I am a researcher, educator, and artist. I am former competitive ballroom dancer, and have worked in multidisciplinary forms combining dance theatre, contemporary, and dancesport. My research involves conditioning for dance in the sciences, and cultural aspects of Soviet ballroom dancers in the humanities.
This article examines the processes of cultural transfer and cross-
pollination within four dias... more This article examines the processes of cultural transfer and cross-
pollination within four diasporic DanceSport studios located in
major cities in Canada. It focuses on first- and second-generation
Soviet-Canadian competitive ballroom dancers and their experi-
ences with identity as a diasporic community. Through an ethno-
graphic study, it explores the adaptations of these dancers to the
Canadian DanceSport industry and the roots of their teaching
methodologies in Soviet physical culture. Using narrative vignettes
based on fieldwork and examined through a Dance Studies lens,
this article shows how the participants navigated the expectations
of their parents’ and coaches’ traditional Soviet upbringing and
used multicultural identities in their approach to dance practice
and daily interactions. This analysis is tied to the parallel yet diver-
gent evolution of educational methodologies in the former USSR
and Canada and illustrates how the DanceSport industry was
nudged by these migrant dancers toward a focus on athletic excel-
lence, while the dancers themselves adapted to social dance peda-
gogy and commercialization of ballroom dance in North America.
Using interview excerpts and observations, this research gives voice
to practitioners and aims to increase awareness of migration flows
and cultural influences in DanceSport.
Traditional ballet classes teach dancers how to perform long-established vocabulary and choreogra... more Traditional ballet classes teach dancers how to perform long-established vocabulary and choreographed roles within a time-honoured hierarchical structure that provides constant direction and methods for physical training. When the dancers proceed to professional companies, some of this structure remains in the form of daily ballet classes. However, the autonomy that the dancers are expected to have, with reference to their own physical and mental health, may challenge some young professional dancers if they are not educated in self-care or do not have individualized conditioning programs. Findings in this study with a Toronto-based professional ballet company, align with recent qualitative studies and literature supporting the physical and psychological benefits of screening including dancer education, optimizing performance, and developing rapport between dancers and physiotherapists/health care teams.
Medical problems of performing artists, Dec 1, 2015
Dancesport, the competitive branch of ballroom dancing, places high physiological and psychologic... more Dancesport, the competitive branch of ballroom dancing, places high physiological and psychological demands on its practitioners, but pedagogical resources in these areas for this dance form are limited. Dancesport competitors could benefit from strategies used in other aesthetic sports. In this review, we identify conditioning methodologies from gymnastics, figure skating, and contemporary, modern, and ballet dance forms that could have relevance and suitability for dancesport training, and propose several strategies for inclusion in the current dancesport curriculum. We reviewed articles derived from Google Scholar, PubMed, ScienceDirect, Taylor & Francis Online, and Web of Science search engines and databases, with publication dates from 1979 to 2013. The keywords included MeSH terms: dancing, gymnastics, physiology, energy metabolism, physical endurance, and range of motion. Out of 47 papers examined, 41 papers met the inclusion criteria (validity of scientific methods, topic re...
This research examines the effect of Soviet Union era indoctrination on dance pedagogy and perfor... more This research examines the effect of Soviet Union era indoctrination on dance pedagogy and performance at DanceSport studios run by Soviet migrants in Canada. I investigate the processes of cultural cross-pollination within this population through an analysis of first and second generation Soviet-Canadian ballroom dancers experiences with cultural identity within the dance milieu. My study is guided by questions such as: What are the differences in the relationship between national politics and dance in the Soviet Union and Canada? How have Soviet migrant dancers adapted to the Canadian socio-economic context? And, how did these cultural shifts affect the teaching and performances of these dancers? My positionality as a former Soviet citizen and a ballroom dancer facilitates my understanding of the intricacies of this community and affords me unique entry into their world. To contextualize this study, I conducted an extensive literature review dealing with Soviet physical education, diasporic identities, and embodied politics. I then carried out qualitative interviews and class observation of Soviet- Canadian competitive ballroom dancers at three studios in Ottawa, Toronto and Montreal. The research conducted for this dissertation revealed various cultural adaptation strategies applied by these dancers, resulting in the development of dual identities combining characteristics from both Soviet and Canadian cultures. My analysis of the data contributes original information to the fields of dance studies and pedagogy, migration studies, and cultural studies. The results of this study can act as a guide in the development of arts management, education, and cultural integration policies in Canada, fostering a creative dialogue between dancers, academics, and policy makers
Dance sport is the competitive aspect of social dancing, and encompasses 5 genres of Latin dance:... more Dance sport is the competitive aspect of social dancing, and encompasses 5 genres of Latin dance: Cha Cha, Samba, Rumba, Paso Doble, and Jive. Education of technique focuses predominantly on foot positions and directions, and there is a lack of information regarding technical aspects of the dance, such as timing, position in space, and rhythm. This knowledge gap limits the potential for optimal skill development and progression. This study examined the centre of balance trajectory in the basic walks and cucaracha steps of Rumba dance using foot scan, gaining preliminary insight on weight placement and movement patterns in one professional and three novice ballroom dancers. The professional dancer performed the steps on the Foots can, while novices were given two 30 minute sessions to learn the steps. Results showed that novice dancers made various compensations in balance trajectory and weight distribution on their feet, in response to teaching cues for the Walks and Cucarachas. The professional dancer was in greater accordance of the described foot trajectory as it was traditionally taught, though still had more deviations in balance, and used more foot volume than the literal technique described. The findings of this study provide an improved understanding of the biomechanics in Latin dancing, and is a starting point for developing improved teaching techniques for performance enhancement and injury prevention for Ballroom dance.
