Editorial

<abstract xmlns="http://www.w3.org/1999/xhtml">This article considers the ontological premises for tools in artists’ education, specifically in choreography studies at the master-of-arts level. The topic has proven to be crucial in planning and executing a curriculum of study in the contemporary age of pluralistic aesthetic intentions as any tool, as habitually understood, is ready-to-use according to its disclosed purpose and thus has, in a way, already solved some aspects of the singular research question posed between the artist and the prevailing world. The topic of tools turns out to be a wider question of contemporary poetics (techniques, methods, knowledge) and of ontological considerations of the nature of poiesis and artwork.The topic of contemporary poetics was extensively discussed in a 2011-2013 Erasmus Intensive project, which was an educational collaboration among six European master’s programmes in dance and physically based performance in which the writer took part. This article reports some aspects of that discussion and elaborates on a traditionally widely used concept in choreography education–namely, composition. The article tackles the complex issue of poetics and tools by, firstly, discussing poiesis and the <italic>causes</italic> to which artwork is indebted and, secondly, by searching in some ontological premises for the notion of composition. The article presents a view of composition derived from Martin Heidegger’s elaborations of <italic>logos</italic>: Logos is letting something be seen in its togetherness with something–letting it be seen as something. (Heidegger 1962, 56). Following this notion, I propose a view to composition as a certain <italic>togetherness in relatedness</italic> in which case the concept of composition might serve both as reflective knowledge of construction and as a deep research question in artists’ creative processes.</abstract>

Considering the Ontological Premises for Tools in Artists’ Education–on Poiesis and Composition

<abstract xmlns="http://www.w3.org/1999/xhtml">This article explores nuances in the meanings and applications of the term ‘dance technique’, by looking at how students in modern and contemporary dance articulate their understanding of the term, and by discussing this in relation to dance research articles on the theme. The article draws on a section of my on-going PhD project on the experiences in modern and contemporary dance of students at the Norwegian College of Dance. The project is informed by hermeneutic phenomenology (van Manen 1997), based on students’ logbooks and interviews. In one set of interviews, the students were asked to define the term ‘dance technique’. I have analysed the answers and discerned five approaches to the term: As <italic>a system</italic>, as <italic>knowledge or practical skills</italic>, as <italic>something set</italic>, as <italic>goal-oriented work</italic> and as ‘<italic>only technique</italic>’. The conjoining of students’ experiences with dance research articles shows both similarities and differences in comprehension of the term. I suggest that there is an ambiguity in the understanding of the term, touching upon different dichotomies existing in dance, and with parallels to a change between a modern dance tradition and a contemporary dance tradition. Clarifying taken-for-granted concepts can be of value for both dance education and dance research.</abstract>

Dance Technique–Meanings and Applications

<abstract xmlns="http://www.w3.org/1999/xhtml">The relationship between health and physical activity is well documented through research, but we know less about the health effects of cultural activity. The background for this project is a passionate interest in dance in general and especially folk dance. Many questions have emerged such as: What do we know about the connection between dance and health? Can social dance promote health and prevent disease? This article will present folkdance in a physical, psychosocial and cultural view.</abstract>

Dans er mer enn trim – dans sett i et kulturelt og helsefremmende perspektiv

<abstract xmlns="http://www.w3.org/1999/xhtml">This article is an artistic reflection of a research project called Please Switch On Your Mobile Phones (PSOYMP) that took place in three venues in Wales in 2014. The aim of PSOYMP was to develop new tools for audience interaction with on-stage dance, with the intention of developing new audiences. The project utilised an action research model to create a flexible choreographic and digital hybrid system that enabled the audience to collaborate in real time with the creative team–a choreographer, five dancers, a digital artist and a technologist–using mobile phones and tablets.The project resulted in the creation of an hour-long performance event. This was developed through three stages that included a week-long residency in each stage and a public performance event with a feedback session at the end of each residency. The final event was streamed live via YouTube and a web-based application, which allowed the online audience to participate in the event and to collaborate with the creative team in a similar way to the in-house audience. This article focusses on the creative process and discusses the nature and the development of the collaboration between the creative team and the audience.</abstract>

Systems of Co-Creation Artistic reflection

Book-Review: Practising Composition: Making Practice. Texts, Dialogues and Documents 2011–2013

Book-Review: Dance Education Around the World; Perspectives on dance, young people and change

Dance and the Child International–13th International Congress held in Copenhagen from 5th-10th July 2015

AHEAD OF PRINT

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. 