Editorial

<abstract xmlns="http://www.w3.org/1999/xhtml">Pilates instructors, educators, and students while well intentioned, may not understand the troubling rhetoric they unintentionally perpetuate when working with clients. This article suggests that the myth of the ideal body, and the stereotypical gender norms therein, is perpetuated by the Pilates due in part because of its close relationship to the culture of ballet. Pilates contributes to the pursuit and inevitable failure of an unobtainable body. Pilates «(re)produces» the myth of the ideal body through the universal aspect of its “healthy” rhetoric. As a consequence, this article suggests, the exercise practice perpetuates a culture of inadequacy; since many times, abled and differentlyabled women who practice Pilates are healthy. This article reveals that the seemingly benign practice of Pilates simultaneously promotes rhetoric of privilege and coercion. It concludes that the teaching practice inadvertently values and perpetuates stereotypical, unrealistic, and unobtainable ideologies of health and well-being.</abstract>

Bodily Text and the Written Word of Pilates:

<abstract xmlns="http://www.w3.org/1999/xhtml">Over the past three decades Western theatrical dance has been experiencing time of growth, development and change in its ontology. As a part of this shift of paradigm, dancers with bodily differences have made an entrance and initiatives across various contexts in dance: on stage, education and research. Most commonly, inclusive and integrated discourse of dance and disability research has been focusing on access and participation in dance. Dance artists with disabilities, and their experiences on bodily difference has been under-researched. Hence, emphasis on bodily difference has been on social meaning, instead of dancer’s movement.This article focuses on professional dancers with disability within the context of socialization. Thus, factors such as dance ontology and its normative expectations, education, employment and spectators’ gaze that may facilitate or hinder dancer with disability are discussed. In short, the change for disabled dancer has been gradual, and obstacles partly still remain. Thus, it is essential to ensure that this progression continues. One possibility could be in utilising knowledge and experience existing in disabled dance artists as well as acknowledging the art behind the hypervisibility of bodily difference. Therefore, dance as an art form would be valued in its all existence.</abstract>

Ruumiillinen erilaisuus: tanssi ammattina?

<abstract xmlns="http://www.w3.org/1999/xhtml">This article explores the author’s embodied experiences in and with the turquoise waters of Mexico. This journey started with an exploration of the healing potential of water through water therapy and dance. It led towards a search for ways to protect these precious water ecosystems against climate change, deforestation of waterfront ecosystems and pollution. The autoethnographic research process thus developed into a dialogue about environmental justice. Employing visual ethnography and visual arts, the author utilises photography of her dance in and with the turquoise waters of Mexico. She hopes that this article will inspire new thoughts about these precious water ecosystems and actions to protect them so they can remain pure and vivid for future generations.:</abstract>

Dancing with the Turquoise Waters of Mexico–Embodied Experiences and Observations for Environmental Justice

<abstract xmlns="http://www.w3.org/1999/xhtml">This article is an exploration using practice-based research in which I investigated a question: How can I, as a dance practitioner and facilitator, collaborate with a differently abled person on compositional work?I explored how to be open to various ways of communicating and collaborating, not only as verbally, but also by letting disabled bodies and minds’ expertise communicate in their own ways to allow for questioning and challenging normative perspectives.This research was conducted in Denmark at the participants’ group residence. The institutional context was logistically convenient and served as familiar surroundings for the participants. It also was a foundation on which to explore dance research within other institutional spaces. I collaborated with three participants with disabilities in one-on-one sessions, creating a shared physical practice. Together with each participant, I was curious about finding our common interests within the field of dance, and how we could explore them with our individualised bodily expertise. It later became:The Object practiceThe Mirror practiceThe Tempo practiceBy proposing a quadruple loop structure as the methodological framework, I discuss the findings while taking a hermeneutic phenomenological approach. The empirical data were collected through video documentation of the sessions, observations and interviews. The four central topics of this shared experience entailed an examination and discussion of how to comprehend education, uncovering the validity of bodily feedback, exploring Crip time as a tool to question a normative understanding of time, and acknowledging the importance of showing. To get the full experience while reading this article, the reader is asked to ensure Internet access is available so that they can shift back and forth between the text and video excerpts.</abstract>

Object.Mirror.Tempo

Aesthetic Competence and Life Skills

AHEAD OF PRINT

Volume 15 (2024): Issue 1 (June 2024)

Volume 14 (2023): Issue 2 (December 2023)

Volume 14 (2023): Issue 1 (June 2023)

Volume 13 (2022): Issue 2 (December 2022)

Volume 13 (2022): Issue 1 (June 2022)

Volume 12 (2021): Issue 2 (December 2021)

Volume 12 (2021): Issue 1 (June 2021)

Volume 11 (2020): Issue 2 (December 2020)

Volume 11 (2020): Issue 1 (June 2020)

Volume 10 (2019): Issue 1-2 (December 2019)

Volume 9 (2018): Issue 2 (December 2018)

Volume 9 (2018): Issue 1 (June 2018)

Volume 8 (2017): Issue 2 (December 2017)

Volume 8 (2017): Issue 1 (June 2017)

Volume 7 (2016): Issue 2 (December 2016)

Volume 7 (2016): Issue 1 (June 2016)

Volume 6 (2015): Issue 2 (December 2015)

Volume 6 (2015): Issue 1 (June 2015)

Volume 5 (2014): Issue 2 (December 2014)

Volume 5 (2014): Issue 1 (June 2014)

Volume 4 (2013): Issue 2 (December 2013)

Volume 4 (2013): Issue 1 (June 2013)

Volume 3 (2012): Issue 2 (December 2012)

Volume 3 (2012): Issue 1 (June 2012)

Volume 2 (2011): Issue 1 (December 2011)

Volume 1 (2010): Issue 1 (December 2010)

Nordic Journal of Dance

 Nordic Journal of Dance – practice, education and research was established in 2010 within a network called DENN: Dance in Education Nordic Network  The goals and values of DENN are:  “Bringing together expertise across borders, sharing ideas about pedagogical strategies and concrete methods, promoting exchange in dance teacher training across the Nordic countries, promoting dialogue, opening doors and collaborating.”  The DENN network aimed at establishing a Nordic Journal of dance practice, research, containing both peer reviewed research articles, and practice related articles from the field of dance in education in general, in a Nordic context. Nordic Journal of Dance is thus a Nordic collaboration between researchers within dance, dance history, pedagogy, artistic research and more, connected to relevant institutions in all the Nordic countries. These researchers are all represented in the editorial board.  The purpose of the journal is to: Develop the quality of dance practice, education and research in the Nordic context. Exchanging experiences and knowledges in the doing, learning and teaching of dance/movement. Strengthening the Nordic perspective on movement, dance and education. Giving researchers a place to present their work and increasing the quality of publications within dance research.  Nordic Journal of Dance represents one of very few opportunities for researchers to publish their work. It is the only journal focusing on dance research in a Nordic context. Our impression is that it has a substantial impact. NOFOD – Nordic Forum for Dance Research is also a collaborator, having two representatives in the editorial board.  Archiving  Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.  Plagiarism Policy  The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. 