OBJECTIVES:
Dancesport, the competitive branch of ballroom dancing, places high physiological an... more OBJECTIVES:
Dancesport, the competitive branch of ballroom dancing, places high physiological and psychological demands on its practitioners, but pedagogical resources in these areas for this dance form are limited. Dancesport competitors could benefit from strategies used in other aesthetic sports. In this review, we identify conditioning methodologies from gymnastics, figure skating, and contemporary, modern, and ballet dance forms that could have relevance and suitability for dancesport training, and propose several strategies for inclusion in the current dancesport curriculum. METHODS:
We reviewed articles derived from Google Scholar, PubMed, ScienceDirect, Taylor & Francis Online, and Web of Science search engines and databases, with publication dates from 1979 to 2013. The keywords included MeSH terms: dancing, gymnastics, physiology, energy metabolism, physical endurance, and range of motion. Out of 47 papers examined, 41 papers met the inclusion criteria (validity of scientific methods, topic relevance, transferability to dancesport, publication date). Quality and validity of the data were assessed by examining the methodologies in each study and comparing studies on similar populations as well as across time using the PRISMA 2009 checklist and flowchart. RESULTS:
The relevant research suggests that macro-cycle periodization planning, aerobic and anaerobic conditioning, range of motion and muscular endurance training, and performance psychology methods have potential for adaptation for dancesport training. CONCLUSIONS:
Dancesport coaches may help their students fulfill their ambitions as competitive athletes and dance artists by adapting the relevant performance enhancement strategies from gymnastics, figure skating, and concert dance forms presented in this paper.
Touch overall and hands-on feedback in particular, have occupied an important position in dance e... more Touch overall and hands-on feedback in particular, have occupied an important position in dance education for a long time; however, its use has been questioned over the last few decades in western society. This paper explores the different research on touch within disciplines such as child development, dance therapy, somatics, and psychiatry and links the findings to possible uses in teaching and learning dance. Also, after reviewing the current use of touch and hands-on feedback in dance education, the paper outlines the positive and negative aspects of the application of touch through discussions of published works as well as author’s personal experience as a dancer and teacher.
Partnerwork is an essential part of most dance styles yet while the majority of dancers agree on ... more Partnerwork is an essential part of most dance styles yet while the majority of dancers agree on its general importance and benefits, there is no clear consensus on the use and value of some of its key elements.
The aim of this study was to analyze the role and importance of touch, visual contact, and weight bearing/giving, within dance partnerships and propose ideas and actions for the development of these elements in dance. The styles discussed consisted of classical ballet, ballroom dancing, Argentine Tango, contemporary, and contact improvisation.
The data collection was conducted by means of an extensive literature review, class observations, questionnaire, and qualitative interviews with dancers and teachers. Thematic analysis was used to categorize and organize the answers to the questionnaire and interviews linking them to the observations made in the classroom.
The results revealed many perceptions and methods in partnering suggesting that: dancers generally regard touch and weight bearing/giving as important factors in partnering and use them in various ways within their respective domains; the value of visual contact use differs greatly between dance styles. Either physical or psychological benefits of the discussed elements are emphasized depending on the style; and either separate exercises or specific focus during choreography are used as tools to improve the quality of these elements in partnerwork.
Much of the information gathered goes beyond what the literature presents on the topic and points to the fact that a lot of practical knowledge exists in the dance world regarding partnering but is not organized or shared in a consistent and systematic manner. The dissemination of that knowledge in combination with further research into the physiological and psychological aspects of partnering skills should enhance the overall understanding of the topic across dance disciplines and enrich dance literature and training methods.
This research examines the effect of Soviet Union era education and upbringing on dance pedagogy ... more This research examines the effect of Soviet Union era education and upbringing on dance pedagogy at competitive ballroom dance studios run by former Soviet migrants in Canada. I investigate the processes of cultural transfer and cross-pollination within this population through an analysis of first and second generation Soviet-Canadian ballroom dancers and their experiences with cultural identity within dance education. My study is guided by questions such as: What are the differences in the relationship between political economy and dancesport in Soviet Union and Canada? How have Soviet migrant dancers adapted their business and training methods to the new socio-economic context in Canada? What was their contribution to the existing structures of the dancesport industry here? And, how did these cultural shifts affect the daily lives and performances of these dancers? My positionality as a former Soviet citizen and a ballroom dancer facilitates my understanding of the intricacies of this community and allows me a unique entry into their world. In order to contextualize this study, I conduct an extensive literature review dealing with Soviet physical education, diasporic identities, and embodied politics. I then carry out qualitative interviews and class observation of Soviet- Canadian competitive ballroom dancers at two studios in Toronto and Montreal. Thus far, my research shows various cultural adaptation strategies applied by these dancers, resulting in the development of dual identities combining characteristics from both Soviet and Canadian cultures. As my research evolves, I plan to continue my work at these two studios and to add a third studio in Ottawa to further strengthen my conclusions and to better understand how these multi-cultural traits affect the dancers’ success in the Canadian dancesport industry.
