daCi – Dance and the Child International Conference 2024 Ljubljana, Slovenia 7th–12th July 2024 I – body, I – dance I for Imagination, Improvisation, Inclusion, Identity, Intel igence and Interdisciplinarity Jaz – telo, jaz – ples I za imaginacijo, improvizacijo, inkluzijo, identiteto, inteligentnost in interdisciplinarnost Conference program Program konference d a C i - D a nce and the Child International Conference 2024 Organisers/Organizatorja Faculty of Education University of Ljubljana, Republic of Slovenia Public Fund for Cultural Activities Pedagoška fakulteta Univerze v Ljubljani, Javni sklad RS za kulturne dejavnosti Honorary Patronage/Častno pokroviteljstvo Slovenian National Commission for UNESCO Slovenska nacionalna komisija za UNESCO Supported by/S podporo Ministry for the Culture of the Republic of Slovenia, Municipality of Ljubljana, daCi - dance and the Child international Ministrstvo za kulturo Republike Slovenije, Mestna občina Ljubljana, daCi International In collaboration with/V sodelovanju z Secondary School for the Education, Gymnasium and Artistic Gymnasium Ljubljana, Ministry of Education of the Republic of Slovenia/Srednja vzgojiteljska šola, Gimnazija in Umetniška gimnazija Ljubljana, Ministrstvo za vzgojo in izobraževanje Republike Slovenije Venues/Lokacije The program for Scholars Signing the daCi Ljubljana declaration Program za odrasle Podpis daCi ljubljanske deklaracije Faculty of Education Univerza v Ljubljani Kardeljeva ploščad 16 Kongresni trg 12 Ljubljana Ljubljana The program for young Dancers Opening and Closing ceremony Program za mlade plesalce Otvoritveni in zatvoritveni dogodek Secondary Preschool Education, Kino Šiška Grammar School and Performing Arts Grammar School Centre for Urban Culture Kardeljeva ploščad 28a Trg prekomorskih brigad 3 Ljubljana Ljubljana Plenary speech on Monday Registration/Registracija Plenarno predavanje v ponedeljek Cankarjev dom Sunday 7 July 4 – 6 pm Cultural and congress centre Nedelja, 7. julij, 16.00–18.00 Prešernova 10 Kino Šiška Ljubljana Centre for Urban Culture Trg prekomorskih brigad 3 Plenary speeches on Tuesday, Thursday and Friday Ljubljana Plenarna predavanja v torek, četrtek in petek School of Economics and Business Monday 8 July 10 – 11 am University of Ljubljana Ponedeljek, 8. julij, 10.00–11.00 Kardeljeva ploščad 17 Cankarjev dom Ljubljana Cultural and congress centre Prešernova 10 I – dance for peace Ljubljana Plešem za mir Ljubljana Castle Hil / Ljubljanski grad Monday 8 July 1 – 4 pm Ponedeljek, 8. julij, 13.00–16.00 Tuesday 9 July, Thursday 11 July and Friday 12 July 11 – 4pm Torek, 9. julij, četrtek, 11. Julij in petek, 12. julij, 11.00–16.00 Faculty of Education Kardeljeva ploščad 16 Ljubljana 2 Contents/Kazalo I – WELCOME 4 I – DACI 19 I – BODY, I – DANCE 21 I – OPEN 23 I – (RE)SEARCH 24 Plenary speakers 24 Scholarly Gatherings 28 List of presenters 29 Presentations & Workshops 33 Movement Workshops for Young Dancers 80 BIOGRAPHIES 86 I – DECLARE 108 I – PERFORM 110 I – COLOUR DANCE 116 I – TASTE DANCE 119 I – SHOOT DANCE 121 I – WRITE DANCE 121 I – DANCE FOR PEACE 122 I – SPRING 123 I – TWIN 125 I – WATCH DANCE 127 I – RISE 132 I – INFORM 133 d a C i - D a nce and the Child International Conference 2024 I – welcome I open, I talk, I dance, I hope, I share, I meet, I twin, I observe, I welcome you! Welcome to the 16th daCi Conference, where movement meets imagination, and where we celebrate the vibrant world of dance through the bodies of our young performers and the minds of our dance scholars, and the opposite. We welcome around 650 participants from 32 countries, who have travelled from near and far. Your contributions wil help to create an unforgettable event – many thanks to everyone who is here with us! It is an honour to host this important event and embark on this inspiring weeklong journey together. We have gathered not just as dancers, teachers and scholars, but as a community united by our passion for dance. This conference is a testimony to the power of dance, which transcends boundaries, fosters inclusivity and ignites the spark of hope in every individual. Dance has immeasurable power. We would like to thank the entire conference organising committee, the daCi board and daCi representatives from around the world for your support. We would also like to thank our partners in organising the conference: the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana for co-financing the event, and the Ljubljana Secondary Preschool Education, Grammar School and Performing Arts Grammar School, the University of Ljubljana and Tourism Ljubljana for their hospitality. Thanks also to the USA's Cooper-Newel Foundation for their generous philanthropic support which has enabled daCi Registration Scholarships for many young people to participate. It is also a great honour that the Slovenian National Commission for UNESCO has recognised the importance of the conference and given it honorary patronage. To our young dancers: you are the heart of this event. Your enthusiasm, creativity and boundless energy are what make this conference truly special. You bring new perspectives and fresh ideas that push the boundaries of what dance can be. As you engage in workshops, performances and discussions over the next few days, remember that your unique voice and expression are invaluable. Embrace every moment, take risks and let your creativity fly. To the dance academics and professionals joining us: your expertise and dedication to the artform of dance provide the foundation upon which these young dancers can build. Your commitment to dance and to pushing the frontiers of dance research enriches our community. This conference is a unique opportunity to share your insights, exchange ideas and inspire further research on the meaning of dance. Creative dance is a language that speaks to the body, mind and soul. It is a medium through which we can explore new dimensions of expression and cultivate empathy, we can embody hope, learn through experience and foster a sense of belonging and growth. Throughout this conference, we wil explore these themes in depth. We wil witness performances that chal enge and inspire, participate in workshops that expand our horizons, and engage in discussions that provoke thought and reflection. This is a time to learn from each other, to celebrate our achievements, and to envision the future of dance together. We encourage each of you to take ful advantage of the opportunities presented here. Connect with your peers, share your movements and let the col ective energy of this conference fuel your passion for dance. Let’s embrace the spirit of col aboration and innovation that defines creative dance and let’s welcome the transformative power of dance. Let’s embody dance with a common I and let’s al ow dance to do its work for peace and unity. Nina Meško Vesna Geršak, PhD conference co-chair conference co-chair Republic of Slovenia, University of Ljubljana Public Fund for Cultural Faculty of Education Activities, Department of Dance 4 d a C i - D a nce and the Child International Conference 2024 Dobrodošli! Odprem, govorim, plešem, upam, delim, spoznavam, se družim, opazujem in vas pozdravljam! Dobrodošli na 16. konferenci daCi, kjer se gibanje sreča z domišljijo in kjer praznujemo živahen svet plesa skozi telesa naših mladih plesalcev in misli naših plesnih strokovnjakov ter obratno. Pozdravljava približno 650 udeležencev iz 32 držav, ki so pripotovali od blizu in daleč. Vaš prispevek bo pomagal ustvariti nepozaben dogodek – najlepša hvala vsem, ki ste z nami! V čast nam je gostiti ta pomemben dogodek in se skupaj z vami podati na to navdihujoče enotedensko potovanje. Zbrali smo se ne le kot plesalci, učitelji in strokovnjaki, temveč kot skupnost, ki jo povezuje strast do plesa. Ta konferenca je izraz moči plesa, ki presega meje, spodbuja vključenost in v vsakem posamezniku zaneti iskrico upanja. Ples ima neizmerno moč. Zahvaljujeva se celotnemu organizacijskemu odboru konference, upravnemu odboru daCi in predstavnikom daCi z vsega sveta za vašo podporo. Zahvaljujeva se tudi našim partnerjem pri organizaciji konference – Ministrstvu za kulturo Republike Slovenije in Mestni občini Ljubljana za sofinanciranje, Srednji vzgojiteljski šoli, gimnaziji in umetniški gimnaziji Ljubljana, Univerzi v Ljubljani in Turizmu Ljubljana za gostoljubje. V veliko čast nam je, da je Slovenska nacionalna komisija za UNESCO prepoznala pomen konference in ji podelila častno pokroviteljstvo. Naši mladi plesalci; vi ste srce tega dogodka. Zaradi vašega navdušenja, ustvarjalnosti in neizmerne energije je ta konferenca resnično posebna. Prinašate nove poglede in sveže ideje, ki premikajo meje plesa. Ko boste v naslednjih dneh sodelovali na delavnicah, predstavah in razpravah, ne pozabite, da sta vaš edinstven glas in izraz neprecenljiva. Sprejmite vsak trenutek, tvegajte in se prepustite svoji ustvarjalnosti. Plesni strokovnjaki in pedagogi, ki se nam pridružujete, vaše strokovno znanje in predanost plesni umetnosti sta temelj, na katerem lahko ti mladi plesalci gradijo. Vaša predanost plesu in premikanje meja plesnih raziskav bogati našo skupnost. Ta konferenca je edinstvena priložnost, da delite svoja spoznanja, izmenjate ideje in spodbudite nadaljnje raziskave o pomenu plesa. Ustvarjalni ples je jezik, ki povezuje telo, um in dušo. Je medij, s katerim lahko raziskujemo nove razsežnosti izražanja, gojimo empatijo, utelešamo upanje, se učimo iz izkušenj, krepimo občutek pripadnosti in rastemo. Na konferenci bomo te teme skupaj raziskovali in izmenjevali mnenja. Priča bomo predstavam, ki nas izzivajo in navdihujejo, sodelovali bomo na delavnicah, ki širijo naša obzorja, in v razpravah, ki spodbujajo razmišljanje in refleksijo. To je čas, da se učimo drug od drugega, praznujemo svoje dosežke in si skupaj predstavljamo prihodnost plesa. Vse vas spodbujava, da v celoti izkoristite priložnosti, ki jih ponuja konferenca. Povežite se z vrstniki, delite svoje gibe, misli ter občutke in dovolite, da skupna energija te konference podžge vašo strast do plesa. Sprejmimo duh sodelovanja in inovativnosti, ki opredeljuje ustvarjalni ples, in sprejmimo preobrazbeno moč plesa. Utelešajmo ples s skupnim jaz in pustimo plesu, da opravlja svoje delo za mir in enotnost. Nina Meško, sopredsedujoča konferenci, Javni sklad Republike Slovenije za kulturne dejavnosti, Oddelek za ples dr. Vesna Geršak, sopredsedujoča konferenci, Univerza v Ljubljani, Pedagoška fakulteta 5 d a C i - D a nce and the Child International Conference 2024 Welcome from the Dean of Faculty of Education, University of Ljubljana Strengthening cultural and artistic education in kindergarten, primary school and secondary school by learning about all areas of art and culture is one of the most important goals of the Slovenian education system’s development programme for the coming decade. In the area of university education as wel , especial y at the Faculty of Education of the University of Ljubljana, we have for many years been aware that, for the holistic development of the individual, it is crucial that everyone has the opportunity to express themselves and create using various artistic languages, including dance. Dance pedagogy, movement and learning through creative movement are important subjects in al of our study programmes intended for future educators and teachers, and the principles of dance pedagogy are also introduced to future professionals working with people with special needs. We not only teach these fields at our faculty, but also research and develop them on a scientific level. Many children come from families where parents do not realise the importance of artistic creation for the child’s overal development. Some parents lack the experience of artistic creation themselves, while for others the financial situation may prevent them from offering the child opportunities to visit various cultural institutions and to have contact with artists and cultural workers. Without experience with art, it is impossible to develop an interest in art. It is therefore all the more important to provide every child with artistic opportunities and experiences during schooling. In Slovenia, dance pedagogy already has an important place in preschool education, as dance has an equal status to other arts in the kindergarten curriculum. In schools, dance is integrated into various learning environments, creative movement is used as a learning approach and embodied learning is also encouraged. By connecting mind and body, we fol ow the modern trends of active, experiential and col aborative learning. Despite this, dance does not yet have an equal status to other arts at the school or university level. The organisation of this conference, which aims to increase awareness of the role of dance in the development of young people, is therefore particularly important in Slovenia. On behalf of the Faculty of Education of the University of Ljubljana, I would like to thank the organising committee and congratulate them on the preparation of this major event. Since 1978, the international organisation daCi International, a member of the UNESCO organisation, has been organising an international conference every three years in various countries around the world. This year, the sixteenth consecutive conference is being held in Central Europe for the first time. It gives me great pleasure to welcome to Ljubljana more than 650 participants from 32 countries, including around 300 children and young people. I am honoured to be able to welcome dance pedagogues, researchers in the field of dance or dance pedagogy, dance teachers with their children’s groups, young dancers, artists, academics and many others who have gathered to experience dance as creators, performers, researchers, participants and spectators. I wish everyone a successful conference, an effective amalgamation of art and science, an exchange of good practices in the field of dance and cultural-artistic education, and pleasant socialising in Ljubljana. Janez Vogrinc, PhD University of Ljubljana Faculty of Education 6 d a C i - D a nce and the Child International Conference 2024 Pozdravni nagovor dekana Pedagoške fakultete Univerze v Ljubljani Krepitev kulturno-umetnostne vzgoje v vrtcu, osnovni in srednji šoli s spoznavanjem vseh področij umetnosti in kulture je eden od pomembnih ciljev programa razvoja slovenskega vzgojno-izobraževalnega sistema za naslednje desetletje. Tudi na področju univerzitetnega izobraževanja, še posebej na Pedagoški fakulteti Univerze v Ljubljani, se že mnogo let zavedamo, da je za celostni razvoj posameznika pomembno, da ima vsak možnosti, da se izraža ter ustvarja z različnimi umetniškimi jeziki, torej tudi s plesom. Plesna pedagogika, gibanje in učenje z ustvarjalnim gibom so pomembni predmeti v vseh naših študijskih programih, ki so namenjeni prihodnjim vzgojiteljem in učiteljem, z načeli plesne pedagogike pa se seznanijo tudi prihodnji strokovnjaki za delo z osebami s posebnimi potrebami. Teh področij na naši fakulteti ne le poučujemo, ampak jih tudi raziskujemo in razvijamo na znanstvenem nivoju. Mnogi otroci prihajajo iz družin, kjer se starši ne zavedajo, kako pomembno je umetniško ustvarjanje za otrokov celostni razvoj, ker morda sami nikoli niso imeli izkušnje umetniškega ustvarjanja ali pa jim njihovo finančno stanje ne omogoča, da bi otroku nudili možnosti za obiskovanje različnih kulturnih ustanov ter za druženje z umetniki in delavci v kulturi. Brez izkušnje z umetnostjo se tudi interes za umetnost ne more razviti. Zato je še toliko bolj pomembno, da vsakemu otroku take priložnosti in izkušnje zagotovimo v času šolanja. Plesna pedagogika ima v Sloveniji že pomembno mesto na nivoju predšolske vzgoje, saj je v kurikulumu za vrtce plesna umetnost enakovredno vključena med ostale umetnosti. V šolah pa je plesna umetnost integrirana v različna učna okolja, ustvarjalni gib se uporablja kot učni pristop, spodbuja pa se tudi utelešeno učenje. S povezovanjem uma in telesa torej sledimo sodobnim trendom aktivnega, izkustvenega in sodelovalnega učenja. Kljub temu pa v šoli in tudi na univerzitetnem nivoju plesna umetnost še nima enakovrednega mesta ostalim umetnostim, zato je tudi organizacija te konference, ki ima namen dvigniti prepoznavnost plesa za razvoj mladega človeka, v Sloveniji tako pomembna. V imenu Pedagoške fakultete Univerze v Ljubljani se zahvaljujem in čestitam organizacijskemu odboru za pripravo tega velikega dogodka. Mednarodna organizacija daCi International, članica UNESCO organizacije, že od leta 1978 vsako tretje leto organizira mednarodno konferenco v različnih državah po celem svetu. Letošnja, 16. konferenca po vrsti, pa prvič poteka v osrednji Evropi. Veseli me, da lahko v Ljubljani pozdravimo več kot 650 udeležencev iz 32 držav, med njimi okoli 300 otrok in mladih. Počaščen sem, da lahko med nami pozdravimo plesne pedagoge, raziskovalce s področja plesne umetnosti oz. plesne pedagogike, plesne učitelje s svojimi otroškimi skupinami, mlade plesalce, umetnike, akademike in številne druge, ki smo se zbrali z namenom, da bi izkusili ples kot ustvarjalci, izvajalci, raziskovalci, udeleženci in gledalci. Vsem želim uspešno konferenco, učinkovito povezovanje umetnosti in znanosti, izmenjavo dobrih praks s področja plesne umetnosti in kulturno umetnostne vzgoje ter prijetno druženje v Ljubljani. dr. Janez Vogrinc, Univerza v Ljubljani, Pedagoška fakulteta 7 d a C i - D a nce and the Child International Conference 2024 Dance – A Mysterious Phenomenon Between Science and Art Dance is a phenomenon that has accompanied man since the earliest cultures and has played many roles both in the past and today. Although dance has a rich history, it is stil largely shrouded in mystery. In the world of research and scientific il umination, the phenomenon of dance stil lags behind some other paral el human forms of expression and culture in general, as dance has long moved on the margins of the epistemological apparatus. Dance is an elusive phenomenon that leaves no traces in time and space; as dance researcher Helen Thomas observes, it disappears at the point of its origin. It has therefore often been brushed aside in the history of scientific investigation. One of the most important points in the development of the treatment and understanding of dance is Husserl’s phenomenological turn at the beginning of the twentieth century, which shifted the focus to subjective experience. Human experience is fundamentally linked to the body and corporeality, that is, precisely where movement and dance resides. Since then, dance has found its way to the centre of scientific and analytical discussions. However, dance is more than a phenomenon of study. It is above al an expressive form of movement with a broad intuitive sphere. It is rooted in a deeply experiential level that is explored through the practice of dancers in the