues has increased rapidly in recent years. This crisis affects many places in the world, particularly island nations in the Pacific. This study presents the development of a curriculum for a junior high school performing arts program in Taiwan. Through the sharing of stories as well as creating sound, movement, and imagery, students learn to understand various aspects of water on both a local and global level. The creative processes and ideas generated in Taiwan are also shared via online platforms with students in Hawai’i undertaking the same creative dance process. Participants in both geographies have the opportunity to generate dialogue that contextualizes and connects local issues and stories to a broader context, motivating students to cherish water and take action to assure its future access.
Tzu-Ting Wang holds an MA in Dance Education from the Taipei National University of the Arts and is currently a junior high Performing Arts teacher. With an interest in curriculum development and training methods, she continues to participate in various projects in these fields. Her research has been presented at the Taiwan Education Research Association (2010), Society for Dance History Scholars (2011), daCi/ WDA Global Dance Summit (2012), International Group for the Cultural Studies of the Body (2013), and Dance Research Society Taiwan (2014).
SheenRu Yong, Artist-in-Residence
The Leeward Theatre, USA
This presentation captures a moment in the creative process of FLOOD/ turn the tide, a community collaborative project designed to activate creative and collective responses to contemporary water issues in Hawaiʻi through an on-going series of workshops, events and performances. These activities led to the production of an evening-length, original performance and interactive audio-visual exhibit created by and with the communities of Oʻahu. A multi-dimensional work, FLOOD incorporates local folklore, contemporary heroes, organizations, and communities with a stake in the ongoing changes of water resources. By drawing on the shared stories and experiences of people of the island of Oʻahu, the goal of FLOOD is to reflect back to its inhabitants the history, current concerns, and possible futures of a co-created home. Designed as a cross-cultural collaboration and exchange, the same creative process is simultaneously being tailored and developed for communities in Taiwan to foster similar resonance and creative action there. This Pecha Kucha presentation will introduce the project and then delve into the strategies, questions, and challenges of generating place-specific programming and performance, as well as speak to its potential to empower communities and incite creative action around pressing, specific local issues that have global implications.
SheenRu Yong is a dancer, choreographer, community organizer, and founder of body portal theatre. Her dance career began at Wesleyan University and developed in New York City and Taipei, where she was commissioned and inspired to choreograph evening-length shows, site-specific works, and community-based performances. While earning her MFA in Choreography at the Taipei National University of the Arts, she toured internationally with Legend Lin Dance Theatre. In 2013, she was a fellow in the Asia Pacific Leadership Program at the East West Center in Honolulu and has now returned to Oahu to spearhead FLOOD / turn the tide, a community collaborative, island-wide effort to create an original work on the issue of Water with the residents of Oʻahu. Under the auspices of the LuoManFei Dance Fund and the Taiwan Ministry of Culture and sponsored by PlayBuilders of Hawaiʻi Theater, SheenRu is currently Artist-in-Residence at The Leeward Theatre.