Overview
The idea
Footscan appeared to be a potentially useful tool in measuring the traject... more Overview
The idea
Footscan appeared to be a potentially useful tool in measuring the trajectory of the centre of balance in latin/ballroom dancing as it travels through our feet during various steps.
The Method
4 dancers, 1 professional ballroom/latin dancer (sub. 1), and 3 novice dancers (sub. 2,3,4) with experience in contemporary and ballet were used for the experiment. 2 half hour sessions were given to the novices to learn the basic movement in place, cucaracha, as well as forward and backward walks in rumba. They then performed the weight change in place and the forward walks on the Footscan and the trajectory of their balance centres was recorded by the Footscan software and later analysed.
The Outcome
Although this was a pilot project some interesting results have emerged. While only one of the dancers was a professional and could have the results analysed as a representative of the training that ballroom dancers might receive, the other participants were novices to the style and their results demonstrate the various compensations that can occur as a result of the interpretations of the taught movements in beginners.
The Conclusion
The Footscan can be a useful tool in the enhancement of dance teaching strategies where it can demonstrate the scientific truthfulness of such statements as ‘the weight always remains in the centre during a Rumba basic in place’ or ‘the of centre of weight travels from front to back to front during a forward Rumba walk’. It can also be used to show the compensations and interpretations that students might defer to in order to execute the taught elements. These benefits can improve the knowledge of the teachers and possibly save the student future injuries due to unseen repetitive compensations in their gait during various dance steps.
Le toucher joue un rôle de premier plan dans l’enseignement et l’apprentissage de la dance. De Ba... more Le toucher joue un rôle de premier plan dans l’enseignement et l’apprentissage de la dance. De Balanchine frappant les danseurs sur leurs épaules pour les aider a garder leur balance durant leur pirouette de ballet classique (Mazo, 1976, p.39),
aux clowns danseurs Balinais lors de leur entrainement qui se font placer dans des positions par leur professeur afin de prendre une forme artistique (Gartner, 1993, p.227), le toucher est aussi connu sous l’expression ‘hands on feedback’ en danse joue un rôle primordial lors du processus d’apprentissage et de l’enseignement. Malheureusement, il n’y a pas eu assez de recherche scientifique pour soutenir cette affirmation et il y a un manque d’orientation tel que reçu par d’autres stratégies d’éducation.
Cet exposé explore les différentes recherches sur le sujet du toucher dans les diverses disciplines telles que le développement des enfants, la thérapie par la danse, le somatique et la psychiatrie et essayera de lier leurs conclusions à des utilisations possibles dans l'enseignement et l'apprentissage de la danse. Il examinera également l'utilisation actuelle du toucher en enseignement de la danse et de décrira les aspects positifs et négatifs de son application à travers des discussions de travail publié ainsi que mon expérience personnel tant que danseur et professeur.
This article examines the processes of cultural transfer and cross-
pollination within four dias... more This article examines the processes of cultural transfer and cross-
pollination within four diasporic DanceSport studios located in
major cities in Canada. It focuses on first- and second-generation
Soviet-Canadian competitive ballroom dancers and their experi-
ences with identity as a diasporic community. Through an ethno-
graphic study, it explores the adaptations of these dancers to the
Canadian DanceSport industry and the roots of their teaching
methodologies in Soviet physical culture. Using narrative vignettes
based on fieldwork and examined through a Dance Studies lens,
this article shows how the participants navigated the expectations
of their parents’ and coaches’ traditional Soviet upbringing and
used multicultural identities in their approach to dance practice
and daily interactions. This analysis is tied to the parallel yet diver-
gent evolution of educational methodologies in the former USSR
and Canada and illustrates how the DanceSport industry was
nudged by these migrant dancers toward a focus on athletic excel-
lence, while the dancers themselves adapted to social dance peda-
gogy and commercialization of ballroom dance in North America.
Using interview excerpts and observations, this research gives voice
to practitioners and aims to increase awareness of migration flows
and cultural influences in DanceSport.
Traditional ballet classes teach dancers how to perform long-established vocabulary and choreogra... more Traditional ballet classes teach dancers how to perform long-established vocabulary and choreographed roles within a time-honoured hierarchical structure that provides constant direction and methods for physical training. When the dancers proceed to professional companies, some of this structure remains in the form of daily ballet classes. However, the autonomy that the dancers are expected to have, with reference to their own physical and mental health, may challenge some young professional dancers if they are not educated in self-care or do not have individualized conditioning programs. Findings in this study with a Toronto-based professional ballet company, align with recent qualitative studies and literature supporting the physical and psychological benefits of screening including dancer education, optimizing performance, and developing rapport between dancers and physiotherapists/health care teams.