performing arts. The daCi conference is vital precisely because of the combination of pedagogical and other analytical perspectives on dance with its practical forms of expression. On the one hand, dance is the subject of pedagogical transfers to young creators, while, on the other, it is a field of artistic engagement. Thus, the conference combines two foundations through which we try to understand and live dance. At the Republic of Slovenia Public Fund for Cultural Activities (JSKD), we are wel aware of the importance of dance in al genres and forms of expression. In practice, some of us focus on the search for expressiveness through the research of movement structures, while others pursue the search for expressiveness through the experience of movement and the related invention of dance structures. Both methods are clearly located in the field of dance as a process and no longer in its positivist logic. Thus, we can no longer speak of right or wrong approaches, but only of different paths of dancers in exploring themselves and their relationship to the audience. In this respect, dance is one of the most open and democratic forms of expression. At JSKD, we therefore try to support any form of dance and related activities. Together with the Faculty of Education of the University of Ljubljana and the Ministry of Culture of the Republic of Slovenia, JSKD would like to highlight the importance of dance in modern society. It is an area that needs support at all levels, including with events such as the present conference, which facilitates the connection of stakeholders at both the national and international level. The conference is not only a platform for the exchange of knowledge and the presentation of artistic practices and processes; it is an opportunity to raise awareness of the field of dance as an expressive form, to break stereotypes about dance, to sensitise the public, and to open up spaces for different artistic and pedagogical approaches. Dear participants, may the dance steps on the dancefloor of this conference be smooth and satisfying, so that we can spin together in this beautiful world of dance and movement! Tomaž Simetinger, PhD Assistant Director Republic of Slovenia Public Fund for Cultural Activities 8 d a C i - D a nce and the Child International Conference 2024 Ples – skrivnosten fenomen med znanostjo in umetnostjo Ples je pojav, ki spremlja človeka od najzgodnejših kultur in je imel tako v preteklosti kot danes številne vloge. Zgodovina tega fenomena je precej bogata, a v veliki meri še vedno zavita v skrivnost. Fenomen plesa v svetu raziskav in znanstvenih osvetlitev še vedno zaostaja za nekaterimi drugimi vzporednimi človeškimi oblikami izražanja in kulture nasploh. Ples se je namreč dolgo časa gibal na margini epistemološkega aparata. Ker gre za izmuzljiv pojav, ki sam po sebi v času in prostoru ne pušča nobenih sledi, saj, kot pravi raziskovalka plesa Helene Thomas, izginja v točki svojega nastanka, je bil v zgodovini znanstvenih obravnav pogosto odrinjen na stran. Ena pomembnejših točk v razvoju obravnav in razumevanja plesa je Husserlov fenomenološki obrat iz začetka 20. stoletja. Ta prinaša osredinjenje na subjektivno izkušnjo. Človeška izkušnja je temeljno vezana na telo in telesenje – torej območje, kjer med drugim domujeta ravno gibanje in ples. Ples si vse odtlej odpira vrata v središče znanstvenih in analitičnih obravnav. Ples pa je vendar več od fenomena preučevanja. V prvi vrsti je izrazna forma gibanja, ki ima široko intuitivno sfero. Ta korenini v globoko izkustveni ravni, ki jo skozi prakso raziskujejo plesalci v uprizoritvenih umetnostih. Konferenca DaCi je ključna ravno zaradi združevanja pedagoških in drugih analitičnih pogledov na ples s praktičnimi oblikami njegove izraznosti. Na eni strani je ples predmet pedagoških prenosov na mlade ustvarjalce, po drugi pa polje umetniškega udejstvovanja. S tem združuje konferenca dva temelja, skozi katera skušamo ples razumeti in živeti. Tudi na Javnem skladu RS za kulturne dejavnosti (JSKD) se zavedamo pomena plesa v vseh žanrskih oblikah in izraznih formah. V praksi so pri nas ene usmerjene v iskanje izraznosti skozi raziskovanje struktur gibanja, druge pa v iskanje izraznosti skozi doživljanje gibanja in s tem povezano invencijo plesnih struktur. Oba načina pa se jasno umeščata na polje plesa kot procesa in ne več v njegove pozitivistične logike. Tako lahko rečemo, da ni pravih in napačnih pristopov, ampak so le drugačne poti plesalcev v raziskovanju sebe in odnosa do publike. Ples je v tem pogledu ena najbolj odprtih in demokratičnih izraznih form. V tem kontekstu se na JSKD trudimo podpreti kakršnokoli obliko plesa in s tem povezanih aktivnosti. JSKD želi skupaj s Pedagoško fakulteto Univerze v Ljubljani in Ministrstvom za kulturo opozoriti tudi na pomen plesa v sodobni družbi. Gre za področje, ki potrebuje podporo na vseh ravneh. Tudi s takšnimi dogodki, kot je pričujoča konferenca. Ta daje možnost povezovanja deležnikov tako na nacionalni kot mednarodni ravni. Sočasno pa konferenca ni le platforma za izmenjavo znanja in predstavitev umetniških praks ter procesov, ampak odpira možnost za dviganje ozaveščenosti o področju ples kot izrazne forme, razbija stereotipe o njem, senzibilizira javnost ter odpira prostore za različne umetniške in pedagoške pristope. Dragi udeleženci, naj bodo plesni koraki na plesišču te konference gladki in prijetni, da se skupaj zavrtimo v ta lepi svet plesa in gibanja! dr. Tomaž Simetinger, pomočnik direktorja JSKD 9 d a C i - D a nce and the Child International Conference 2024 Welcome from the Headmistress of Secondary Preschool Education, Grammar School and Performing Arts Grammar School Ljubljana First of al , welcome everyone! I want to emphasize how thril ed we are to host dancers from al over the world, where language is no barrier. It's wonderful to connect in person, not just online, and to celebrate the wealth of cultural diversity that each of you brings. We are incredibly proud of our students and grateful for the resources and opportunities we can share with al of you. Without an open mind and youthful energy, none of this would be possible. We welcome you and hope to make meaningful connections, and perhaps we'l see you somewhere else in the world soon. And final y, as Hafis once said: "If we keep dancing, we are happy even before we have a reason to be!" So, let's dance! Petra Vignjevič Kovjanić Headmistress of Secondary Preschool Education, Grammar School and Performing Arts Grammar School Ljubljana Najprej, dobrodošli vsi! Želim poudariti, kako navdušeni smo, da lahko gostimo plesalce z vseh koncev sveta, pri čemer jezik ni ovira. Čudovito se je povezati v živo in ne le preko spleta in praznovati bogastvo kulturnih raznolikosti, ki jo prinaša vsak izmed vas. Neverjetno ponosni smo na naše dijake in hvaležni za priložnosti, ki jih lahko delimo z vsemi vami. Brez odprtega uma in mladostne energije nič od tega ne bi bilo mogoče. Pozdravljamo vas in upamo, da bomo z vami navezali pomembne stike. Morda se kmalu vidimo kje drugje na svetu. Naj zaključim, kot je nekoč dejal Hafis: "Če še naprej plešemo, smo srečni, še preden imamo razlog za to!" Torej, plešimo! Petra Vignjevič Kovjanić, ravnateljica Srednje vzgojiteljske šole, gimnazije in umetniške gimnazije Ljubljana 10 d a C i - D a nce and the Child International Conference 2024 Welcome from daCi It is a great delight and pleasure to be welcomed in Ljubljana, Slovenia for the 16th world conference of dance and the Child international. This is both a joyful and significant moment as it is the first time since 2018 in Adelaide, Australia, that we are meeting face to face. Due to the Covid pandemic, the daCi 2021 conference planned for Toronto, Canada, was postponed. So, I want to thank our Canadian col eagues for their resilience and for adapting to deliver a successful virtual online conference in 2022. I know that everyone is excited that a daCi conference is being hosted for the first time in central Europe. We are looking forward to learning from the people here about Slovenia, the land and culture, as we arrive for the daCi 2024 conference which brings us together for dance in the beautiful capital city Ljubljana. Congratulations and sincere gratitude from the daCi Executive to the hosts: the University of Ljubljana, the JSKD and Ministry for Culture, the Municipality of Ljubljana and especially the Slovenian organising committee, and others who have been involved, for your support and tireless work to present this 16th daCi conference with the title I-Body, I-Dance. We are our bodies and dance is a most powerful, engaging and enriching body/mind experience. Through a col aborative network, daCi promotes the growth and development of dance for children and young people internationally. So, at a time of ongoing challenges and turmoil caused by conflict and climate change, daCi continues a commitment to supporting peace in the world - and I give very special thanks to our honorary conference patron, the Slovenian National Commission for UNESCO. With respect for the ethnic, gender, physical, and cultural identities, and diverse abilities of each young person within daCi’s spirit of international understanding, thanks to everyone for travel ing from near and far to be here. We are looking forward to creating rich and lasting memories in the week ahead that we wil carry with us from the daCi 2024 Slovenia conference! Jeff Meiners, PhD Chair of Dance and the Child international (daCi) 11 d a C i - D a nce and the Child International Conference 2024 Pozdravni nagovor daCi V veliko veselje in zadovoljstvo mi je, da sem lahko tukaj, v Ljubljani, v Sloveniji, na 16. svetovni konferenci dance and the Child international (daCi). To je vesel in pomemben trenutek, saj se prvič po letu 2018, ko smo bili v Adelaidu, v Avstraliji, srečujemo iz oči v oči. Konferenca daCi 2021, načrtovana za Toronto, v Kanadi, je bila zaradi pandemije Covida prestavljena. Zato se želim zahvaliti kanadskim kolegom za njihovo trdoživost in prilagajanje, da so leta 2022 uspešno izvedli virtualno spletno konferenco. Navdušeni smo nad tem, da konferenca daCi prvič poteka v srednji Evropi. Veselimo se, da bomo izvedeli več o Sloveniji, njeni deželi in kulturi, medtem ko bomo sodelovali na konferenci daCi 2024, ki nas je združila v čudoviti prestolnici Ljubljani. Čestitke in iskrena zahvala vodstva daCi gostiteljem: Univerzi v Ljubljani Pedagoški fakulteti, JSKD, Ministrstvu za kulturo Republike Slovenije, Mestni občini Ljubljana in še posebej slovenskemu organizacijskemu odboru ter drugim sodelujočim za podporo in neutrudno delo pri izvedbi 16. konference daCi, z naslovom Jaz – Telo, Jaz – Ples. Mi smo naše telo in ples je najmočnejša, najzanimivejša in najbogatejša izkušnja telesa in duha. daCi prek mreže sodelovanja spodbuja rast in razvoj plesa za otroke in mlade na mednarodni ravni. V času nenehnih izzivov in nemirov, ki jih povzročajo konflikti in podnebne spremembe, daCi torej nadaljuje z zavezanostjo podpori miru v svetu – in za to se še posebej zahvaljujem našemu častnemu pokrovitelju konference, Slovenski nacionalni komisiji za UNESCO. Ob spoštovanju etnične, spolne, fizične in kulturne identitete ter različnih sposobnosti vsakega mladega človeka se v duhu mednarodnega razumevanja v okviru daCi zahvaljujemo vsem, ki ste pripotovali od blizu in daleč. Veselimo se, da bomo v tednu, ki je pred nami, ustvarili bogate in trajne spomine, ki jih bomo odnesli s konference daCi 2024 v Sloveniji! dr. Jeff Meiners, predsednik Dance and the Child International (daCi) 12 d a C i - D a nce and the Child International Conference 2024 Welcome from UNESCO Every child has the right to dance. This is the guiding principle of daCi. daCi is a non-profit organization founded in 1978 at the University of Alberta, Edmonton, Canada. It is an autonomous, ful y constituted branch of the Conseil International de la Danse, UNESCO, in Paris. daCi provide unique opportunities for people of al ages to connect, collaborate and understand each other through the power of dance, celebrating our diversity and humanity. daCi recognizes the right of every person to dance, with a particular focus on children and young people. It supports the preservation of the cultural heritage of al forms of dance. daCi promotes inclusivity and offers opportunities through its national and international conferences for people of al ages to make deep connections and bridge gaps within a global community. daCi focuses on creativity, col aboration, culture and community. Every three years, daCi organizes a major global gathering. Dance educators, dance teachers, young people who love to dance, artists, academics, politicians, and many others who are moved by dance, assemble together to experience dance as creators, performers, researchers, participants and spectators. I am happy that this yearś conference takes place in Slovenia - in organization of our hosts our hosts Vesna Geršak of the Faculty of Education, University of Ljubljana and Nina Meško, RS Public Fund for Cultural Activities, Department of Dance. In the run-up to the UNESCO World Conference on Culture and Arts Education, UNESCO has mobilized a wide range of actors of the cultural and creative sectors, from Member States to intergovernmental organizations, academia, including UNESCO Chairs, civil society organizations and other partners. In this line, from 22 November to 18 December 2023, the Organization invited interested stakeholders to organize side events in the framework of the Conference to highlight diverse perspectives on the synergies between culture and education, share practices and innovative ideas, as wel as strengthen a global al iance for culture and arts education. It is of great pleasure to recognize that daCi contributed in an extremely active and productive approach to the consultation about the UNESCO Framework for Culture and Arts Education adopted at this conference. daCi even organized an impressive side event with other stakeholders on its implementation. After having the Copenhagen and Adelaide Declarations, it is of utmost honour to express the Slovenian National Commission for UNESCOś support and endorsement of the new Ljubljana Declaration that you wil adopt today. Sincere congratulations! Gašper Hrastelj Secretary General UNESCO 13 d a C i - D a nce and the Child International Conference 2024 Pozdravni nagovor UNESCO Vsak otrok ima pravico do plesa. To je vodilo organizacije daCi. daCi je neprofitna organizacija, ustanovljena leta 1978 na Univerzi v Alberti, v Edmontonu v Kanadi. Je avtonomna, v celoti ustanovljena podružnica Mednarodnega sveta za ples (Conseil International de la Danse, UNESCO) v Parizu. daCi zagotavlja edinstvene priložnosti za ljudi vseh starosti, da se povežejo, sodelujejo in se razumejo z močjo plesa, ki slavi našo raznolikost in človečnost. daCi priznava pravico vsakega človeka do plesa, s posebnim poudarkom na otrocih in mladih. Podpira ohranjanje kulturne dediščine vseh oblik plesa. daCi spodbuja vključevanje in na svojih nacionalnih in mednarodnih konferencah ponuja priložnosti za ljudi vseh starosti, da navežejo globoke stike in premostijo vrzeli znotraj globalne skupnosti. daCi se osredotoča na ustvarjalnost, sodelovanje, kulturo in skupnost. Vsako tretje leto daCi organizira veliko svetovno srečanje. Plesni pedagogi, učitelji plesa, mladi, ki radi plešejo, umetniki, akademiki, odločevalci in številni drugi, ki jih ples zanima, se zberejo, da bi izkusili ples kot ustvarjalci, izvajalci, raziskovalci, udeleženci in gledalci. Veseli me, da letošnja konferenca poteka v Sloveniji – v organizaciji naših gostiteljic Vesne Geršak s Pedagoške fakultete Univerze v Ljubljani in Nine Meško z Javnega sklada RS za kulturne dejavnosti, z Oddelka za ples. V pripravah na Unescovo svetovno konferenco o kulturno-umetnostni vzgoji je UNESCO mobiliziral številne akterje kulturnega in ustvarjalnega sektorja, od držav članic do medvladnih organizacij, akademskih krogov, vključno z Unescovimi katedrami, organizacijami civilne družbe in drugimi partnerji. V skladu s tem je organizacija od 22. novembra do 18. decembra 2023 povabila zainteresirane deležnike, da v okviru konference organizirajo spremljevalne dogodke, na katerih bodo izpostavili različne poglede na sinergije med kulturo in izobraževanjem, izmenjali prakse in inovativne ideje ter okrepili globalno zavezništvo za kulturno in umetnostno izobraževanje. Z velikim veseljem ugotavljamo, da je daCi izredno dejavno in produktivno sodeloval pri posvetovanju o Unescovih smernicah za kulturno-umetnostno vzgojo, ki so bile sprejete na tej konferenci. daCi je celo organiziral impresiven spremljevalni dogodek z drugimi deležniki o izvajanju Unescovih smernic. Po Københavnski in Adelajdski deklaraciji mi je v veliko čast, da lahko Slovenska nacionalna komisija za UNESCO izrazi podporo in potrditev nove Ljubljanske deklaracije, ki jo boste sprejeli. Gašper Hrastelj, Generalni sekretar UNESCO 14 d a C i - D a nce and the Child International Conference 2024 Welcome from the Deputy Mayor of Ljubljana Dear participants of the international conference "Dance and Child International 2024" On behalf of the Municipality of Ljubljana, I am proud to welcome al participants and organisers of this outstanding event. The daCi Conference is an opportunity to connect, learn and create together in the spirit of international co-operation and cultural understanding. Your mission to promote the growth and development of dance for children and youth is inspiring and Ljubljana is proud to be your host. Our capital is a city with a rich history and a vibrant cultural heritage. Ljubljana is proud to have been named European Green Capital 2016, which confirms our commitment to sustainable development and care for the environment. With its unspoilt nature, green spaces and clean rivers, it offers an ideal environment for creativity and artistic expression. Ljubljana is also a city of literature, as in 2015 we were accepted into the Unesco Creative Cities Network. This reflects our commitment to promoting reading culture and supporting artists. Ljubljana is also a university city that promotes the development of science and art, a city with a rich tradition of dance and music, which is reflected in the many events, festivals and cultural institutions that enrich our city life. Dance, like Ljubljana, unites people, transcends borders and connects different cultures. Your presence is proof that dance and movement are not only art, but also a tool to promote understanding, inclusion and peace among nations. This is confirmed by the slogan that brings it al together: Let's live together and respect al differences. Everyone is welcome in Ljubljana, they just need to have good creative energy, and this conference has plenty of it. I believe that you wil find a lot of inspiration and opportunities for cooperation