ARTS AND THE COMMUNITY: BREAKING THE AESTHETIC OF DISEMPOWERMENT

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ARTS AND THE COMMUNITY BREAKING THE AESTHETIC OF
DISEMPOWERMENT

• Christine M. Lomas
• Edited by Laura Pratt and Dr. Kay Picart

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• Company philosophy _____________________________
  _______________________________________
• Students of the school are said to be
  _______________

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Lomas new definition of the aesthetic

• Our culture (Western) currently deems the
  theatrical aesthetic as
• _______
• _______
• Lomas (and Jabadao) propose a more appropriate
  (150) definition
• _______
• _______
• Dance is aesthetic because what it actually is,
  is the symbolization of what you (dancer) feel
  (166-70).

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• 1st ____________________________________________
  ________________

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A Heuristic Model to Illustrate Non-Theatrical
Performance Contexts (151)

• NATURE CULTURE
• (_____) (________)
• CELEBRATION CEREMONIAL RITUAL
• _______________ _____________ ______________
• ______________ ___________
  _____________

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Framework for Culturally Learnt Ideologies

• __________________________________________________
  __________________________________________________
  ____________________________________

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. . . But change is not impossible!

• __________________________________________________
  __________________________________________________
  _____________________________________
• This separation is ________however the rejoining
  of the individual is where change lies.
• The return to ____________________________________
  ________________________________________

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Dance as a means of self-discovery

• When the body does the knowing we reveal our
  authentic selves to ourselves and others.(153)
• _____________
• She describes self-discovery- ____________________
  __________________________________________________
  __ This is the return to the natural self.

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Dance

• __________________________________________________
  __________________
• Lomas says dance is the harmony in the
  celebration of ourselves (153).

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• Communitas ______________________________________
  ______________________________
• Means for ______ bonding
• Can be seen as microcosm for our own culture and
  the positive change that can occur.

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Discussion ?

• With dance that emphasizes adaptive rather than
  authentic behavior, a paradox is implied in the
  role of the dance animateur because an adaptive
  form is being used in an attempt to encourage
  natural behavior.(157)
• Why???? (think Langers virtual vs. natural
  gestures)

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Improvisation Process and Purpose

• the spontaneous fusion of the mind and
  movement(161)
• dance becomes accessible because product is not
  main concern. (162)
• Question What is the main concern?

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Virtual or Real?

• Lomas questions any spontaneous improvisation
  inside a classroom setting (for obvious reasons)
  and thus terms it as, creative devising instead
  of improvisation (163).
• ?described as Potential development
• __________________________________________________
  __________________________________________________
  __________________________________________________
  __________________________________________________
  ______
• Do you think creativity can run out to cause the
  once real (spontaneous/improv.) into a
  virtual performance?

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DANCE EDUCATION IN/AND THE POSTMODERN Isabel A.
Marques
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Isabel Marques

• Her inquiry came from her background of being a
  dance education teacher at a pubic university in
  Brazil.
• Found that students were uninterested in dance
  education because dance education is typically
  isolated from our Brazilian society and from
  art being made in the so-called post-modern
  world (174).

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Rudolf Labantheorist of educational
discourse(Marques jump-off point)

• Believes that every ______________________________
  __________________________________________________
  __________________________________
• Being a white, European man, imprinted his own
  views of the body, movement and dance that were
  inseparable from his personal, cultural,
  historical, and social condition (176).
• Therefore, his belief in universal movement
  patterns do not apply to Brazils multicultural
  society (176).

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Ponder this!

• Do you believe that talking has a place in dance
  classes? Perhaps because it allows us to process
  through talking (thus thinking about) to
  comprehend the dance more thoroughly (177)?
• Does talking take away from the
  creative/spontaneous/improvisations that take
  place, or does it only enrich the final creative
  moment/movement?

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Dance and the Dance Educator

• She found that quite a difference was
  conceptualized inside of her students minds
• __________________________________________________
  __________________________________________________
  __________________________
• Marques then asks herself
• Why do we keep alleging that the dance we teach
  at schools has nothing, or little, to do with
  education future artists? (173).

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Breaking the Feminine Dance Body Stereotype

• The interesting turn (or rather, no change in)
  despite the proven (LOMAS) advantages in dance,
  for all people, these modern principles are
  still used
• __________________________________________________
  ________________________________________
• Marques points out
• In ballet we learn what it is to be a woman in
  this world in a perfect white, skinny,
  flexible, light body (174).
• ?______________________________________________
  __________________________________________________
  ______

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PAULO FREIRE

• Brazilian theorist, who revolutionized views of
  education.
• His ideas emerged from living, experiencing and
  reflecting on Brazilian society and its
  inequalities.
• Put the students harsh and urban social
  realities at the center of the curriculum (178).
  A union between their outside realities and what
  is learned in the school walls is described as
  society-centered education (179).
• Marques takes his theory and practice out of
  Brazil and globalizes it to a understanding of
  validating diversity and creating an important
  relationship between and with the different and
  adds it as a universal educational approach
  (179)

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3 SPHERES OF REALITY

• Marques points that we cannot separate real
  world from imaginary, but what we do seek
  between the two is the understanding of the
  intersection. This happens through our spatial
  practices in society
• Living space ____________________________________
  __________________________________________________
  
• Perceived space _________________________________
  __________________________________________________
  ___
• Imagined space __________________________________
  __________________________________________________
  ____________________
• ?With the application of these elements to DANCE
  EDUCATION Marques has constructed a proposal for

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Terms

• Context-based Dance Education ___________________
  __________________________________________________
  _____________________________________________
• Eco-action ______________________________________
  __________________________________________________
  __________________________
• According to Capra (the creator of term above)
  builds cooperation and relationships instead of
  separation and individualism (181).