Medical problems of performing artists, Dec 1, 2015
Dancesport, the competitive branch of ballroom dancing, places high physiological and psychologic... more Dancesport, the competitive branch of ballroom dancing, places high physiological and psychological demands on its practitioners, but pedagogical resources in these areas for this dance form are limited. Dancesport competitors could benefit from strategies used in other aesthetic sports. In this review, we identify conditioning methodologies from gymnastics, figure skating, and contemporary, modern, and ballet dance forms that could have relevance and suitability for dancesport training, and propose several strategies for inclusion in the current dancesport curriculum. We reviewed articles derived from Google Scholar, PubMed, ScienceDirect, Taylor & Francis Online, and Web of Science search engines and databases, with publication dates from 1979 to 2013. The keywords included MeSH terms: dancing, gymnastics, physiology, energy metabolism, physical endurance, and range of motion. Out of 47 papers examined, 41 papers met the inclusion criteria (validity of scientific methods, topic re...
This research examines the effect of Soviet Union era indoctrination on dance pedagogy and perfor... more This research examines the effect of Soviet Union era indoctrination on dance pedagogy and performance at DanceSport studios run by Soviet migrants in Canada. I investigate the processes of cultural cross-pollination within this population through an analysis of first and second generation Soviet-Canadian ballroom dancers experiences with cultural identity within the dance milieu. My study is guided by questions such as: What are the differences in the relationship between national politics and dance in the Soviet Union and Canada? How have Soviet migrant dancers adapted to the Canadian socio-economic context? And, how did these cultural shifts affect the teaching and performances of these dancers? My positionality as a former Soviet citizen and a ballroom dancer facilitates my understanding of the intricacies of this community and affords me unique entry into their world. To contextualize this study, I conducted an extensive literature review dealing with Soviet physical education, diasporic identities, and embodied politics. I then carried out qualitative interviews and class observation of Soviet- Canadian competitive ballroom dancers at three studios in Ottawa, Toronto and Montreal. The research conducted for this dissertation revealed various cultural adaptation strategies applied by these dancers, resulting in the development of dual identities combining characteristics from both Soviet and Canadian cultures. My analysis of the data contributes original information to the fields of dance studies and pedagogy, migration studies, and cultural studies. The results of this study can act as a guide in the development of arts management, education, and cultural integration policies in Canada, fostering a creative dialogue between dancers, academics, and policy makers
Dance sport is the competitive aspect of social dancing, and encompasses 5 genres of Latin dance:... more Dance sport is the competitive aspect of social dancing, and encompasses 5 genres of Latin dance: Cha Cha, Samba, Rumba, Paso Doble, and Jive. Education of technique focuses predominantly on foot positions and directions, and there is a lack of information regarding technical aspects of the dance, such as timing, position in space, and rhythm. This knowledge gap limits the potential for optimal skill development and progression. This study examined the centre of balance trajectory in the basic walks and cucaracha steps of Rumba dance using foot scan, gaining preliminary insight on weight placement and movement patterns in one professional and three novice ballroom dancers. The professional dancer performed the steps on the Foots can, while novices were given two 30 minute sessions to learn the steps. Results showed that novice dancers made various compensations in balance trajectory and weight distribution on their feet, in response to teaching cues for the Walks and Cucarachas. The professional dancer was in greater accordance of the described foot trajectory as it was traditionally taught, though still had more deviations in balance, and used more foot volume than the literal technique described. The findings of this study provide an improved understanding of the biomechanics in Latin dancing, and is a starting point for developing improved teaching techniques for performance enhancement and injury prevention for Ballroom dance.
OBJECTIVES:
Dancesport, the competitive branch of ballroom dancing, places high physiological an... more OBJECTIVES:
Dancesport, the competitive branch of ballroom dancing, places high physiological and psychological demands on its practitioners, but pedagogical resources in these areas for this dance form are limited. Dancesport competitors could benefit from strategies used in other aesthetic sports. In this review, we identify conditioning methodologies from gymnastics, figure skating, and contemporary, modern, and ballet dance forms that could have relevance and suitability for dancesport training, and propose several strategies for inclusion in the current dancesport curriculum. METHODS:
We reviewed articles derived from Google Scholar, PubMed, ScienceDirect, Taylor & Francis Online, and Web of Science search engines and databases, with publication dates from 1979 to 2013. The keywords included MeSH terms: dancing, gymnastics, physiology, energy metabolism, physical endurance, and range of motion. Out of 47 papers examined, 41 papers met the inclusion criteria (validity of scientific methods, topic relevance, transferability to dancesport, publication date). Quality and validity of the data were assessed by examining the methodologies in each study and comparing studies on similar populations as well as across time using the PRISMA 2009 checklist and flowchart. RESULTS:
The relevant research suggests that macro-cycle periodization planning, aerobic and anaerobic conditioning, range of motion and muscular endurance training, and performance psychology methods have potential for adaptation for dancesport training. CONCLUSIONS:
Dancesport coaches may help their students fulfill their ambitions as competitive athletes and dance artists by adapting the relevant performance enhancement strategies from gymnastics, figure skating, and concert dance forms presented in this paper.