during the conference. Let new ties and knowledge exchange be created in Ljubljana, which wil shape the future of dance for children and young people. I wish you a successful conference, and above al a pleasant stay in our beautiful city. Let the beauty of Ljubljana and the warmth of its inhabitants accompany you at every step. Welcome to Ljubljana! Dejan Crnek Deputy Mayor City of Ljubljana 15 d a C i - D a nce and the Child International Conference 2024 Pozdravni nagovor podžupana Mestne občine Ljubljana Spoštovani udeleženci mednarodne konference "Ples in otroci 2024" S ponosom vas pozdravljam v imenu Mestne občine Ljubljana in želim izreči iskreno dobrodošlico vsem udeležencem in organizatorjem tega izjemnega dogodka. Konferenca "Ples in otroci" je priložnost za povezovanje, učenje in soustvarjanje v duhu mednarodnega sodelovanja ter kulturnega razumevanja. Vaše poslanstvo, da spodbujate rast in razvoj plesa za otroke in mlade, je navdihujoče in Ljubljana je ponosna, da vas lahko gosti. Naša prestolnica je mesto z bogato zgodovino in živahno kulturno dediščino. Ljubljana se ponaša z nazivom Zelena prestolnica Evrope 2016, kar potrjuje našo zavezanost trajnostnemu razvoju in skrbi za okolje. S svojo neokrnjeno naravo, zelenimi površinami in čistimi rekami ponujamo idealno okolje za ustvarjalnost in umetniški izraz. Ljubljana je tudi mesto literature, saj smo bili leta 2015 sprejeti v Unescovo mrežo kreativnih mest. To odraža našo zavezanost promociji bralne kulture in podpori ustvarjalcem. Poleg tega je Ljubljana univerzitetno mesto, ki spodbuja razvoj znanosti in umetnosti, mesto z bogato tradicijo plesa in glasbe, kar se kaže v številnih dogodkih, festivalih in kulturnih institucijah, ki bogatijo naše mestno življenje. Ples, tako kot Ljubljana, združuje ljudi, presega meje in povezuje različne kulture. Vaša prisotnost je dokaz, da ples in gibanje nista le umetnost, temveč tudi orodje za spodbujanje razumevanja, inkluzije in miru med narodi. To potrjuje tudi slogan, ki združuje vse to: Živimo skupaj in spoštujmo vse različnosti. Vsi so dobrodošli v Ljubljani, imeti morajo samo dobro ustvarjalno energijo in na tej konferenci jo je ogromno. Verjamem, da boste v času konference našli veliko navdiha in priložnosti za sodelovanje. Naj se v Ljubljani ustvarijo nove vezi in izmenjajo znanja, ki bodo oblikovala prihodnost plesa za otroke in mlade. Želim vam uspešno konferenco, predvsem pa prijetno bivanje v našem čudovitem mestu. Naj vas lepota Ljubljane in toplina njenih prebivalcev spremljata na vsakem koraku. Dobrodošli v Ljubljani! Dejan Crnek, podžupan Mestne občine Ljubljana 16 d a C i - D a nce and the Child International Conference 2024 Welcome from the Minister of Culture I am delighted that so many young dancers, dance teachers and researchers from al over the world have gathered in Ljubljana. Dance is one of the most democratic fields of art as it transcends languages and cultures. Dance exists in a wide variety of forms, dance categories and genres. It brings together people from many different social groups. Movement often precedes thought, therefore, precedes words and language. Dance is an intuitive activity. Expression through artistic movement has been intrinsic to mankind since forever; it is a way of experiencing and executing freedom. In certain circumstances, dance can even become an urgency, an inevitable way of celebrating freedom. This is why different branches of dance education, be it: - teaching about dance, its history and its social role, - teaching dance itself, various techniques and expression forms, dance creativity or - use of dance approaches to teach other subjects, not necessarily linked to dance, are all vital for the development of a tolerant, open society in the future. Children who get a chance to move freely and express themselves artistical y since a very young age, wil grow into adults capable of liberated thinking and creating; they will therefore contribute to a wider community and society. Dance offers countless opportunities for activities that connect different branches of society, it can be linked to healthcare, education, social security etc. A person who has had a chance to experience dance during their school years, can choose to build an artistic dance career but wil also possess several skil s and abilities that can be used in other professions. It is for these reasons that dance is given a special focus at the Slovenian Ministry of Culture. In June 2024, the Strategy of Progress for the Field of Contemporary Dance was adopted. This document outlines several measures, beneficial to creative and other workers in the field of dance. We have also recently enabled regular employment for young ballet dancers in both national opera houses, supporting their artistic careers as well as a higher level of their social and economic security. Furthermore, our Ministry also supports several independent dance companies and self-employed workers in dance. Community arts in Slovenia are the domain of a government agency, cal ed The Public Fund for Cultural Activities and a big part of community arts are different types of dance, be it folk dance groups preserving and reviving intangible cultural heritage or amateur contemporary and ballet dancers. One of the Ministry’s measures listed in the afore-mentioned Strategy of Progress for the Field of Contemporary Dance is establishing a national institution specializing in contemporary dance and its crossovers with other sectors of society. Dance has a uniting and actively creative role, making it a key field of the arts and a contributor to the development of the entire society. I am pleased to see that Slovenian dance experts are not alone in their endeavours for the development of dance, dance education and consequently our society. The conference of Dance and the Child International in Ljubljana is supported by the Ministry of Culture and organised by The Public Fund for Cultural Activities and Faculty of Education at the University of Ljubljana. This global event is an opportunity to exchange opinions and information, to spend time together and establish artistic and academic connections. It is a chance for individuals and groups to show and see each other’s work and in this way enrich their own artistic, academic and life paths. This is an opportunity for people from different parts of the world to build communities that surpass geography and political borders. And it is these kinds of communities that are key for the development and progress of our global society. For changes that are necessary for the whole planet. Similar to what happens in dance, in life, too, formations constantly change. In different situations we find ourselves solo, in a couple or in a group, in symmetrical opposition or coincidental consonance. Just like dance, life is also an alternation of sharpness and softness, intensity of a single gesture and continuation of movement. The goal is a balance, but this can only be achieved collectively, together. I wish al the participants, organisers and guests, a successful conference. May it bear more and further col aborations in the future. Asta Vrečko, PhD Minister of Culture, Republic of Slovenia 17 d a C i - D a nce and the Child International Conference 2024 Pozdravni nagovor ministrice za kulturo Republike Slovenije Vesela sem, da se je v Ljubljani zbralo toliko mladih plesalk in plesalcev, plesnih pedagogov in pedagoginj ter raziskovalcev in raziskovalk plesne pedagogike z vsega sveta. Ples je ena najbolj demokratičnih umetniških zvrsti, saj presega jezike in kulture, obstaja v najrazličnejših pojavnih oblikah, plesnih zvrsteh in žanrih ter združuje ljudi iz najrazličnejših družbenih skupin. Gib pogosto pride pred mislijo, torej tudi pred besedo, pred jezikom. Ples je intuitivna dejavnost. Izražanje skozi umetniški gib je človeku lastno že od nekdaj, je način doživljanja in izživljanja svobode. V nekaterih okoliščinah se ples pokaže celo kot nujen, neizogiben način praznovanja svobode. Zato so različne veje plesne pedagogike: - poučevanje o plesu, njegovi zgodovini in družbeni vlogi, - učenje plesa, plesnih tehnik in plesnega izraza, plesna ustvarjalnost sama ter - uporaba plesnih pristopov za učenje drugih, s plesom ne nujno povezanih vsebin, izjemnega pomena za razvoj demokratične in sprejemajoče, odprte družbe v prihodnosti. Kajti otrok, ki se od mladih let svobodno giba in umetniško izraža, bo zrasel v odraslega, ki s svojim svobodnim razmišljanjem in ustvarjanjem lahko aktivno doprinese k širši skupnosti in družbi. Ples nudi številne priložnosti za medsektorske dejavnosti, povezuje se z zdravjem, šolstvom, socialo idr. Poleg umetniške kariere ima posameznik, ki je imel priložnost izkusiti ples v času izobraževanja, številna znanja in spretnosti, ki jih lahko uporabi tudi v drugih poklicih. Zaradi vsega naštetega plesu na Ministrstvu za kulturo posvečamo še posebno pozornost. V juniju 2024 smo sprejeli Razvojno strategijo za področje sodobnega plesa, ki predvideva številne koristne ukrepe za plesne ustvarjalce in druge delavce in delavke na tem kulturnem področju. Nedavno smo mladim baletnikom omogočili redne zaposlitve v dveh naših nacionalnih zavodih in s tem podprli razvoj njihove umetniške kariere in jim zagotovili večjo socialno-ekonomsko varnost. Prav tako Ministrstvo za kulturo podpira številne nevladne organizacije in samozaposlene, ki se ukvarjajo s plesom. Velik del ljubiteljske kulture, za katero skrbi Javni sklad za kulturne dejavnosti, je prav plesna dejavnost, od folklornih skupin, ki ohranjajo in oživljajo nesnovno kulturno dediščino, do ljubiteljskih sodobnih in baletnih plesalcev in plesalk. Kot del prej omenjene Razvojne strategije pa načrtujemo tudi ustanovitev javnega zavoda, ki bo specializiran prav za sodobni ples in bo področju nudil tudi povezovanje z drugimi družbenimi sektorji. Ples je resnično ključno področje kulture, ki s svojo povezovalno in ustvarjalno dejavno vlogo omogoča razvoj celotni družbi. Veseli me, da v prizadevanjih za razvoj plesa, plesne pedagogike in posredno tudi družbe, slovenski plesni strokovnjaki in strokovnjakinje niso sami. Svetovna konferenca mreže Dance and the Child International, ki jo ob podpori Ministrstva za kulturo in v soorganizaciji Javnega sklada za kulturne dejavnosti ter Pedagoške fakultete gostimo v Ljubljani, je priložnost za izmenjavo mnenj in informacij, za druženje in vzpostavljanje umetniških in strokovnih povezav. Je priložnost, da se posamezniki in skupine predstavijo eden drugemu in tako bogatijo svojo umetniško, strokovno in tudi življenjsko pot. Da se med ljudmi iz različnih koncev sveta gradijo skupnosti, ki presegajo geografske razdalje in državne meje. In prav takšne skupnosti so ključne za razvoj in napredek globalne družbe, za spremembe, ki so nujne za ves planet. Podobno kot v plesu se namreč tudi v življenju formacije nenehno spreminjajo, v različnih situacijah se znajdemo sami, v paru ali v skupini, v simetričnih nasprotjih ali naključnih sožitjih. Prav kakor v plesu se tudi v življenju izmenjujeta ostrina in mehkoba, intenziteta ene same kretnje in kontinuiteta gibanja. Cilj pa je ravnovesje, ki ga lahko dosežemo le kolektivno, skupaj. Vsem udeleženkam in udeležencem, organizatorkam in organizatorjem, gostom in gostjam želim uspešno izvedbo konference, ki naj obrodi še več sodelovanja tudi v prihodnje. dr. Asta Vrečko, ministrica za kulturo Republike Slovenije 18 d a C i - D a nce and the Child International Conference 2024 I – daCi Background Dance and the Child International (daCi) is a non-profit association with the aim of promoting the growth and development of dance for children and young people on an international basis. The association was founded in 1978 at an international conference held at the University of Alberta, Edmonton, Canada. Initiated by Dr Joyce Boorman and titled Dance and the Child, the idea of the conference was supported and promoted by the National Dance Committee of the Canadian National Association of Health, Physical Education and Recreation. As a result of this successful conference Dance and the Child International (daCi) as an association was born. In 1979 the President of the Conseil International de la Danse (CID), UNESCO, invited daCi to join. In 1980 daCi became a ful y constituted branch of the CID organization. DaCi strives to promote al that can benefit dance, children and young people, irrespective of race, color, sex, religion, national or social origin. The right of every child and young person to dance and the preservation of the cultural heritage of all forms of dance for children and young people are recognised. In creating opportunities for children and young people to experience dance as performers, creators, and spectators their views and interests are of primary importance. The inclusion of dance in general education and community programs and the research into all aspects of dance for children and young people are encouraged. Members of daCi are linked through their national representative from each country, who comprise the Advisory Board with an elected Executive Committee. It is the role of the Advisory Board and Executive Committee to oversee the general organization and procedures of the association and to maintain communication at the international level. In many countries National Chapters, with their own committee and procedures, have been formed. As such they plan their own programs and communication with national members. International conferences A further aim of daCi is to organize a conference at least every three years for children, young people, educators, artists, and researchers to come together to share and col aborate about the opportunities and needs of children and young people in dance. This special work of daCi promotes an international network, which facilitates the development of dance for children and young people throughout the world. Since the founding 1978 conference in Canada Dance and the Child, conferences have been held in: Stockholm, Sweden (1982) Children and Youth Dancing; Auckland, New Zealand (1985) The New Zealand Experience; London, United Kingdom (1988) Young People Dancing: An International Perspective; Salt Lake City, Utah, USA (1991) Roots and Wings; Sydney, Australia (1994) Kindle the Fire; Kuopio, Finland (1997) The Cal of the Forest and Lakes; Regina, Saskatchewan, Canada (2000) Extensions and Extremities: Points of Departure; Salvador, Brazil (2003) Breaking Boundaries: Dance, Bodies and Multiculturalism; The Hague, Netherlands (2006) Colouring Senses; Kingston, Jamaica (2009) Cultures Flex: Unearthing Expressions of the Dancing Child; Taipei, Taiwan in col aboration with World Dance Al iance (WDA) (2012) Dance, Young People and Change; Copenhagen, Denmark (2015) Twist & Twin – Exploring Identities in Dance; Adelaide, Australia (2018) second joint dance congress with WDA, Panpapanpalya: Dance, Gathering, Generation, Learning; Toronto, Canada (2022) Dancing into Communities, and now Ljubljana, Slovenia (2024), I-Body I-Dance with honorary patron the Slovenian National Commission for UNESCO. 19 d a C i - D a nce and the Child International Conference 2024 daCi membership Membership is for anyone interested or involved in the growth and development of dance for children and young people. As an outward looking global organization daCi connects leaders of dance for children and young people. Members look beyond their countries to share interests and practices both online through the daCi Connect network, in regional collaborative activities such as Twinning, Outreach and Across Borders Research projects - and every three years in a locally organized world conference. Publications are a key feature of daCi’s work with a long history of research, reports and articles from the intersecting fields of dance studies and dance education including creative and performative practices as well as dance pedagogies, curriculum and policies. Membership benefits: - Provision of the international communications and bi-annual newsletter. - Information about the next daCi conference. - Access to opportunities for member funding via Twinning, Outreach and Across Borders Research projects. - International news about UNESCO and the World Al iance for Arts Education. - Nominations and voting for the daCi Executive Committee, General Council and Country meetings. - Access to al online materials provided through the daCi website: - Use of daCi Connect to create your own profile page, share activities through group forums in an interactive platform. - Network with other members global y via daCi Connect to generate ideas, opportunities and future resources for dancers and educators. - Access to members marketing toolkit. - Access to member resources comprising a col ection of notable and creditable websites. - Access to daCi journal articles dating from the founding conference in 1978. - Access to the daCi archives held at the University of Surrey, UK. Membership is open to those individuals and organizations that recognise the right of every child and young person to dance, and who agree with the following daCi goals: - Increase and develop opportunities for young people to experience dance as creators, performers, and spectators and to do this both within and between countries; - Ensure that the dance interests of young people are recognized and developed; - Preserve cultural heritage in al forms of dance by advocating for its inclusion in both general education, community programs, and life activities; - Facilitate exchange and collaboration related to young people's dance both within and between countries; - Urge al countries to ensure that dance as an art form is included in both general education, community programs, and life activities. 