Author: Martha Wiekens on behalf of the IADMS Dance Educators’ Committee
I am very excited to write this blog post introducing a brilliant new resource paper on the shoulder complex, which has been written by Lisa Donegan Shoaf and Judith Steel. The paper provides an in depth look at the shoulder complex, starting with anatomy and specific muscular force couples, then moving onto the integration into whole body movement and common dancer issues relating to the shoulder.
Author: Karine Rathle on behalf of the IADMS Dance Educators' Committee
Feedback is a process used by teachers, rehearsal directors and choreographers to provide information and guide dancers in skill acquisition, technique and movement quality. It is a powerful and necessary tool. Typically, teachers and choreographers have their own individual style of providing feedback. Their approach may come from their experience as dancers, their previous teachers and training, or their ingrained habits from working in dance.
Author: Clare Guss-West on behalf of the IADMS Dance Educators' Committee
This blog post provides a brief introduction to attentional focus and its potential impact on dance training and performance. Attentional focus study is relatively new to dance, whereas the research is now integrated into elite sports coaching – notably football, skiing, golf and swimming. Companies such as The Royal Ballet, Houston Ballet, and Finnish National Ballet are becoming aware of the benefits of these complementary techniques and we have started to introduce them into the dancers’ professional practice.
Author: Lucie Clements on behalf of the IADMS Dance Educators' Committee
‘Creativity’ is a word used worldwide by dance institutions in their mission statements, aims and student feedback, and yet it is relatively unexplored within dance science from a quantitative perspective. Much research within dance psychology has focussed on the role of psychological wellbeing in relation to optimal technique in class, rehearsal or performance, but are dance scientists perhaps neglecting the dancer as a creative artist?
The Dance Educators’ Committee of IADMS seeks to recognize teachers who integrate principles of dance science in their teaching and is seeking nominations for the 2018 IADMS Dance Educators’ Award from around the world.
Student representative Jill Descoteaux tells us a bit about herself and her role in IADMS. Jill was previously a member of the IADMS student committee and is currently a doctoral candidate in the Interdisciplinary Program at Ohio University, combining professional counseling with athletic training.
This post derives from a duel held at the symposium for the In the Dancers’ Mind project at Trinity Laban Conservatoire of Music and Dance on December 7, 2017. Here, speakers Dr Kerry Chappell and Professor Jon May, recreate their discussion with the aim of provoking your thoughts. Tell us what you think in the comments below or on social media. Can and should creativity in dance be measured?
Authors: Klara Łucznik and Rebecca Weber on behalf of the IADMS Dance Educators' Committee
Just like dancers practice physical skills in their technique classes, so too can we practice mental skills. Though we often think of imagery as creating a ‘picture’ in our mind’s eye, imagery is the ability to create mental constructions of any sort--including visual imagery, sounds, movement, emotional content, spatial concepts, or language. These constructions are all forms of mental imagery...
Author: Katie Pavlik on behalf of the IADMS Dance Educators’ Commitee
We start our new year with a series of posts by leading experts in the world of dance imagery and creativity. This first post by Katie Pavlik introduces simple and immediately usable ways for us to embed the use of imagery in our classes from both teaching and dancing perspectives, a great way to invigorate our practice.