Touch overall and hands-on feedback in particular, have occupied an important position in dance e... more Touch overall and hands-on feedback in particular, have occupied an important position in dance education for a long time; however, its use has been questioned over the last few decades in western society. This paper explores the different research on touch within disciplines such as child development, dance therapy, somatics, and psychiatry and links the findings to possible uses in teaching and learning dance. Also, after reviewing the current use of touch and hands-on feedback in dance education, the paper outlines the positive and negative aspects of the application of touch through discussions of published works as well as author’s personal experience as a dancer and teacher.
Partnerwork is an essential part of most dance styles yet while the majority of dancers agree on ... more Partnerwork is an essential part of most dance styles yet while the majority of dancers agree on its general importance and benefits, there is no clear consensus on the use and value of some of its key elements.
The aim of this study was to analyze the role and importance of touch, visual contact, and weight bearing/giving, within dance partnerships and propose ideas and actions for the development of these elements in dance. The styles discussed consisted of classical ballet, ballroom dancing, Argentine Tango, contemporary, and contact improvisation.
The data collection was conducted by means of an extensive literature review, class observations, questionnaire, and qualitative interviews with dancers and teachers. Thematic analysis was used to categorize and organize the answers to the questionnaire and interviews linking them to the observations made in the classroom.
The results revealed many perceptions and methods in partnering suggesting that: dancers generally regard touch and weight bearing/giving as important factors in partnering and use them in various ways within their respective domains; the value of visual contact use differs greatly between dance styles. Either physical or psychological benefits of the discussed elements are emphasized depending on the style; and either separate exercises or specific focus during choreography are used as tools to improve the quality of these elements in partnerwork.
Much of the information gathered goes beyond what the literature presents on the topic and points to the fact that a lot of practical knowledge exists in the dance world regarding partnering but is not organized or shared in a consistent and systematic manner. The dissemination of that knowledge in combination with further research into the physiological and psychological aspects of partnering skills should enhance the overall understanding of the topic across dance disciplines and enrich dance literature and training methods.
This research examines the effect of Soviet Union era education and upbringing on dance pedagogy ... more This research examines the effect of Soviet Union era education and upbringing on dance pedagogy at competitive ballroom dance studios run by former Soviet migrants in Canada. I investigate the processes of cultural transfer and cross-pollination within this population through an analysis of first and second generation Soviet-Canadian ballroom dancers and their experiences with cultural identity within dance education. My study is guided by questions such as: What are the differences in the relationship between political economy and dancesport in Soviet Union and Canada? How have Soviet migrant dancers adapted their business and training methods to the new socio-economic context in Canada? What was their contribution to the existing structures of the dancesport industry here? And, how did these cultural shifts affect the daily lives and performances of these dancers? My positionality as a former Soviet citizen and a ballroom dancer facilitates my understanding of the intricacies of this community and allows me a unique entry into their world. In order to contextualize this study, I conduct an extensive literature review dealing with Soviet physical education, diasporic identities, and embodied politics. I then carry out qualitative interviews and class observation of Soviet- Canadian competitive ballroom dancers at two studios in Toronto and Montreal. Thus far, my research shows various cultural adaptation strategies applied by these dancers, resulting in the development of dual identities combining characteristics from both Soviet and Canadian cultures. As my research evolves, I plan to continue my work at these two studios and to add a third studio in Ottawa to further strengthen my conclusions and to better understand how these multi-cultural traits affect the dancers’ success in the Canadian dancesport industry.
Overview
The idea
Footscan appeared to be a potentially useful tool in measuring the traject... more Overview
The idea
Footscan appeared to be a potentially useful tool in measuring the trajectory of the centre of balance in latin/ballroom dancing as it travels through our feet during various steps.
The Method
4 dancers, 1 professional ballroom/latin dancer (sub. 1), and 3 novice dancers (sub. 2,3,4) with experience in contemporary and ballet were used for the experiment. 2 half hour sessions were given to the novices to learn the basic movement in place, cucaracha, as well as forward and backward walks in rumba. They then performed the weight change in place and the forward walks on the Footscan and the trajectory of their balance centres was recorded by the Footscan software and later analysed.
The Outcome
Although this was a pilot project some interesting results have emerged. While only one of the dancers was a professional and could have the results analysed as a representative of the training that ballroom dancers might receive, the other participants were novices to the style and their results demonstrate the various compensations that can occur as a result of the interpretations of the taught movements in beginners.
The Conclusion
The Footscan can be a useful tool in the enhancement of dance teaching strategies where it can demonstrate the scientific truthfulness of such statements as ‘the weight always remains in the centre during a Rumba basic in place’ or ‘the of centre of weight travels from front to back to front during a forward Rumba walk’. It can also be used to show the compensations and interpretations that students might defer to in order to execute the taught elements. These benefits can improve the knowledge of the teachers and possibly save the student future injuries due to unseen repetitive compensations in their gait during various dance steps.