20 d a C i - D a nce and the Child International Conference 2024 I – body, I – dance Creative dance serves as a powerful conduit that links imagination, intel igence, improvisation, interdisciplinarity, inclusion and identity. This vulnerable art form allows individuals to explore and express these interconnected themes through movement, fostering personal growth and community connection. It is an ideal medium for young people and children to explore their creativity and physicality in a supportive environment. Creative dance emphasises personal expression and the spontaneous creation of movement, allowing dancers to invent and perform original choreographies. At the core of creative dance lies body imagination. It invites dancers to transcend the ordinary, envisioning new worlds and possibilities through their movements. This imaginative process is not only a source of joy and creativity, but also stimulates cognitive development. Engaging in creative dance challenges dancers to think abstractly and solve problems in innovative ways, thereby enhancing their intelligence. The act of transforming a thought or emotion into physical expression requires a deep understanding of oneself and the world, bridging the gap between the mental and physical realms. Improvisation is an essential element of creative dance, offering a space where dancers can explore spontaneous movement. This practice encourages flexibility in thinking and adaptability, as dancers respond in real-time to music, emotions or other stimuli. Improvisation also fosters creativity and resourcefulness, pushing dancers to invent and discover new ways of moving. This not only enhances their artistic skills, but also cultivates critical life skil s such as quick thinking and resilience. Interdisciplinarity enriches creative dance by incorporating elements from various artforms and academic disciplines. Dancers might draw inspiration from music, visual arts, theatre or literature, creating a rich tapestry of sensory experiences. This interdisciplinary approach broadens dancers’ perspectives, encouraging them to see connections between different fields and to integrate diverse influences into their work. Inclusion is a fundamental principle of creative dance, ensuring that everyone, regardless of their ability or background, can participate and feel valued. This inclusive nature fosters a sense of belonging and community, where each dancer’s unique contributions are celebrated. By accommodating diverse needs and perspectives, creative dance creates a supportive environment that nurtures empathy and understanding. Identity is intricately woven into creative dance. As dancers explore movement, they express and shape their individual identities. This process of self-discovery and expression al ows them to articulate who they are and what they believe in, using their bodies as their voice. In conclusion, creative dance is a multifaceted artform that connects imagination, intel igence, improvisation, interdisciplinarity, inclusion and identity. It provides a platform for personal and communal exploration, encouraging dancers to push boundaries, embrace diversity and express their true selves. Through creative dance, individuals can experience profound growth and connection, making it a transformative force in our lives. Dance has the power to transform the world into a brighter future. 21 d a C i - D a nce and the Child International Conference 2024 Jaz – telo, jaz – ples Ustvarjalni ples je močan medij, ki povezuje domišljijo, inteligentnost, improvizacijo, interdisciplinarnost, inkluzijo in identiteto. Ta ranljiva umetniška oblika posameznikom omogoča, da z gibanjem raziskujejo in izražajo te medsebojno povezane teme ter tako spodbujajo osebno rast in povezanost skupnosti. Ples je idealen medij za mlade in otroke, da v spodbudnem okolju raziskujejo svojo ustvarjalnost in telesnost. Ustvarjalni ples poudarja osebno izražanje in spontano ustvarjanje gibov, kar plesalcem omogoča, da izumljajo in izvajajo izvirne koreografije. Bistvo ustvarjalnega plesa je telesna domišljija. Ta plesalce spodbuja, da presežejo običajnost in si s svojimi gibi predstavljajo nove svetove in možnosti. Ta domišljijski proces ni le vir veselja in ustvarjalnosti, temveč spodbuja tudi kognitivni razvoj. Z ustvarjalnim plesom se plesalci soočajo z abstraktnim mišljenjem in inovativnim reševanjem problemov ter tako krepijo svojo inteligentnost. Dejanje preoblikovanja misli ali čustev v fizični izraz zahteva poglobljeno razumevanje sebe in sveta ter povezuje mentalno in fizično. Improvizacija je bistveni element ustvarjalnega plesa, ki plesalcem ponuja prostor, kjer lahko raziskujejo spontano gibanje. Ta praksa spodbuja fleksibilnost razmišljanja in prilagodljivost, saj se plesalci v realnem času odzivajo na glasbo, čustva ali druge dražljaje. Improvizacija spodbuja ustvarjalnost in iznajdljivost ter sili plesalce k izumljanju in odkrivanju novih načinov gibanja. S tem se ne izboljšujejo le njihove umetniške sposobnosti, temveč se razvijajo tudi ključne življenjske veščine, kot sta hitro razmišljanje in trdoživost. Interdisciplinarnost bogati ustvarjalni ples z vključevanjem elementov iz različnih umetniških oblik in akademskih disciplin. Plesalci lahko črpajo navdih iz glasbe, likovne umetnosti, gledališča ali literature, s čimer ustvarjajo bogato tapiserijo čutnih izkušenj. Ta interdisciplinarni pristop širi perspektive plesalcev in jih spodbuja, da vidijo povezave med različnimi področji ter v svoje delo vključujejo različne vplive. Inkluzivnost je temeljno načelo ustvarjalnega plesa, ki zagotavlja, da lahko vsi, ne glede na sposobnosti ali izkušnje, sodelujejo in se počutijo cenjene. Ta vključujoča narava spodbuja občutek pripadnosti in skupnosti, kjer se slavi edinstven prispevek vsakega plesalca. S prilagajanjem različnim potrebam in pogledom ustvarjalni ples ustvarja podporno okolje, ki goji empatijo in razumevanje. Identiteta in ustvarjalni ples sta močno prepletena. Ko plesalci raziskujejo gibanje, izražajo in oblikujejo svojo individualnost. Ta proces samospoznavanja in izražanja jim omogoča, da izrazijo, kdo so in v kaj verjamejo, pri čemer kot glas uporabljajo svoje telo. Ustvarjalni ples je večplastna umetniška oblika, ki povezuje domišljijo, inteligentnost, improvizacijo, interdisciplinarnost, inkluzijo in identiteto. Zagotavlja platformo za osebno in skupnostno raziskovanje ter plesalce spodbuja, da premikajo meje, sprejemajo raznolikost in izražajo svoj pravi jaz. Z ustvarjalnim plesom lahko posamezniki doživijo globoko rast in povezanost, zato je ples transformativna sila v naših življenjih. Ples ima moč, da svet popelje v svetlejšo prihodnost. 22 d a C i - D a nce and the Child International Conference 2024 I – open The opening event, entitled I-OPEN, has been prepared by students of the Ljubljana Secondary Preschool Education, Grammar School and Performing Arts Grammar School, majoring in theatre, film and contemporary dance, under the guidance of theatre, dance and music mentors. The event is a mixture of improvisational theatre and contemporary dance, emphasising a heart-to-heart meeting with an insight into the Slovenian ethnographic tradition and the wider field of contemporary dance. In the glow of lights, video, performances, opening speeches, energy, music, humour and a “flock” of actors and dancers, the opening wil be an introduction to a unique experience of inclusion, improvisation, imagination, intelligence, interdisciplinarity, identity and more. We-open. Concept: Mojca Dimec, Ajda Tomazin Director: Mojca Dimec Choreographer: Ajda Tomazin Composer, musical mentor and sound designer: Matjaž Predanič Lighting designer: Leon Curk Dramaturgical consulting: Andreja Kopač Camera and video: Matjaž Mrak Costume designer: Slavica Janošević Technical support: Marko Levičnik Acknowledgments: Petra Vignjevič Kovjanić and Petra Pikalo Performers: students from the first to third year, majoring in contemporary dance, theatre and film: Mojca Ermenc, Julija Fele, Inge Veronika Ivartnik, Sara Lina Jagodic, Kiša Jankovič, Neža Kovač, Julija Kraner, Ash Lah, Brina Majcen, Živa Mezeg, Leja Pokovec, Taja Pražnikar Čretnik, Špela Redelonghi, Niko Sedmak, Ajda Semolič, Lija Švent, Zala Zafošnik, Jona Zorec, Lan Zupančič, Vida Žekar, Ela Gruber Novak 23 d a C i - D a nce and the Child International Conference 2024 I – (re)search Plenary speakers Eeva Anttila and Suvi Honkanen Embodying Hope through Dance In this presentation, we explore hope as an embodied phenomenon and il uminate how hope may be embodied, ignited and sustained through dance. We focus on hope from the perspective of sensing, of the living body, and view hope as action and affect. Affects are energies that move across human and non-human bodies, animating shared spaces. From this perspective, hope takes place in the present moment, without the need to focus on future outcomes, benefits and aims. This way, it is possible to sense meaningfulness here and now. Seeing hope as affect and action challenges the psychological view of hope as a form of human motivation connected to a desired outcome or future goal. Understanding dance education as pedagogy of hope seems important in developing the field during these challenging times. Pedagogy of hope connects the mind and the body. It is grounded in practice and involves action. Instead of “instil ing” hope in learners, it aims to evoke hope and give it guidance. Hope as action and affect defies gravity and makes it possible to sense lightness, connectedness and an animated sense of life. Dance education also has great potential in re-imagining processes related to constructing identities. Acknowledging that young people’s identities are fluid and evolve through non-binary modes al ows for bending norms. Through exploring boundaries in a safe environment, young people can find new forms of embodied expressions. To il uminate these themes, our presentation also includes artistic elements. These elements shed light on the conference themes of improvisation, imagination, identity and intelligence, both from embodied and scholarly perspectives. During these times of crises, it is important to appreciate the significance of art in igniting and sustaining hope in children. Experiencing meaningful moments here and now may ignite hope even when the future is uncertain, as it is for many children. We, dance educators and artists, also need to be animated and mobilised by hope in order to counter disengaging and immobilising forces in society. Through this, we can see that dance can be an act of love and hope. Eeva Anttila PhD works as a professor in dance pedagogy at Theatre Academy of University of the Arts Helsinki, Finland, and leads the MA program for dance pedagogy. Her research interests include dialogical and critical dance pedagogy, embodied learning, embodied knowledge, social justice, and equality in arts education, as well as practice-based/artistic research methods. During 2009 -13 she led a development and research project in collaboration titled “The entire school dances!” Anttila is actively involved in national and international dance and arts education organizations and journals. She served as the Chair of Dance and the Child International (2009–2012) and has published several articles and book chapters nationally and internationally. She was involved in the ARTSEQUAL - research project (2015-2021) as Arts@School team leader and Visions group member (see artsequal.fi/en). Currently she leads the ELLA -research project, funded by KONE foundation. ELLA focuses on embodied language learning through the arts. She is a founding member of Observatory of Arts and Cultural Education, Finland. Suvi Honkanen is a versatile dancer, performer and writer. She has studied dance at Helsinki Dance Institute (Finland), Boulder Ballet School (USA), Finnish National Ballet School, and Vaganova Ballet Academy in St. Petersburg (Russia). Upon graduation in 2010 she was hired to Finnish National Ballet and continued with the company until 2019, performing in both major classical ballets and contemporary work. She has since studied creative writing, journalism, and acting both in Finland and the United States and currently works as a freelance writer, actor and dancer. 24 d a C i - D a nce and the Child International Conference 2024 Robi Kroflič First-Person Artistic Experience in Contemporary Pedagogical Approaches Education through art emerged in the European context closely tied to the rise of aesthetics (Kant, Schil er) and the Enlightenment-Romantic concept of forming the Kantian subject and aesthetic taste (Kant, Schil er, Lichtwark). Phenomenology deepens the exploration of the original ancient meaning of poiesis and openness to sensory perception (aesthesis), as wel as a new way of justifying the existential significance of art in education. While Enlightenment aesthetics primarily studied the artwork as a medium of specific languages, phenomenology focuses on analysing the artistic event as a dialogue between the artist, the artistic object and the art recipient, attributing crucial value to the first-person experience of both the creator and the recipient of the artwork. Gadamer defines the uniqueness of the artistic event by the playful nature of artistic representation, which is committed solely to the internal reasons of the activity itself, while also attributing to it exceptional educational power, as it determines both the manner of creating the artwork and the active response of the recipient, and thus their involvement in the dialogical play of the artistic event. The natural prototype of such a dialogical play of the artistic event is the child’s symbolic play as one of the first mediums of learning. The significance of first-person artistic experience, emphasised particularly by poetic pedagogy (Homan), aligns with the ideas of the contemporary educational-theoretical approaches of dialogical pedagogy (Sidorkin, Matusov), relational pedagogy (Bingham, Sidorkin), pedagogy of listening (Rinaldi) and communicative autopoetic pedagogy (Luhman, Medveš), as wel as the comprehensive inductive educational approach (Kroflič). Analysis of first-person artistic experience highlights the crucial role of imagination, improvisation and personal bodily engagement in the artistic event, strengthening the embodied intelligence of the participants and ensuring an inclusive environment for both artists and audience, which is characteristic of all performative arts, especially dance. Theoretical research on the pedagogical significance of first-hand artistic experiences, as well as analysis of the introduction of arts education across the entire school vertical, indicate that dialogue with art, attentive to the experience of the educated individual, is a very rich pedagogical tool with which we should complement predominantly scientifical y and technological y oriented public education. As demonstrated by the results of selected projects and UNESCO recommendations, this goal is best achieved through the interdisciplinary col aboration of kindergartens and schools with artists and cultural-artistic institutions, assuming that we recognise the child/adolescent as being (Malaguzzi) capable of expression through artistic languages. Robi Kroflič PhD is a full professor in the Department of Pedagogy and Andragogy at the Faculty of Arts, University of Ljubljana. He specialises in general pedagogy and educational theory. His specific areas of research include theories of pedagogical authority and pedagogical eros, the promotion of prosocial and moral development of children and adolescents, inclusive education, discipline and punishment, and the study of artistic experience as a medium of education. In recent years he has formulated the concept of a comprehensive inductive approach to education, with particular emphasis on education through the arts and the creation of conditions for greater participation and emancipation of children from vulnerable social groups. An important area within this comprehensive approach is education through the arts. He has provided professional guidance in projects integrating arts education, such as Cultural Enrichment for the Youngest, Land Art, Urban Art, Graphics, Storytel ing through Photography, Theatre Playground, Elementary Film School, Storytel ing Festival and Fairy Tale Studio, as wel as the SKUM project (Development of Communication Skil s through Cultural and Artistic Education). He is also a member of the ACIIS — Academy for Creative, Innovative and Inclusive Schools project. He conducts teacher training for selected film content at the Municipal Kinodvor Art Cinema and has also contributed to the creation of the first scientific monograph on phototherapy in Slovenia. 25 d a C i - D a nce and the Child International Conference 2024 Maja Delak in Rok Vevar Dance Education between Personalities and Practices In the field of contemporary dance, approaches to teaching dance have changed within educational models according to needs, but teaching methods have always been fundamentally conditioned and limited by the way in which pedagogues perceive the success of the educational process. As well as generating kinetic competences, models of dance education have given rise to modes of the human behaviour, openness to artistic practices and forms of social responsiveness (feeling for the (dance) community) of those following various educational programmes. Not least, educational programmes have always generated opportunities for artistic creativity, which, in a variety of ways and within different dance paradigms, have generated the art of dance as wel as its public life. In the region of today’s Slovenia, different approaches to dance education have emerged over time, and competence in the field of dance has meant different things. In their presentation, Rok Vevar and Maja Delak wil draw on a corpus of examples to create a composition of selected concepts, a network of examples and stories that bear witness to various approaches to education, the needs of the art of dance, and the temporal and spatial environments in which dance enters into communication with its audiences. They wil focus on where and how dance teaching has crossed the boundaries between learning the private, individual dance styles that are typical of the modern era, and providing kinetic and creative tools from which students and dance artists can shape diverse examples of their creative wil . They wil also examine how the need for dance education has changed according to the public experience of dance art. Illustrated by photographic and written materials, their presentation wil not be structured chronological y, but according to specific issues. Maja Delak is a performer, choreographer and pedagogue. She studied contemporary dance at CNDC L’Esquisse in Angers, France, and graduated in psychology at the Faculty of Arts, University of Ljubljana. She initiated the secondary school programme of contemporary dance, run by the Secondary Preschool Education, Grammar School and Performing Arts Grammar School Ljubljana, where she teaches regularly. Her choreographic poetics lie at the intersection of various themes and creative practices fed by the methodology of contemporary dance. For her work in the field of contemporary dance, she has received numerous awards. In recent years, she has collaborated with Luka Prinčič on several sound and music projects and performs with the collective The Feminalz. She is the founder and artistic director of Emanat, Institute for development and affirmation of dance and contemporary art. Rok Vevar is a theatre scholar, writer, researcher, curator and historian of contemporary dance, who has been a multifaceted presence in the field of contemporary Slovenian performing arts for more than two decades. He is the initiator and founder of numerous festivals and initiatives, as wel as the Temporary Slovenian Dance Archive (2011) and, last but not least, the author of the monograph Ksenija, Xenia: Ksenia Hribar’s London Dance Years 1960–1978, in which he focuses on the early period of the artistic career of this dancer and choreographer, who is considered one of the central figures of Slovenian contemporary dance history. 