Editorial

<abstract xmlns="http://www.w3.org/1999/xhtml">The author curated <italic>keðja aarhus Questioning Agendas</italic>, a part of the Nordic-Baltic keðja encounter for dance professionals – this one taking place in Aarhus, September 2011. The focus of the encounter was to challenge the known formats of conferences and gatherings, as well as the awareness of the dance environment regarding our surrounding society: How to create formats, which facilitate dynamic structure for exchanging and sharing knowledge? What formats can keep us alert so that we continue questioning not only how we do what we do, but also why we do it? If we accept the idea that together we know more than alone, then the arts sector would be the best place to develop the learning structures for and of the future.</abstract>

Together We Know More than We Do Alone:

<abstract xmlns="http://www.w3.org/1999/xhtml">To peel an onion, to grate a carrot, and to set a table, each has its own choreographic recipe. Culinary art/ cookery is choreographed everyday life, and cooking is a dance everyone knows.<italic>The Art of Peeling an Onion</italic> is based on the dance piece <italic>Gæst (Guest)</italic>, choreographed by Kasper Daugaard. The piece is for five dancers, a female soloist and four choir dancers, and originates entirely from culinary actions. The purpose of the article is not to maintain theory and practice as two separate entities, but to show how they supply each other and offer each other content. We aim to create a balanced understanding of the relationship between the creative process, the audience experience, and the aesthetic theory related to both the content and the outcome of artistic work. We view theory and practice hand in hand, because we have strived to put into words that which can be experienced, to verbalise the spectator’s experiences, the physical as well as reflexive, with the ambition of formulating a quite tangible experience-based aesthetics.</abstract>

Kunsten at pille et løg:

<abstract xmlns="http://www.w3.org/1999/xhtml">The article concerns the lived experiences of Clara practicing to become a contemporary circus artist. Clara’s narratives reflect contemporary circus as a movement pedagogical practice in relation to theories about aesthetic learning and in relation to the aims of a circus performer education in Copenhagen, Denmark. Furthermore her narratives provide a discussion of educational settings on the fringe of ordinary youth education. Firstly contemporary circus is presented as a counterculture to the traditional circus and secondly it describes how the development of contemporary circus as an art form influenced the establishment of contemporary circus schools. Body phenomenology and narrativity are the main theoretical and methodological inspirations for reflections about aesthetic learning processes taking point of departure in Clara as a case.</abstract>

Et fast greb i rebet – om Claras levede erfaringer som nycirkus artistelev

<abstract xmlns="http://www.w3.org/1999/xhtml">The reception of the Merce Cunningham Dance Company and John Cage’s visit to Helsinki in 1964 revealed local, Finnish aesthetic priorities. In the dance critics’ texts, Cunningham’s style seemed to create confusion, for example, with its mixture of styles visà-vis avant-garde music. Music critics, mainly avant-garde and jazz musicians, had high expectations for this theatrical event. In their reviews, comparisons were made between Cunningham’s style and the productions of Anna Halprin. In this paper, I analyse the cultural perspectives of this encounter and utilize the theoretical framework of Thomas Postlewait’s pattern of cultural contexts. Additionally, I follow David M. Levin’s argumentation about changes in aesthetics. Local and foreign conventions become emphasized in this kind of a transnational, intercultural encounter. Time and place are involved in the interpretations of the past as well as later in the processes of forming periods.</abstract>

The Cultural Context of Reception:

Dance Math for Upper Comprehensive School

More Ideas for Dance in Schools

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. 