Le toucher joue un rôle de premier plan dans l’enseignement et l’apprentissage de la dance. De Ba... more Le toucher joue un rôle de premier plan dans l’enseignement et l’apprentissage de la dance. De Balanchine frappant les danseurs sur leurs épaules pour les aider a garder leur balance durant leur pirouette de ballet classique (Mazo, 1976, p.39),
aux clowns danseurs Balinais lors de leur entrainement qui se font placer dans des positions par leur professeur afin de prendre une forme artistique (Gartner, 1993, p.227), le toucher est aussi connu sous l’expression ‘hands on feedback’ en danse joue un rôle primordial lors du processus d’apprentissage et de l’enseignement. Malheureusement, il n’y a pas eu assez de recherche scientifique pour soutenir cette affirmation et il y a un manque d’orientation tel que reçu par d’autres stratégies d’éducation.
Cet exposé explore les différentes recherches sur le sujet du toucher dans les diverses disciplines telles que le développement des enfants, la thérapie par la danse, le somatique et la psychiatrie et essayera de lier leurs conclusions à des utilisations possibles dans l'enseignement et l'apprentissage de la danse. Il examinera également l'utilisation actuelle du toucher en enseignement de la danse et de décrira les aspects positifs et négatifs de son application à travers des discussions de travail publié ainsi que mon expérience personnel tant que danseur et professeur.
Uploads
Papers by David Outevsky
pollination within four diasporic DanceSport studios located in
major cities in Canada. It focuses on first- and second-generation
Soviet-Canadian competitive ballroom dancers and their experi-
ences with identity as a diasporic community. Through an ethno-
graphic study, it explores the adaptations of these dancers to the
Canadian DanceSport industry and the roots of their teaching
methodologies in Soviet physical culture. Using narrative vignettes
based on fieldwork and examined through a Dance Studies lens,
this article shows how the participants navigated the expectations
of their parents’ and coaches’ traditional Soviet upbringing and
used multicultural identities in their approach to dance practice
and daily interactions. This analysis is tied to the parallel yet diver-
gent evolution of educational methodologies in the former USSR
and Canada and illustrates how the DanceSport industry was
nudged by these migrant dancers toward a focus on athletic excel-
lence, while the dancers themselves adapted to social dance peda-
gogy and commercialization of ballroom dance in North America.
Using interview excerpts and observations, this research gives voice
to practitioners and aims to increase awareness of migration flows
and cultural influences in DanceSport.
My study is guided by questions such as: What are the differences in the relationship between national politics and dance in the Soviet Union and Canada? How have Soviet migrant dancers adapted to the Canadian socio-economic context? And, how did these cultural shifts affect the teaching and performances of these dancers? My positionality as a former Soviet citizen and a ballroom dancer facilitates my understanding of the intricacies of this community and affords me unique entry into their world. To contextualize this study, I conducted an extensive literature review dealing with Soviet physical education, diasporic identities, and embodied politics. I then carried out qualitative interviews and class observation of Soviet- Canadian competitive ballroom dancers at three studios in Ottawa, Toronto and Montreal. The research conducted for this dissertation revealed various cultural adaptation strategies applied by these dancers, resulting in the development of dual identities combining characteristics from both Soviet and Canadian cultures.
My analysis of the data contributes original information to the fields of dance studies and pedagogy, migration studies, and cultural studies. The results of this study can act as a guide in the development of arts management, education, and cultural integration policies in Canada, fostering a creative dialogue between dancers, academics, and policy makers
Dancesport, the competitive branch of ballroom dancing, places high physiological and psychological demands on its practitioners, but pedagogical resources in these areas for this dance form are limited. Dancesport competitors could benefit from strategies used in other aesthetic sports. In this review, we identify conditioning methodologies from gymnastics, figure skating, and contemporary, modern, and ballet dance forms that could have relevance and suitability for dancesport training, and propose several strategies for inclusion in the current dancesport curriculum.
METHODS:
We reviewed articles derived from Google Scholar, PubMed, ScienceDirect, Taylor & Francis Online, and Web of Science search engines and databases, with publication dates from 1979 to 2013. The keywords included MeSH terms: dancing, gymnastics, physiology, energy metabolism, physical endurance, and range of motion. Out of 47 papers examined, 41 papers met the inclusion criteria (validity of scientific methods, topic relevance, transferability to dancesport, publication date). Quality and validity of the data were assessed by examining the methodologies in each study and comparing studies on similar populations as well as across time using the PRISMA 2009 checklist and flowchart.
RESULTS:
The relevant research suggests that macro-cycle periodization planning, aerobic and anaerobic conditioning, range of motion and muscular endurance training, and performance psychology methods have potential for adaptation for dancesport training.
CONCLUSIONS:
Dancesport coaches may help their students fulfill their ambitions as competitive athletes and dance artists by adapting the relevant performance enhancement strategies from gymnastics, figure skating, and concert dance forms presented in this paper.
The aim of this study was to analyze the role and importance of touch, visual contact, and weight bearing/giving, within dance partnerships and propose ideas and actions for the development of these elements in dance. The styles discussed consisted of classical ballet, ballroom dancing, Argentine Tango, contemporary, and contact improvisation.
The data collection was conducted by means of an extensive literature review, class observations, questionnaire, and qualitative interviews with dancers and teachers. Thematic analysis was used to categorize and organize the answers to the questionnaire and interviews linking them to the observations made in the classroom.