26 d a C i - D a nce and the Child International Conference 2024 Susan Griss Minds in Motion: Creative Movement as a Language for Learning Because dancing is deeply encoded in human beings, young children have easy access to this form of creative expression. As teachers, we can take advantage of that, for – as John Dewey revealed – the more a child is actively involved in a learning activity, the greater the learning. That is why teaching subjects as diverse as language arts, math, history, and science through creative movement is so successful. Children can explore the diverse content of the curriculum through their own spontaneous movements, not only revealing the essence of a lesson, but also aspects of their own identity, skil s, and intelligences that may be hidden to their teachers, their peers, and even to themselves. And because creative movement improvisation demands active participation and constant decision-making, students stay engaged. Teaching through movement can help with the clarification and retention of ideas and information fostering intellectual growth while supporting a safe and inclusive environment conducive to differentiated instruction. Through the interdisciplinary approach of arts-integration, it can provide a visceral understanding of abstractions that children might otherwise not grasp. There is an ancient Chinese saying: I hear and I forget, I see and I remember, I do and I understand. This is the foundation of kinesthetic teaching. By al owing students to embody the curriculum, we are acknowledging and respecting a huge part of themselves: their physical beings. This in turn nurtures their self-confidence as they take responsibility in the proactive role of learning through their bodies. As one fourth grade teacher described: “It was like putting fish back in water!” And now we know through research on learning and the brain, that movement fully supports the way children learn. For example, students can be immersed in the nuances of a story through creative movement to better comprehend a character, theme, or meaning of a text. Punctuation can be transformed beyond insignificant dots and squiggles into whole body movements that reflect the subtle meanings, design, and proper placement of punctuation marks. Children can experience the magic of multiplication as they watch 5 children perform 3 skips simultaneously, showing 5 X 3 skips in the blink of an eye. And they can grasp the realization that sound travels fastest through solid as they reenact a relay race of sound waves traveling through gas, liquid, and solid. And these learnings are not superficial. Hundreds of teachers have reported that their students gain a deeper understanding and retention of these and many other lessons using movement strategies. When learning is embedded in movement, learning becomes visible. And it truly awakens children to the joy of learning! Susan Griss is a pioneer in the field of arts-in-education. Rooted in her background as a dancer/ choreographer, her successful methods of teaching academic curriculum through movement have been presented to principals, classroom teachers, teaching artists and pre-service teachers throughout the U.S., in Denmark, Slovenia and Israel, and in India through the Fulbright Specialist Program. She is author of the book Minds in Motion: A Kinesthetic Approach to Teaching Elementary Curriculum, as wel as numerous articles. Ms. Griss was a faculty member of Bank Street Col ege of Education in NYC and taught in the graduate department of Lesley University in the Creative Arts in Learning Program. She presented workshops for the Kennedy Center in Washington, D.C., and in New York was co-founder/co-director of BEYOND PAPER AND PENCIL: Bringing Literacy to Life through the Performing Arts, offering professional development and artist residencies in elementary schools to promote student learning through arts-in-education. 27 d a C i - D a nce and the Child International Conference 2024 Scholarly Gatherings The program consists of panel discussions, papers, lecture demonstrations, workshops and posters/instal ations that address the I – body, I – dance themes: imagination, improvisation, inclusion, identity, intel igence and interdisciplinarity. The program includes the following academic presentations Panel discussions: with numbers of presenters, 60 – 90 minutes which may lead into audience discussion. Papers: mainly grouped as three or four presentations within a 90-minute session, each with 15 minutes presentation and discussion at the end of the session. Lecture demonstration: may run 60 – 90 minutes, focusing on participatory practice and research and may involve the audience. Poster/Installations: a speaker’s corner in the faculty hal where you present your topic together with a poster and answer questions from the audience. Workshops: consist of practical 60 – 90 minutes sessions aimed at dancers with or without conventional training and may target beginners or advanced movers as well as mixed ability groups (age focus shown according to info provided). Workshops provide conference participants with an opportunity to experience the experts of selected teacher’s dance practice and dance making. 28 d a C i - D a nce and the Child International Conference 2024 List of presenters Aaltonen Karoliina Sonja Boyack Ashley Davis Ashley SK Dance scholar, dance pedagogue, University of Utah Tanner Dance Delaware Institute for the Arts in movement practitioner United States Education & Pieces of a Dream, Finland Inc, United States Bradley Heather Cathy Alegre Rocio del Luisa Kingdom Dancers Devan Saranya Agrupamento de Escolas São João South Africa University of Cape Town do Estoril South Africa Portugal Brown Carol University of Melbourne Dória Rui Alhadi Hana Australia Musa - Artistic and Social Independent Practitioner Intervention Association researcher Brown Kipling Ann Portugal Slovenia Faculty of Education, University of Regina Dugar Robertina Alves João Maria Canada Primary school Trnovo Faculty of Human Kinetics, Slovenia University of Lisbon; Institute of Bucik Katja Ethnomusicology - Music and Centre for rehabilitation and Sophia Färlin-Månsson Dance Studies Center education Vipava - CIRIUS Vipava Stockholm University of the Arts Portugal Slovenia Sweden Astbury Sally Buck McKay Ralph Fernandes Carla Primary school teacher The University of Auckland Universidade Nova de Lisboa, United Kingdom New Zealand FCSH Portugal Babič Nataša Caridade Ana Center for upbringing, education, Musa Associação Artística e de Fisher-Stitt Norma Sue training and consulting by Gustavo Intervenção Social York University Šilih, Maribor Portugal Canada Slovenia Cheesman Sue Flavia Ibanda Grace Bandić Sunčica University of Waikato University of Kisubi Vrum performing arts collective New Zealand Uganda Croatia Chen Yabei Flinn-Culver Nicki Bassignana Maria Paola Kimbal Union Academy Dance at Hope Col ege, daCi USA Ed.D. Dance Education Program, United States United States Teachers College, Columbia University, New York, U.S.A. Clancy Jo Frichtel Monica Italy Wagana Aboriginal Dancers University of Delaware Australia United States Battersby Maria Clare daCi New Zealand Cohen Patricia Gain Priya New Zealand NYU/Steinhardt University of Auckland United States New Zealand Berčič Jana Biodanza Rolando Toro Colliander Tuire Gehres Faria Adriana Slovenia University of the Arts Helsinki University of Pernambuco /Theatre Academy /Performing Brazil Biddle Ann Arts Research Centre Tutke Dance Education Laboratory (DEL) Finland Genzić Ana United States Art school Franjo Lučić Comissiong Aisha Croatia Bitunjac Marija Dancin' Africa Zagrebačko kazalište mladih Barbados Germ Ana Croatia Bal et teacher Cooper Jacqueline Slovenia Black Ellen Tristana Macquarie University, Sydney University of Utah Tanner Dance Dance Company Geršak Gregor United States Australia University of Ljubljana, Faculty of Electrical Engineering Blažević Antonija Cornell Heather Slovenia Croatia Hope Col ege United States Geršak Vesna Blažič Mileva Milena University of Ljubljana, University of Ljubljana, Davall Lee Faculty of Education Faculty of Education Royal Academy of Dance Slovenia Slovenia United Kingdom 29 d a C i - D a nce and the Child International Conference 2024 Giguere Miriam Huckins Chara Knox Sarah Drexel University University of Utah Tanner Dance, Dance Studies, United States BTS Arts Learning Program The University of Auckland United States New Zealand Godler Anita Primary school Trnovo Hultenius Petra Koff Susan R Slovenia Stockholm School of the Arts NYU School of Culture, Education Sweden and Human Development Gough Sarah United States Blue Moose Dance Company Iskra Petra United Kingdom Primary school Trnovo Kopač Andreja Slovenia Secondary Preschool Education, Gower Kimberly Grammar School and Performing DC Public Schools Janota Štirn Petra Arts Grammar School Ljubljana United States Institute PETIDA and Alma Mater Europaea Slovenia Slovenia Gripson Pastorek Martha Halmstad University Jeler Mateja Koren Sandra Sweden Primary school Vransko -Tabor Music school Celje Slovenia Slovenia Guarino Joy Global Engagement SUNY Buffalo Jones Brontë Korošec Helena State, daCi USA The University of Auckland University of Ljubljana, United States New Zealand Faculty of Education Slovenia Hall Sarah Juhart Brdnik Petra Blue Moose Dance Company University of Ljubljana, Kosi Katja United Kingdom Faculty of Education Self-employed in culture Slovenia Slovenia Harris Jillian Temple University Jurgec Tina Ana Koščak Tina Department of Dance University of Maribor, Primary school Gradec United States Faculty of Education Slovenia Slovenia Heerden van Marelize Kralj Neva Nelson Mandela University Jurišić Nataša Dance EPI Center South Africa Ana Maletić school of Slovenia contemporary dance Henley Matthew Croatia Kranjčan Žigan Teachers College, Self-employed in culture Columbia University Jurjevič Nuša Slovenia United States University of Ljubljana, Faculty of Education Kronsted Christian Ho Julianna Ting Yui Slovenia Merrimack Col ege Hong Kong Academy for United States Performing Arts Kalafatić Maja Hong Kong Dance Scholar, dance maker, Ku LingJui dance pedagogue Tainan University of Technology Horvat Lajić Grozdana Slovenia Taiwan Zagreb Youth Theatre Croatia Kaross Sabine Kušlan Kranjc Aleš University of Education Freiburg Ekvilb inštitut Horvat Rosana Finland Slovenia Krško Music School Slovenia Kasjak Mojca Laure Maruša Department of contemporary University of Maribor, Hrašćanec Petra dance of the Laško-Radeče School Faculty of Education Academy of Dramatic Arts of Music Slovenia Dance department Slovenia Croatia Leandro Rebelo Cristina King Hetty Education School - Polytechnic Huang Jen Wen Teachers College, Institute of Coimbra. Tainan University of Technology Columbia University Portugal Taiwan United States Leben Mojca Huang LiChing Kljun Urška Self-employed in culture Music Fairy Studio Kindergarten Šentvid Slovenia Taiwan Slovenia Lebre Paula Faculdade de Motricidade Humana Portugal 30 d a C i - D a nce and the Child International Conference 2024 Leitão Ana Masnan Halim Abdul Nkomo Makhosazana University of Lisbon, Universiti Pendidikan Sultan Idris Reitumetse Artist Retreat Faculty of Human Kinetics Malaysia South Africa Portugal Mattsson Torun Novak Mraz Tadeja Lenard Vid Malmö University SDCO – Slovenian association of University of Primorska, Sweden Carl Orff Faculty of Education Slovenia Slovenia McKain Sophia Edna Manley College of the Visual O'Brien Angela Juliette Lien Shu- HUANG & Performing Arts – Junior Canadian International School of Tainan University of Technology Academy Dance Hong Kong Taiwan Jamaica Hong Kong Lindqvist Anna McNeil Barbara O'Brien Julianne Umeå University University of Regina Chapman University Sweden Canada United States Lončar Aleksandra Meiners Jeff O'Connor Sinead Cultural Association Qulenium University of South Australia Open University Slovenia Australia Ireland Lorenza Merewyn Linda Melchior Elizabeth Ogrinc Nina Central Queensland University Victoria University of Wel ington Conservatory for Music and Bal et Australia New Zealand Ljubljana, Ballet College Slovenia Lundahl Vigil Teresia Mijačević Ivan Fryshusets gymnasium Dijaški dom Ivana Cankarja Okamura Nielsen Erica Sweden Slovenia Independent researcher Australia Mabingo Alfdaniels Moffett A.T. Makerere University Delaware Institute Oleami Jelena Uganda for Arts in Education Cultural education association United States Plesonoga Majcen Blimen Andreja Slovenia Primary school Pod Goro Monteiro Elisabete Slovenske Konjice Faculdade de Motricidade Humana Orož Lea Slovenia - ULisboa (FMH-ULisboa). INET- Dancer, teacher, choreographer md | polo FMH Portugal United Kingdom Manja Aniyah Syazwani Universiti Pendidikan Sultan Idris Moore Camper Christi Overby Young Lynnette Malaysia Ohio University University of Delaware United States United States Manley Jane Mary-Elizabeth York University, Dance Morgan Ilana Panetta Rose Alexandria Department, School of the Arts, Texas Woman's University Sydney Dance Company, Media, Performance & Design United States Australian Col ege of Physical Canada Education Moura Margarida Australia Mansbridge Juliet Anna Faculty of Human Kinetics, Freelance University of Lisbon Parker-Wendt Linda United States Portugal Arohanui Specialist School & Outreach Service Marinčič Ema Mousavi Afrooz New Zealand City Museum Ljubljana Kooshiar institute of higher Slovenia education, Tehran University Parkins Chell Islamic Republic of Iran University of Wisconsin Madison Marinič-Žunič Kleo United States Primary school Nesbit Marissa Slovenia University of North Carolina at Pavlicevic Jaime Charlotte KittedNZ Marques Silva Ana United States New Zealand Escola Superior de Dança and CESEM Ng Yvonne Pavlovic Monika Portugal Princess production University of Ljubljana, Canada Faculty of Health Sciences and Martin Carmelina University of Primorska Ontario Col ege of Teachers Nielsen Svendler Charlotte Slovenia Canada University of Copenhagen Denmark 31 d a C i - D a nce and the Child International Conference 2024 Perry Chancz Sap Saskia Canadian Actor's Equity Amsterdamse Hogeschool Vesović Eni Association, Saskatchewan voor de Kunsten Ana Maletić Contemporary Dance Association of Theatre Netherlands School, Professionals, Dance Croatia Saskatchewan Schmid Stefi Canada Independent dance entrepreneur Vidrih Alenka Germany University of Ljubljana, Pezdir Vovk Ana Faculty of Education Harlequin Association for Schwenner Sabina Slovenia the Art of Dance Dance studio Intakt Slovenia Slovenia Vilane Lily Lwandile Shen Yuxiao University of Cape Town Pouwer Luca Eva The University of Auckland South Africa Amsterdam University of Applied New Zealand Sciences Vlach Pam Netherlands Skarlovnik Sabina Spence School Primary school Griže United States Požek Monika Slovenia Asociación MeetShareDance Vrkljan Krešić Normela Spain Slattery Eilidh Ana Maletic Contemporary Dance Royal Conservatoire of Scotland Croatia Pribyl Jill United Kingdom University of Kisubi Wachowicz Fatima Uganda Snook Helen Barbara Federal University of Bahia University of Auckland Brazil Pucová Markéta New Zealand NIPOS ARTAMA Wang Ruping Czech Republic Streuli Janine University of Taipei Royal Academy of Dance Taiwan Rato Rita United Kingdom Faculty of Human Kinetics, Wilson Joni University of Lisbon Sviderski Igor University of Utah Children's Portugal Dance Studio Intakt Dance Theatre Slovenia United States Ronkainen Annu Dance teacher Škorja Simona Wilson Lisa Finland Biodanza Rolando Toro System University of Cape Town Slovenia South Africa Rowlands Elizabeth Kerrin University of South Australia Štirn Darja Wise Serenity Australia Institute PETIDA University of Auckland, Slovenia Dance Studies department Rupnik Urša New Zealand University of Ljubljana, Tai JuanAnn Faculty of Education Department of Dance Yannitsos Sophia Slovenia Tainan University of Technology Freckled Face Entertainment Inc. Taiwan Canada Russell-Smith Cecile Carolyn Khulcha Theatre School of Dance Tomazin Ajda Zhou Ziyan Jamaica Secondary Preschool Education, The University of Auckland Grammar School and Performing New Zealand Saearani Bin Taib Fazli Arts Grammar School Ljubljana Muhammad Slovenia Zhu Jiawei Sultan Idris Education University Independent teaching artist Malaysia Trotta Ellen Allison Australia Teachers College, Columbia Samuel M. Gerard University and a Faculty member Žižanović Senka University of Cape Town of the Nightingale-Bamford School Department of Pedagogy, South Africa United States Faculty of Humanities and Social Sciences Osijek Vermeulen Lizanne Chante Croatia University of Cape Town South Africa 32 d a C i - D a nce and the Child International Conference 2024 Presentations & Workshops in meaningful ways is still necessary in post-apartheid South Africa given the deep trauma of its apartheid past. Room 048 Monday ID: 2880 Bilingual Dance Teaching and Learning in Taiwan: A 8 July 2024 Case Study JuanAnn Tai Department of Dance, Tainan University of Technology, Taiwan 14.00–15.30 Panel discussions Wen-jen HUANG Tainan University of Technology, Taiwan Room 212 Shu-lien HUANG Tainan University of Technology, Taiwan ID: 3036 Dancing the “I” in the rainbow Ling-jui KU Tainan University of Technology, Taiwan Lisa Wilson University of Cape Town, South Africa The goal of “2030 Bilingual Nation”, a policy promulgated by Taiwan’s government in 2017, has become one of the Saranya Devan major issues in the basic education system regarding University of Cape Town, South Africa primary and secondary schools. The ability to teach bilingual y (i.e., using English and other foreign languages) Chanté Vermuelen in all subjects is required for all school teachers in order to University of Cape Town, South Africa reach this goal. Many dance teachers therefore set out to enrich their English ability for teaching bilingually in their Lwandile Vilane dance classes. This panel wil investigate the issues arising University of Cape Town, South Africa from teaching dance bilingual y for Taiwanese youth, giving examples of classes such as ballet, contemporary dance South Africa is a multicultural nation with 11 official and folk dance. The main research questions address how languages and diverse racial and cultural groups. For many dance terms are to be translated into English, the primary years (1948-1994), its diverse people groups and their actors affected by this plan, the dilemmas of teachers, and cultures were legally kept apart by the political apartheid the reactions of students. The double-edged sword effect system governing the nation. Intercultural and interracial (i.e., mutual support versus competition between dance relations were forbidden. In a kind of metaphorical students and/or teachers) developed in the process wil be redemption, the nation today has been referred to as the discussed in the panel using Pierre Bourdieu’s key “Rainbow Nation”, a concept coined by the late concepts of habitus and forms of capital, which provide a Archbishop Desmond Tutu in 1994 to describe the new framework for analysing the chal enges arising from vision of hope for post-Apartheid South Africa as diverse, bilingual dance teaching for teachers and the but united. Despite democracy, legacies of apartheid consequences of the bilingual dance learning for students. remain in social attitudes and spheres. Insufficiently These concepts contribute to the discussion of the realized in the clearly defined borders of the rainbow’s problematic issues created by the pursuit of the bilingual cultural bands is a blending of cultures or cross-cultural dance teaching/learning process. The winners of the interactions. Arts and Education have been identified as process (those who have more bilingual ability than dance potent vehicles for fostering inclusion, cultural integration, skil s) usually acquire a great level of prestige. However, cultural identity and social cohesion amongst its citizens. prejudiced views also arise from winning or losing bilingual Additional y, in the last decade rising xenophobic attitudes dance teaching/learning skil s. It is suggested that have been observed across the nation. This panel wil understanding how pride and prejudice develop in this share and discuss a project, Dancing the ‘I’ in the Rainbow, transitional process can contribute to helping dance that was undertaken between young Xhosa speaking educators design tasks that integrate training in dance children in Cape Town and students and teachers of the skil s with creating bilingual meaning in dance vocabulary, University of Cape Town from diverse local and foreign while also avoiding bias due to the desire to acquire cultural backgrounds (Indian, “Colored”, Jamaican, and language skills. This is an important step in achieving the Swazi). The six-weeks project aimed to facilitate aims developed by the United Nations, namely Quality intercultural engagement and understanding among the Education and Reduced Inequalities in the context of the participants, through the children and teachers sharing and Sustainable Development Goals. dancing each other’s cultural I-dances that mark them socially, culturally and politically in the rainbow. The work to intermingle, include, get to know and trust the “Other” 33 d a C i - D a nce and the Child International Conference 2024 Paper presentations children should have the opportunity to experience dance at school, the kind of dance which is not about learning to Room 016 repeat someone else's steps, but about being able to confidently create their own ones. The dance in which they ID: 3049 can experience the power of shared feeling that arises from The Expressive Body as a Vehicle for Messages, working together, from finding one's place within the Feelings and Emotions: A Portuguese Study in whole, from supporting others and respecting each other. Primary Education The dance that is a journey to self-discovery and creativity, to the space where they can explore their own physical Elisabete Monteiro expression. This paper wil offer the audience an insight into the innovation of the national Framework Curriculum Faculdade de Motricidade Humana – ULisboa (FMH- ULisboa). INET-md | polo FMH, Portugal for primary schools in the Czech Republic and will describe the process of how creative dance is finding its way to Cristina Rebelo Leandro becoming a firm part of it. Education School – Polytechnic Institute of Coimbra. INET-md | polo FMH, Portugal ID: 3060 Towards the seamless integration of dance in the This study focuses on connecting the content of creative Australian primary classroom dance to mathematics and social studies, in order to encourage the integration of knowledge. This Jacqueline Cooper interdisciplinary practice can enhance learning, as the Macquarie University, Sydney Dance Company, Australia understanding of mathematics and social studies concepts is achieved through the body and revealed by This presentation focuses on the key methodologies and expressive and creative movement. The main purpose of findings of Jacqueline Cooper’s Master’s Thesis Towards the quasi-experimental investigation was to analyse the the Seamless Integration of Dance Education in the impact of creative dance on the learning of mathematics Australian Primary Classroom, which explored the concept and social studies concepts in children (7-8 years old) in of how generalist classroom teachers utilize various primary education in two Portuguese schools. The sample pedagogies to construct and integrate meaningful dance included eight classes with a total of 117 children of both activities in their daily practice (Cooper, 2022). The genders. The intervention took place in two groups (an research fol owed a qualitative multiple-case study design experimental group and a control group), with eight in which three public primary school teachers from the sessions of creative dance in the experimental group. Both Sydney Metropolitan area shared their experience with groups were assessed on three different occasions (pre- dance pedagogy through interviews, surveys, a collection test, post-test and retest). The statistical techniques used of classroom programming, and reflective responses. The for processing the data were the analysis of variance of findings indicated that although participants appreciated mixed plans and the student’s t test for paired samples. an integrated arts practice and understood the The results show that the students who consolidated their educational, emotional and physical significance of dance knowledge in the creative dance classes exhibited in the classroom, dance practice was relegated to isolated significant differences in their learning gains in lessons at the periphery of the curriculum. Participants mathematics and social studies compared to the control expressed several hinderances to providing adequate group. Some dance examples are also presented to show dance education including insufficient professional the connections between the content of creative dance, development opportunities and pre-service education, mathematics and social studies. The children created and limited space and time, lack of confidence and dominance manipulated the elements of movement in a process of of traditional academia. The research made suggestion for improvisation that appealed to their imagination, feelings what is essential for teachers to integrate dance more and emotions, using their bodies to communicate and actively and purposefully in their classrooms. The learn in a different way. presentation concludes with how Jacqueline’s current work for Australia’s leading contemporary dance ID: 3178 company, Sydney Dance Company, connects with her The process of creative dance becoming a firm part of postgraduate research and how the company’s education the Framework Curriculum for primary schools in department endeavors to support generalist and specialist dance teachers in the delivery of robust dance programs Czech Republic education system for young people. Markéta Pucová ID: 2942 NIPOS ARTAMA, Czech Republic Dance in the Primary School in Scotland Does dance belong in primary education as much as Eilidh Slattery history or music education? In the process of the ongoing national review and innovation of the Framework Royal Conservatoire of Scotland, United Kingdom Curriculum for primary schools in the Czech Republic, it is necessary to agree on what is the most important, the most Creative dance is inclusive and should be accessible for all. When included in a school curriculum it has the power fundamental, what children should learn to take to life. Does this include creative dance? We believe that al to enhance every aspect of learning. In Scottish primary 34 d a C i - D a nce and the Child International Conference 2024 schools, dance is included in the Expressive Arts area of ID: 2927 the national curriculum alongside art & design, drama, and Dance in preschools as a resource for inclusive dance music. Dance can also be addressed in Physical Education pedagogy? (PE) as part of the Health & Wellbeing curricular area. Article 31 of the UNCRC highlights the right for every child Martha Maria Pastorek Gripson to have access to arts experiences. Despite the wonderful Halmstad University, Sweden inclusive nature of creative dance, 48% of Scottish teachers surveyed for this piece of research stated dance Anna Lindqvist was non-existent or almost non-existent in their primary Umeå University, Sweden schools – so what’s happening with dance in primary education in Scotland, and why? Drawing on the analysis The aim is to present how preschool teachers in Sweden of data from over 200 respondents, this paper wil discuss describe, practice and reflect on dance in their preschools. the relationship between primary teachers’ prior In Sweden 86 percent of children aged 1-5 years experience in dance, their beliefs regarding the importance participate in preschool education. Dance as an aesthetic of dance within education, and teacher confidence to form of expression, body perception, democratic norms deliver dance as part of the curriculum. This paper wil also and values and the importance of well-being, is part of the investigate some key issues identified in the data, including Swedish preschool curriculum (Lpfö 2019). This the overal inequity and disparity of experience in terms of presentation rests on results from two different research dance education throughout a teacher’s own learning studies, A) Semi-structured group interviews with experiences in school, and in their developmental journey preschool teachers in 18 preschools, on how they to becoming a teacher. The paper wil align these up-to- understand and practice dance in their preschools. B) An date findings from the Scottish context with the existing action research project with two preschools where international research and ask what we do now to support preschool teachers worked with dance based on a primary teachers to be able to use inclusive creative dance pronounced gender and equality perspective. Based on with their pupils. the Swedish curriculum the preschool’s fundamental values and tasks appear in the preschool teacher’s stories Room 209 and documentation, such as the children’s rights to active participation and rich possibilities to influence the dance ID: 2847 content and the methods used. Therefore, the teaching is The possibilities of a Somatic movement education thematic and flexible in relation to room, time and ability. pedagogy for the early childhood dance education The preschool teachers teach in different ways, which can class – an inclusion of ‘personal literacy’ through be understood in terms of different degrees of embodied, dance education lived knowledge (Lindqvist & Pastorek Gripson, 2022; Pastorek Gripson, Lindqvist & Østern, 2021). For example, Hetty King children's learning in dance is also stimulated when Institution, Country: Teachers College, Columbia preschool teachers consciously stage and plan a teaching University, United States situation without being an active participant themselves. Furthermore, the results il uminate pedagogical strategies This paper presentation wil share my research inquiry as a that could inspire and develop dance teachers practice, to doctoral candidate in the EdD program at Teachers strengthen the ability for inclusion Col ege, Columbia University. My project is a qualitative, phenomenological, and pragmatic study that addresses ID: 2964 the problematic omission of somatic principles- the study I Hear You! Embodied Listening as a Dance of one’s lived experience- body, mind, and spirit- (Hanna, Pedagogical Approach for Supporting Creativity in 1970) – in developing dance education pedagogy for early Early Years Dance Pedagogical Practices childhood. Empirical data wil be gathered from children ages 4.5-5 years old participating in somatic movement Tuire Colliander explorations in a dance education class in a preschool University of the Arts Helsinki /Theatre Academy setting using observation, field notes, drawings created by /Performing Arts Research Centre Tutke, Finland the children in response to prompts, stimulated recal , and Leuven scale ratings (Laevers,1994). Analysis of this data In my presentation, I will discuss and analyze embodied wil make inquiry into children’s experiences with a somatic listening as a pedagogical tool. I approach the topic from movement education pedagogy in early childhood leading the perspective of a dance pedagogue-dancer-researcher, to an initial theory statement, a teacher/researcher's who currently is completing her doctoral thesis in the field reflection, and narratives that visibilize thinking in the of artistic research. My research is based on dialogical drawing, creating narrative portraits of the children. The philosophy, as introduced by Buber, and on Barad's analysis wil investigate the interactions between somatic agential realism, brought into a pedagogical context by teaching approaches and the children's experiences. Lenz Taguchi. Research evidence shows, that in creative Taken together, they wil create a ‘mosaic’ reflecting what dance, al owing space and time for the child's agency, the pedagogy elicits in action in the dance education expertise, and embodied thinking to emerge matters. As classroom. This presentation wil likely not share the results such, I propose dialogic and intra-active pedagogy and of the complete analysis of my research as it may stil be in embodied listening as approaches promoting a condition process at the time of the gathering. that nurtures creativity. I wil argue, how embodied 35 d a C i - D a nce and the Child International Conference 2024 listening takes place in dance as a multi-sensory activity Room 026 that invites us to connect with ourselves, other participants, and the surrounding world. I wil further ID: 2922 articulate, how embodied listening can invite us to A Legacy: Joyce Boorman’s contribution to creative encounter our imagination, and creative potential in dance. dance Embodied listening is related to emergent listening Ann Kipling Brown introduced by Rinaldi and further articulated by Davies, Ann Kipling Brown, Professor Emerita, Faculty of where the aim is to remain open to being affected, to Education, University of Regina, Canada maintain the state of not knowing, and to transcend the habitual and the already known. I wil also share an This paper presentation explores the contribution of Dr. example of how to visualize the process of embodied Joyce Boorman to creative dance in schools and listening through the ‘verbs and lines’ exercise. This is an community. She is widely recognized as the driving force exercise that emerged during my doctoral research and and organizer behind the First International Conference on aims to transform embodied experiences into a visual Dance and the Child at the University of Alberta in July language. I argue that this multimodal approach can 1978 and the architect of the organization, Dance and the support the multiple communicative potentials present in a Child International (daCi). She also authored several critical heterogeneous group of participants. works on creative dance for children, taught in the Department of Physical Education and Recreation at the ID: 3338 University of Alberta in Edmonton and directed the Alberta From Pinocchio to Polunin: Rhythms of Learning Children’s Creative Dance Theatre there and presented presented through three cases of integrating dance many workshops international y, her work greatly impacted and art into everyday educational experience the teaching of dance and curriculum policy in dance in schools in Alberta and across the country. Boorman’s Mojca Leben education began in the United Kingdom with a teaching Self-employed, Slovenia certificate from St, Gabriel’s College and an advanced diploma from the Laban Art of Movement Studio, where Everything starts with an idea, imagination, and creation. she encountered Rudolf Laban’s theory of movement. She Everything continues growing and evolving with rhythm. later adapted Laban’s theory to her Laban action themes, Everything in Life, visible and not visible, is movement and visual representation of music and language connections. motion. Adding some music and colors Life becomes Art. The use of the Laban action themes, using related And Art, in itself, is Life. The presentation aims to put some vocabulary, stressed the understanding of movement additional light on how introducing art into the education rather than an isolated physical skil . Through exploration process influences both, the child and the teacher as wel of the action themes and use of story she believed that it as the learning and the upbringing process. The paper was an opportunity to develop creative dance thematical y shows three possible ways of integrating art and dance as with a combination of the children’s and teacher’s expressive forms based on the author s collaboration in imagination. three different educational environments in the SKUM national project (Slovenia, 2017-2021) It also aims to draw ID: 2876 attention to the positive impact of these creative activities Power of the pillow: The importance of student on children's development, fostering self-awareness and creativity and identity developing skil s such as creative expression, emotional intelligence, social competencies, and overall well-being Christi Camper Moore which then leads to motivation, curiosity, openness, and Ohio University, United States wil ingness for learning. Through the presented cases, performed in a few months of collaboration in a Creating and performing dance together can build kindergarten group, a 3rd-grade primary school class, and community among students, support what they want to a heterogeneous multicultural group aged 5 to 14 to communicate through movement, and connect them to a promote the idea that art and dance have the potential to broader sense of place and belonging. This session wil enhance the educational journey by being integrated into a discuss “Pil ow Concerts” - informal concerts that feature child's everyday learning and educational experience and students’ movement generation and explorations. The incorporated in almost every subject of the curricula - approach was a reimagined performance opportunity that languages, math, nature sciences, history, literature, etc. challenged the narrative of what constitutes a The final aim and the