The results revealed many perceptions and methods in partnering suggesting that: dancers generally regard touch and weight bearing/giving as important factors in partnering and use them in various ways within their respective domains; the value of visual contact use differs greatly between dance styles. Either physical or psychological benefits of the discussed elements are emphasized depending on the style; and either separate exercises or specific focus during choreography are used as tools to improve the quality of these elements in partnerwork.
Much of the information gathered goes beyond what the literature presents on the topic and points to the fact that a lot of practical knowledge exists in the dance world regarding partnering but is not organized or shared in a consistent and systematic manner. The dissemination of that knowledge in combination with further research into the physiological and psychological aspects of partnering skills should enhance the overall understanding of the topic across dance disciplines and enrich dance literature and training methods.
Talks by David Outevsky
The idea
Footscan appeared to be a potentially useful tool in measuring the trajectory of the centre of balance in latin/ballroom dancing as it travels through our feet during various steps.
The Method
4 dancers, 1 professional ballroom/latin dancer (sub. 1), and 3 novice dancers (sub. 2,3,4) with experience in contemporary and ballet were used for the experiment. 2 half hour sessions were given to the novices to learn the basic movement in place, cucaracha, as well as forward and backward walks in rumba. They then performed the weight change in place and the forward walks on the Footscan and the trajectory of their balance centres was recorded by the Footscan software and later analysed.
The Outcome
Although this was a pilot project some interesting results have emerged. While only one of the dancers was a professional and could have the results analysed as a representative of the training that ballroom dancers might receive, the other participants were novices to the style and their results demonstrate the various compensations that can occur as a result of the interpretations of the taught movements in beginners.
The Conclusion
The Footscan can be a useful tool in the enhancement of dance teaching strategies where it can demonstrate the scientific truthfulness of such statements as ‘the weight always remains in the centre during a Rumba basic in place’ or ‘the of centre of weight travels from front to back to front during a forward Rumba walk’. It can also be used to show the compensations and interpretations that students might defer to in order to execute the taught elements. These benefits can improve the knowledge of the teachers and possibly save the student future injuries due to unseen repetitive compensations in their gait during various dance steps.
aux clowns danseurs Balinais lors de leur entrainement qui se font placer dans des positions par leur professeur afin de prendre une forme artistique (Gartner, 1993, p.227), le toucher est aussi connu sous l’expression ‘hands on feedback’ en danse joue un rôle primordial lors du processus d’apprentissage et de l’enseignement. Malheureusement, il n’y a pas eu assez de recherche scientifique pour soutenir cette affirmation et il y a un manque d’orientation tel que reçu par d’autres stratégies d’éducation.
Cet exposé explore les différentes recherches sur le sujet du toucher dans les diverses disciplines telles que le développement des enfants, la thérapie par la danse, le somatique et la psychiatrie et essayera de lier leurs conclusions à des utilisations possibles dans l'enseignement et l'apprentissage de la danse. Il examinera également l'utilisation actuelle du toucher en enseignement de la danse et de décrira les aspects positifs et négatifs de son application à travers des discussions de travail publié ainsi que mon expérience personnel tant que danseur et professeur.
pollination within four diasporic DanceSport studios located in
major cities in Canada. It focuses on first- and second-generation
Soviet-Canadian competitive ballroom dancers and their experi-
ences with identity as a diasporic community. Through an ethno-
graphic study, it explores the adaptations of these dancers to the
Canadian DanceSport industry and the roots of their teaching
methodologies in Soviet physical culture. Using narrative vignettes
based on fieldwork and examined through a Dance Studies lens,
this article shows how the participants navigated the expectations
of their parents’ and coaches’ traditional Soviet upbringing and
used multicultural identities in their approach to dance practice
and daily interactions. This analysis is tied to the parallel yet diver-
gent evolution of educational methodologies in the former USSR
and Canada and illustrates how the DanceSport industry was
nudged by these migrant dancers toward a focus on athletic excel-
lence, while the dancers themselves adapted to social dance peda-
gogy and commercialization of ballroom dance in North America.
Using interview excerpts and observations, this research gives voice
to practitioners and aims to increase awareness of migration flows
and cultural influences in DanceSport.
My study is guided by questions such as: What are the differences in the relationship between national politics and dance in the Soviet Union and Canada? How have Soviet migrant dancers adapted to the Canadian socio-economic context? And, how did these cultural shifts affect the teaching and performances of these dancers? My positionality as a former Soviet citizen and a ballroom dancer facilitates my understanding of the intricacies of this community and affords me unique entry into their world. To contextualize this study, I conducted an extensive literature review dealing with Soviet physical education, diasporic identities, and embodied politics. I then carried out qualitative interviews and class observation of Soviet- Canadian competitive ballroom dancers at three studios in Ottawa, Toronto and Montreal. The research conducted for this dissertation revealed various cultural adaptation strategies applied by these dancers, resulting in the development of dual identities combining characteristics from both Soviet and Canadian cultures.