message of this contribution is that “performance” - and the privileges or barriers to inclusion every child – Pinocchio – may become Polunin: maybe not therein. The session wil highlight the process of the Pillow on the stage but in his or her life. Concerts: how elements of improvisation and composition were incorporated for al students, examples of how “exploration assignments” were structured and developed, including through feedback and collaboration among teachers and peers (ages 11-18), and how this process deepened understanding of the tools involved in movement invention and decision making. In addition, this session explores the fol owing questions: How is dance identity shaped through performance? How can creativity 36 d a C i - D a nce and the Child International Conference 2024 deepen connections and relationships among peers? How ID: 3052 can teachers expand individual and collaborative artistic Pioneering Creative Dance Learning in New York City possibilities within existing classes and curricular During the Early 1900s: Lessons on Imagination, structures? Attendees are invited to consider ways that this Improvisation, Inclusion and Identity work might support their own students and inform pedagogical practices that harness student voice and Barbara Bashaw imagination. Indeed, chances to focus on the process of Teachers College, Columbia University, United States making and being together -in support of a fuller understanding of the body and the expression of unique In 1913, before “dance education” or “dance educator” dance identities - was precisely what made the Pil ow were coined as terms, a pioneering dance teacher, Concerts so powerful. Gertrude Klein Colby (1874-1960), grappled with releasing her inherited teaching practices while working with ID: 3206 immigrant children in a NYC school. Challenged to Enacting (Re)Actions: Affect Theory and Embodied embrace “new education” with Dewey at the vanguard, she Resonance in Improvisational Contemporary Dance ultimately developed a child-centered, constructivist and Compositional Pedagogy approach to dance learning, which encouraged imagination, improvisation, creativity, and “dance for all” Alexandria Panetta (inclusion). As early as 1915, she fueled university teacher Learning Associate (Sydney Dance Company) / Academic preparation courses with her discoveries and facilitated lecturer (Australian College of Physical Education), student-generated dance performances. However, Australia Colby’s pioneering footsteps have been washed away on the beachhead of dance. She produced notable alumni The values and expectations of the current educational esteemed for their contributions to dance as a creative approach to dance composition in secondary schools in enterprise, such as Margaret H’Doubler and Martha Hil . New South Wales (NSW) are expressed through its These luminaries have received concerted attention in curriculum. The NSW Dance syllabus currently restricts literature, while Colby has not. As a result, the history of choreographic potential through the limiting requirements dance from the perspectives of creative arts learning, and measures articulated in its discourse. Close children’s education, and dance teacher preparation is observation of the syl abus reveals that the conventional foggy at best. This paper wil overview a multi-modal compositional prescriptives have little emphasis on research study entailing archival, empirical, and improvisation as a choreographic device, so that reconstruction methods to develop a dimensional portrait frameworks for learning and assessment omit valued and of Colby, a dance education pioneer. Insights into the applied contemporary choreographic practices. The personal and social influences that nourished her early resources and scholars inspiring the curriculum’s 20th-century creative dance practice and implications for approach to compositional pedagogy negate the what we can learn from this history given what has and has fundamental benefits that improvisation offers. In addition, not changed a century later, wil be shared. Teachers, although the literature referenced was written over twenty especially youth dance teachers, are marginalized in years ago it is stil being employed as the educational research and our historical accounts. This study seeks to framework for a discipline that is constantly evolving in celebrate dance teacher identity and learn from the past contemporary practice. Enacting (Re)Actions: Affect how we might shape the future. Theory and Embodied Resonance in Improvisational Contemporary Dance and Compositional Pedagogy delves Lecture demonstrations into improvisational practice, analyzing theoretical concepts in the field, including mind-body consciousness, Room 014 embodiment, corporeal resonance and modes of instantaneous reception. Improvisation demonstrates the ID: 3223 pairing of mind and body in continuous engagement and Tap's Music and Dance History - Practitioners and responsivity from actions to reactions, and results in Pedagogy creativity in dance choreography. Affect theory is shown to be valuable in analyzing the core of improvisation; it Heather Cornel supports observations on the creative value and potential Hope Col ege, United States of choreographic development through developing improvisational skills. A comprehensive theoretical The Tap Dance Renaissance was powered by a number of understanding of improvisational practice through affect the original vaudevil ians of vernacular jazz. After three lost theory supports an understanding of how to utilize generations, these dancer/musicians passed their life's embodied resonance and consciousness as creative work to a smal group of dancers. This unique transmission potential. This thesis supports the renovation of methods was one of mentor to protégé, steeped in the nonlinear and approaches to choreographic pedagogy in dance practices of oral tradition, and full of experience, life and curriculum both locally and elsewhere through the community. There is little or no footage available of the inclusion of improvisational pedagogy. majority of this unique founding generation. In this lecture demonstration we wil look at the work and influence of Charles "Cookie" Cook, James "Buster Brown", "Mr. Scientific Rhythm" - Eddie Brown, Steve Condos, and 37 d a C i - D a nce and the Child International Conference 2024 Harriet "Quicksand" Browne. Ms. Cornel wil share some authentically and intentionally engage with Chinese of her archival footage of these bril iant artists, both in cultural dances seeing it through the lens of storytelling performance and in the studio at work with her company, and transferable concepts, rather than the elements that Manhattan Tap. Woven into a performance/lecture makes it “Chinese.” If we recognize the similarities rather demonstration, she’l tel stories and demonstrate the than focus on the differences, we might just begin to model evolution of their artform, from Buck ‘n Wing to Post for our students a future that is kindness, empathy, and Bebop. She’l discuss the important multidisciplinary mutual respect. My session wil be in two parts. Part one nature of the field and her ideas for ensuring that the of the session wil consist of a presentation style that present pedagogy reflects this. This lecture demonstration summarizes basic background information of the legends can be presented in conjunction with the Workshop “Tap behind the Peacock Dance of the Dai ethnic minority of Dance is Inherently Multi-Disciplinary - Simple Techniques China. I wil use the Learning Through Transfer framework for Approaching Tap Improvisation Through Musicality”. by Julie Stern to recognize the concepts behind the dance and show how the dance form can be utilized as a starting Room 102 point for other meaningful concepts of learning that connects to the stories of our own students. Part 2 is a ID: 3203 movement workshop of the Dai Peacock dance. The Encouraging boys to movement in contemporary experiential part of the session wil expose attendees to dance simple yet approachable movements of the Dai Peacock Dance. It is my hope that my workshop is accessible to Rosana Horvat dance teachers in al contexts so that the workshop can Krško Music School , Slovenia spark lesson plans, unit ideas, and overall curricular inspiration in their own teaching contexts. The aim of presentation is to encourage different approach to teach boys in contemporary dance. The aim of my work Movement Workshops was to keep boys engaged in dance in spite of negative influence from schoolmates specially in the time of puberty. I achieved results by creating a dance group only Small Gym for boys. The study was carried out through tasks that included movement, body awareness, communication, ID: 2984 and socialization. Every boy is something special and Dance softly in Country different. Due to unique hormone drives and structure, the challenges they are facing are entirely different from the Name: Jo Clancy girls. They like action and heroism. Boys had a chance to Wagana Aboriginal Dancers, Australia express what they are and what they feel through dance movement. Ideas and their deepest wishes would arise Aboriginal people live with the intergenerational trauma of through verbal, written, and physical guidance of our parents, our grandparents and our great grandparents movement. The main results are that boys continued to being denied our languages, our songs, our dances, and dance when they arrived in puberty and they continue to ceremonies. The impact of colonisation is ongoing and as dance in high school. At one point the group counted 9 an Aboriginal woman born into this legacy I live with and boys. Today the group of boys have encouraged many am impacted by colonial trauma. It’s often unseen, it’s not boys to sign up for dance. They are not all included in boys’ always felt and I don’t allow it to consume me, but it is group, but they have developed the courage to dance with present and I acknowledge its presence. In a world where girls, with an approach for boys. Today we have 24 boys we expect immediacy in so many ways, where we have dancing. Addition result is that other dance teachers access to new and ever-changing technology, connection started successful y applying the same approach. The to Country and to each other is vital. It al ows us to slow presentation wil be conducted with power point and short down, to be patient, to understand ourselves and others video clip about my work with boys for the last 10 years. more deeply. When I walk and dance softly in Country, The participants wil be encouraged to join example dance place my bare feet on the ground and sit low in my hips I class through movement and improvisation. connect with a matriarchal strength, grace and perception that comes from an embodied knowing. I hold gestures Room 012 and memories from my grandmothers, my great grandmothers and all of the great women who have come ID: 3152 before me. I’m committed to making positive, real and An Introduction to Chinese Minority Dance Through lasting change to the lives of Aboriginal women and girls Concept Driven Learning through dance and cultural connection. I didn’t have opportunities to learn my language, my songs or cultural Yabei Chen dances growing up. I was a painfully shy, self-doubting and Kimbal Union Academy, United States socially awkward young person. I hated my fair skin, my thick thighs, my chubby cheeks and freckles. I wanted to Cultural dances are vital in dance curricula at al levels and be thin and brown like Jennifer Beals from Flashdance. age groups. It’s one of the best ways to introduce a foreign Dance taught me discipline, made me stronger in spirit, culture without the stereotype or biases that often body and mind and gave me confidence without having to accompany surface level cultural lessons. My session wil speak. We all need to feel strong and safe in culture, to 38 d a C i - D a nce and the Child International Conference 2024 know who we are and how we connect. Feeling and experiences for young people that can be embedded into knowing this creates a sense of belonging, helps to form the everyday practice of a Primary School and promote healthy relationships and builds self-esteem. movement as a means of self-expression, of cultural awareness and of physical and psychological health. The Gallery project benefited from the use of specialist curriculum and facilitation knowledge of Teachers blended with the ID: 2870 creative, choreographic attributes of Dance Artists. Consciously Connected Dance in the Classroom Forging a shared investigation, we devised explorative workshops and lesson content, supporting pupils to Angela Juliette O'Brien independently recall rhythms, patterns, movements, and Canadian International School of Hong Kong, Hong Kong visualisations, forging further associations with learning in written tasks. Our work is participant-led, with young At its heart, conscious dance is a holistic practice that people’s voices at the heart of our decision making. facilitates the connection between the mind, body and Through ongoing reflective monitoring and refinement, we spirit, using dance to promote physical and mental now recognise key features of our flexible classroom and wel being. A form of guided improvisation, conscious workshop style, evolved through a foundation of trust dance al ows participants to get out of their heads and into between al partners. Through the movement workshop we their bodies, exploring and becoming aware of every part, wil share examples of practical tasks and strategies from tissue, texture, and feeling. It is a practice that enables the project attending to Artistic and Educational participants to get in touch with their bodies, tuning into perspective to critical y examine the collaborative, their physical being through a specific set of awareness reflective and pedagogical approaches that underpin our exercises that encourages and develops an appreciation practice. Funded: Paul Hamlyn Foundation. of their body in motion, as well as an understanding of safe and healthy practice. Furthermore, through a variety of Gym 2 energetic cues set to carefully curated music, conscious dance enables participants to get in touch with their ID: 3054 emotional bodies through mindful connection, often Come fly with me, dance practical workshop allowing the release of blocked energy and emotion, resulting in a greater sense of wel being. Focusing on the Sue Cheesman internal workings of the individual’s body in motion, rather University of Waikato, New Zealand than a specific set of techniques, it is a practice that meets and celebrates each individual practitioner where they are In come fly with me dance workshop participants will at. This workshop offers a practical demonstration of the explore a series of dance ideas for 6 to 10 years old around use of conscious dance in the classroom environment. It imaginative dancing kites. This workshop is under pinned wil take participants through the practice, using cues that by the inclusive premise that everyone can dance. These can be adapted for a variety of age groups and ability or ideas have been honed over several years from the dual experience levels. Each participant wil receive a written perspective: firstly, my own observations and critical guide outlining the use of cues and rationale, and the reflection of teacher trainee responses to these ideas from workshop wil be fol owed by a brief discussion. both pedagogical and content perspectives, and the anecdotal responses from the teacher trainees experience Gym 1 of teaching these dance ideas, in the form of a lesson structured in relation to a range of ages they teach, in their ID: 3019 respective schools in New Zealand. The delivery of these From Head to Toe: Investigating the visual-spatial ideas is underpinned by the following: be curious, embrace capacities of movement stimulating learning in the challenge, step outside the square, embrace your own English and Maths curriculum for young people ideas, trial and error-embrace mis takes, learn to dance play, tolerate messiness and the courage to preserver. Al Sarah Hal these are woven together in an elaborate kite tail in order Blue Moose Dance Company, United Kingdom to celebrate the successes of the dancing kite swooping, darting, rising and dipping high on the sky as wel as Sarah Gough embracing the challenges of taking off and landing. Blue Moose Dance Company , United Kingdom Sal y Astbury Primary school teacher, United Kingdom From Head to Toe is a research project working with teachers and pupils to explore potential enhancements in learning opportunities within the Key Stage 2 Curriculum: English and Maths. Through the development of collaborative practices between Dance Artists and School Teachers a range of bespoke, investigatory approaches developed with the aim to produce memorable learning 39 d a C i - D a nce and the Child International Conference 2024 16.00–17.30 Žigan Kranjčan Panel discussions Self-employed in culture, Slovenia Education through the arts has great potential in education. Not (only) because of the usefulness that art can Room 048 bring to the development of linguistic, mathematical and scientific competences, as well as empathy, morality, ID: 2924 creativity, critical thinking, perseverance, brain Court Dance Transition to Community Dance: development, but above al because art as a poesis, as a Pedagogical Implications form of first-person experience, encourages the experience and the search for meaning and sense in the Muhammad Fazli Taib Saearani phenomena we explore, enables an intense relationship Sultan Idris Education University , Malaysia with reality, encourages expression through our own creativity and does not put things into rigid categories. In Susan R. Koff the four-year project Developing Communication Skil s NYU School of Culture, Education and Human through Cultural and Arts Education - SKUM, we have Development, United States introduced the concept of art education as a first-person experience to the whole school vertical. In doing so, we What happens to a traditional court dance form when it is have been careful to systematically establish a model of moved beyond the palace wal s? When there is a closed cooperation between educators, artists and cultural form of dance education that is now open to more young institutions; to look for ways in which children and young people in the community, what happens to the community people can experience the beautiful, to experience as and to the dance form? Is the manner of dance education observers in a personal and engaged way the content changed when the setting is changed? Is there a long-term critically communicated by artists through different artistic effect as to how the form is perceived when it is available