My analysis of the data contributes original information to the fields of dance studies and pedagogy, migration studies, and cultural studies. The results of this study can act as a guide in the development of arts management, education, and cultural integration policies in Canada, fostering a creative dialogue between dancers, academics, and policy makers
Dancesport, the competitive branch of ballroom dancing, places high physiological and psychological demands on its practitioners, but pedagogical resources in these areas for this dance form are limited. Dancesport competitors could benefit from strategies used in other aesthetic sports. In this review, we identify conditioning methodologies from gymnastics, figure skating, and contemporary, modern, and ballet dance forms that could have relevance and suitability for dancesport training, and propose several strategies for inclusion in the current dancesport curriculum.
METHODS:
We reviewed articles derived from Google Scholar, PubMed, ScienceDirect, Taylor & Francis Online, and Web of Science search engines and databases, with publication dates from 1979 to 2013. The keywords included MeSH terms: dancing, gymnastics, physiology, energy metabolism, physical endurance, and range of motion. Out of 47 papers examined, 41 papers met the inclusion criteria (validity of scientific methods, topic relevance, transferability to dancesport, publication date). Quality and validity of the data were assessed by examining the methodologies in each study and comparing studies on similar populations as well as across time using the PRISMA 2009 checklist and flowchart.
RESULTS:
The relevant research suggests that macro-cycle periodization planning, aerobic and anaerobic conditioning, range of motion and muscular endurance training, and performance psychology methods have potential for adaptation for dancesport training.
CONCLUSIONS:
Dancesport coaches may help their students fulfill their ambitions as competitive athletes and dance artists by adapting the relevant performance enhancement strategies from gymnastics, figure skating, and concert dance forms presented in this paper.
The aim of this study was to analyze the role and importance of touch, visual contact, and weight bearing/giving, within dance partnerships and propose ideas and actions for the development of these elements in dance. The styles discussed consisted of classical ballet, ballroom dancing, Argentine Tango, contemporary, and contact improvisation.
The data collection was conducted by means of an extensive literature review, class observations, questionnaire, and qualitative interviews with dancers and teachers. Thematic analysis was used to categorize and organize the answers to the questionnaire and interviews linking them to the observations made in the classroom.
The results revealed many perceptions and methods in partnering suggesting that: dancers generally regard touch and weight bearing/giving as important factors in partnering and use them in various ways within their respective domains; the value of visual contact use differs greatly between dance styles. Either physical or psychological benefits of the discussed elements are emphasized depending on the style; and either separate exercises or specific focus during choreography are used as tools to improve the quality of these elements in partnerwork.
Much of the information gathered goes beyond what the literature presents on the topic and points to the fact that a lot of practical knowledge exists in the dance world regarding partnering but is not organized or shared in a consistent and systematic manner. The dissemination of that knowledge in combination with further research into the physiological and psychological aspects of partnering skills should enhance the overall understanding of the topic across dance disciplines and enrich dance literature and training methods.
The idea
Footscan appeared to be a potentially useful tool in measuring the trajectory of the centre of balance in latin/ballroom dancing as it travels through our feet during various steps.
The Method
4 dancers, 1 professional ballroom/latin dancer (sub. 1), and 3 novice dancers (sub. 2,3,4) with experience in contemporary and ballet were used for the experiment. 2 half hour sessions were given to the novices to learn the basic movement in place, cucaracha, as well as forward and backward walks in rumba. They then performed the weight change in place and the forward walks on the Footscan and the trajectory of their balance centres was recorded by the Footscan software and later analysed.
The Outcome
Although this was a pilot project some interesting results have emerged. While only one of the dancers was a professional and could have the results analysed as a representative of the training that ballroom dancers might receive, the other participants were novices to the style and their results demonstrate the various compensations that can occur as a result of the interpretations of the taught movements in beginners.
The Conclusion
The Footscan can be a useful tool in the enhancement of dance teaching strategies where it can demonstrate the scientific truthfulness of such statements as ‘the weight always remains in the centre during a Rumba basic in place’ or ‘the of centre of weight travels from front to back to front during a forward Rumba walk’. It can also be used to show the compensations and interpretations that students might defer to in order to execute the taught elements. These benefits can improve the knowledge of the teachers and possibly save the student future injuries due to unseen repetitive compensations in their gait during various dance steps.
aux clowns danseurs Balinais lors de leur entrainement qui se font placer dans des positions par leur professeur afin de prendre une forme artistique (Gartner, 1993, p.227), le toucher est aussi connu sous l’expression ‘hands on feedback’ en danse joue un rôle primordial lors du processus d’apprentissage et de l’enseignement. Malheureusement, il n’y a pas eu assez de recherche scientifique pour soutenir cette affirmation et il y a un manque d’orientation tel que reçu par d’autres stratégies d’éducation.
Cet exposé explore les différentes recherches sur le sujet du toucher dans les diverses disciplines telles que le développement des enfants, la thérapie par la danse, le somatique et la psychiatrie et essayera de lier leurs conclusions à des utilisations possibles dans l'enseignement et l'apprentissage de la danse. Il examinera également l'utilisation actuelle du toucher en enseignement de la danse et de décrira les aspects positifs et négatifs de son application à travers des discussions de travail publié ainsi que mon expérience personnel tant que danseur et professeur.