languages, and at the same time to look for actual public to the larger community? Does the form change? Does the spaces in which they can express their views of the world, community change? Is inclusion achieved? This paper their experience of the world through different artistic explores the historical trajectory of the Yogyakarta languages, and to establish a dialogue with the world, with Classical Court dance, a Javanese dance known as 'adi others. In the first part of the lecture, we wil present the luhung', as it moved from an exclusive aristocratic tradition theoretical framework of art as a first-person experience to a more inclusive platform for non-formal education, and its pedagogical potential. In the second part, we wil accessible to the wider community. The history of the present a model of a meaningful collaboration between an dance wil be introduced, and the transition from a closed artist-dancer and pedagogical staff in a court dance to one that is available to the community is an kindergarten/school and a secondary school in the aspect of that history. The aim of this presentation is to framework of the SKUM project, where we worked examine the sociocultural growth of non-formal together to develop creative and innovative teaching educational establishments referred to as 'sanggar' of practices and to open a space for (co)action in the Yogyakarta's Classical Court dance. The impact of non- community. The presentation wil be supported by formal education could significantly be seen in the concrete examples. preservation of cultural tradition, creating community spirit, and cultivating an appreciation and support of the arts ID: 3188 outside conventional learning settings within this dance Learning about Settlements Using Creative Movement form; and those learnings can be considered in other in the Third Grade settings around the world. Sabina Skarlovnik Paper presentations Čopova ulica 6, 3310 Žalec, Slovenia Room 016 In third grade environmental studies, students learn about types of settlements in Slovenia. I have been teaching the ID: 3590 third grade for four years and every year I notice that the Movement as a form of first-person experience students have a lot of problems recognising, naming and enables an intense relationship with reality comparing settlements when they only hear the explanations while observing photos. Even after walking Darja Štirn through the settlements in the immediate vicinity, they Institute PETIDA, Slovenia have no sense or idea of their shape and size. I have therefore incorporated creative movement into the lesson Petra Štirn Janota and this paper presents the results of my work in practice. Institute PETIDA, Slovenia First, I discussed photos of the settlements with the students and taught them terms and names. In groups, the Katja Kosi students drew plans of the settlements on the boards and Self-employed in culture, Slovenia determined which institutions belonged to each settlement and why. We then went outside, where the students drew roads on the ground based on plans and photos. The 40 d a C i - D a nce and the Child International Conference 2024 groups were encouraged to use their bodies to show confidence and self-esteem, contrary to the trends of post- buildings, institutions, bridges, etc. on their ground plans, pandemic mental health problems reported as a warning which they then presented to the other groups. Through by health authorities. We therefore intend to share the movement, they were able to show the differences benefits of the creative dance experience in promoting a between the settlements very wel (height, shape, size, healthy school with other school communities. institutions, etc.). After this process, the students were able to compare the settlements much more easily. They Room 209 remembered the names faster, as they associated them more easily with shape and size, and they were also able ID: 3335 to enumerate the institutions well, as they associated them Hidden curriculum in classical ballet teaching with the movement they imagined. In addition to achieving the goals set, the students also developed their Ana Genzić imagination and were active and creative. Art school Franjo Lučić, Velika Gorica, Croatia ID: 3174 "Where there is a culture of dependency and acceptance, The harmony of sound, movement and puppets self-reliance, autonomy and critical thinking cannot exist." (Tanasin, Dorcas, 2010. 148.) Ballet dancers are rarely Mateja Jeler exposed to critical thinking during their formal education. Osnovna šola Vransko - Tabor, Slovenia The classroom environment and the performance of those involved in the process shape expectations about what it An interdisciplinary activity is presented in which four means to dance and be a dancer. In the process, bal et complementary art fields are interwoven. These are music, body becomes a platform for inscribing the knowledge of dance, visual arts and performing arts. Pupils from grades values and meanings that a young person adopts as a 1 to 3 participated in the two-year project in a primary norm. To access this art, physical predispositions are school. The activities took place once a week before and imperative. Later on, it is the body that carries and contains after school in the home and branch schools. The aim of value, and as the body, that belongs to an individual, the activities was to link the four art areas, which are cannot exist independently of the culture and institution to usually taught separately or individually in primary school, which it belongs the "perpetual teaching methods" and to offer pupils activities where they could express their (Previšić, prema Vrgoč 1999.) are formed. The teaching creativity through their own activity, reduce inner tensions, methods that are passed down from generation to build positive relationships with each other and develop a generation, especially in a countries like Croatia, where harmonious relationship between their physical and mental academic dance education is possible from 2013, abilities and themselves. The students explored sounds explains, to some extent, how a person, who deeply with different therapeutic vessels, created their own music believes that a certain relationship is not only acceptable and expressed themselves through movement. Each but necessary for survival in this art "emerges". The aim of student made their own puppet from fabric scraps, with this presentation is to present the results of qualitative which they acted out scenes they had made up in groups, research, conducted for the purpose of writing a master’s adding sound effects from musical instruments and thesis, on implicit pedagogies and aesthetic requirements dances. At the end of the school year, we also put on some of the profession, among classical ballet teachers in performances for our classmates. At the end of the project, Croatia and ask questions like; Is education enough to I did an evaluation with the students which showed the encourage an important change? There are, as always, positive impact on the children's wel -being. some major problems that come to mind when thinking about changing everlasting "status quo" but as a ID: 2978 pedagogue, working mainly with contemporary dance Creative Dance in Promoting a Healthy School students, i wil also offer some possible solutions. My motto is, if we can talk about it, we wil find ways to change Luisa Alegre so that the goal stops being a reason to justify the means. Agrupamento de Escolas São João do Estoril, Portugal ID: 3062 We present the results of the implementation of the Devised performance making with trainee dance Creative Dance Project at Basic School No. 1 in Galicia of teachers the São João do Estoril School Group, in Cascais, Portugal. Through interviews with teachers participating in Janine Streuli the project, we verified relevant aspects in promoting Institution, Country: Royal Academy of Dance, United teacher wel being, such as personal satisfaction resulting Kingdom from col aborative work, professional involvement, interdisciplinarity, student learning, a sense of This paper critically appraises the opportunities and achievement, and positive relationships with the challenge associated with devised performance making by community, particularly parents. Based on the results of exploring its role in the education of final-year artistic education assessment tests applied to all schools undergraduate students training to be ballet teachers. By in the country and aimed at students in the second year of challenging the traditional hierarchy between bal et schooling, we verified positive results in learning in terms choreographer and performer, the paper explores the of psychomotor skil s associated with excellent self- complex role of the tutor as “choreographer”, creative 41 d a C i - D a nce and the Child International Conference 2024 facilitator, lecturer, assessor and teacher educator. The methods, approaches and teaching styles in their regular work also analyses the role of the students as performers, bal et classes. co-authors, creators, collaborators, critical peers and future teachers. I advocate for a creative process that sees Room 026 choreographic and performance practices as interlinked. Driven by a desire to empower student agency through the ID: 3079 provision of accessible yet chal enging improvisation Experiencing the Creative Process and Performance: tasks, I work to chal enge my students’ imagination to A Case Study promote intel igent dance making. The process gives students ownership of their choreographic contributions Mojca Kasjak towards a devised performance piece in an inclusive and Professional independent artist and dance teacher, empowering manner. Placing trainee dance teachers at the Department of contemporary dance, Laško-Radeče heart of the performance making process aims to support School of Music, Slovenia the development of creativity in a manner that harnesses and showcases each individual’s strengths. Pushing Alenka Vidrih beyond a democratic process (Butterworth 2018), the Faculty of Education, University of Ljubljana, Slovenia paper considers the choreographic facilitator (tutor) and dancers to be co-owners. Particular attention is paid to the Andreja Kopač need for beginner teachers to not only perform to a high Professional independent artist and teacher, SVŠGUGL, standard but also to enable them to create dance works professor (Alma Mater Europaea), Slovenia that intel igently showcase their pupils’ strengths. Ultimately, the paper wishes to empower others to explore In the presentation the authors will present research where the many educational benefits of a meaningful and we fol owed the process of the creative process and the collaborative performance making process. performance of the play One night some girl is dying somewhere, more precisely the chore poetry. The aim of ID: 2951 the research was to find out how the participants, girls The challenges of ballet education in the 21st century aged between 14 and 16, responded to the creative process with the help of creative movement, what artistic Ana Germ creation meant to the girls and how they experienced Bal et teacher in Slovenia, Slovenia isolation during the Covid-19 epidemic in Slovenia. We wil present the positive impact of the creative process on well- While concepts like holism, inclusion, integration, being, with an emphasis on the parameters of help with art awareness and reflection are long known concepts and such as dance movement improvisation, creative approaches of teachers in contemporary dance field, the movement and authenticity of self-expression. In the bal et education seems to stil struggle with the traditional empirical work, we investigated how four young girls – autocratic, teacher-centred ways of teaching. Although responded to demanding artistic research within the various teachers use individual methods, the command framework of embodied poetry on the theme of trauma and style after Muska Mosston’s and Sara Ashworth’s (2002) abuse. We were interested in how young girls respond to taxonomy seems to stil be mostly used among bal et problems without their own experience of this kind. In the teachers, especial y in former socialist countries which research, we tried to find out how the performers (dancers), according to their ideologies followed mere traditional who were also co-creators of the dance performance, forms and repertoires (Kunst in Kowal 2017). Nowadays, experienced the creative process and also the bal et companies around the globe require versatile bal et performance. What the therapeutic approaches of the dancers with the capacities to adapt to different styles and creative process that was created during the Covid-19 working methods (improvisation, creative tasks, co- period were? And what is the state of this experience 3 authorship) and accordingly, ballet teachers need to years later? The focus wil be on improvisation, which was develop and apply teaching methods that prepare the the main tool for the creative process and performance. dancers for the evolving modes of performance and choreographic practice in the field (Salosaari 2001). Additional y, bal et’s negative reputation of dance teachers ID: 3128 who (subconsciously) physical y or mental y damaged their Social and Emotional Health and Dancemaking for students by fol owing the teaching patterns and practices Youth in Detention: Identity, Expression, and of their former teachers (Sims and Erwin 2012) needs to be Intelligence transformed through specific, reflective and constant pedagogical education of dance (bal et) teachers. Ilana Morgan Contemporary times namely require continuous learning Texas Woman's University, United States abilities (an independent learner) and request contemporary teaching-learning approaches where the This presentation outlines the 2023-2024 National focus turns to the how instead of what the students will Endowment for the Arts-funded research on social and learn. My research will therefore base on if and to what emotional health and dance learning for youth in detention extent Slovenian ballet teachers are familiar with the at the post-adjudication detention center in Denton, Texas, inclusive and holistic educational frames, e. g. Smith United States. This research identifies dance learning and Autard's Midway model (2002) and if they use different dancemaking as an avenue for covert acts of creative 42 d a C i - D a nce and the Child International Conference 2024 freedom while under surveil ance, presents specific teaching practices for youth in detention created during With each day we are more confronted with new this study, discusses dance education practices as generations of pupils whose way of learning new content advocacy, and situates for the audience theoretical is unfamiliar to us. Society has extremely changed in the knowledge which undergirds this research and its teaching last few decades, but our methods of teaching haven’t. I practices. To il uminate the possibilities of developing believe that incorporating the body as a learning medium kinetic and emotional empathy through the practice of and methods from creative dance education in everyday inclusive dance education, this presentation brings forward school practice is a solution for passivity and indifference ideas such as Maxine Greene’s theories of aesthetic growing in our classrooms. Instead of insisting on the education and meaning making as becoming “wide development of new technologies and their usage in the awake” to the world, John Dewey’s questioning of “When educational environment, we should bring students’ focus is Art?”, and Brian Massumi’s approach to artistic back to themselves, to their bodies. That is an answer for expression as becoming via imagination and a more reflective, emphatical and creative society. This improvisation. Findings discussed arose from youth and lecture is a summary of the workshops in which I worked staff interview data, ethnographic field notes, and a teacher with kindergarten and middle school teachers. During the self-study which assisted in developing and analyzing workshops, I presented principles of creative dance and teaching practices and activities created. how to translate them into their practice. Explaining the solar system through movement or introducing natural ID: 3215 numbers through bodily tasks were just some of the The way of flow state in dancing performance of inspiring and exciting themes we covered. I believe that children sharing this extraordinary experience wil motivate you and enrich you with new fresh perspectives. Afrooz Mousavi PhD in sport psychology , Iran, Islamic Republic Room 102 This paper views state of flow in current psychological and ID: 3253 artistic research and also introduces new perspective and Weaving Identities: A critical dialogue of teacher mindset in children dancing. Based on Csikszentmihalyi’s experiences working with First Nations dance definition, flow is an integral “optimal experience”, that makes people happier to be in Flow regularly. The flow Kerrin Rowlands state is achieved when a person’s capacities are University of South Australia, Australia challenged by trying to meet a cherished goal. Dancing is perceived as a non-verbal way of knowing in children that In Australia teachers are expected to incorporate First involves more than specific movements and motor skills. Nations dance into classroom learning as a central element Dancing is understood as a way to create relations to the in the continuity of the cultures of First Nations Australians. dancer’s body movements, being deeply engaged with the Teachers arrive at this work with funds of knowledge movements own form and dynamic in their communicative historically dominated by Anglocentric dance pedagogies and aesthetic aspects. Further on, what children are and practices. Tensions arise as teachers trouble their capable of doing with their bodies offers them new dance teacher identities to consider how to weave First perspectives on life that they bring into their daily life for Nations cultural knowledges and practices appropriately getting a mindset of believing I can do more things than I and respectfully into the dance classroom. This lecture think I can do. It can be understood that the experiences demonstration shares current doctoral research, and a in dancing open up an awareness about something that collaboration with Adrianne Semmens, Learning Manager already exists but is made accessible through a bodily and for Australian Dance Theatre, and pre-service teachers that sensible engagement and awareness in dancing. Bodily wil il ustrate approaches to equip pre-service teachers to and sensible awareness is understood as a shift in focus appropriately integrate First Nations dance into classroom from daily life to a deeper level of consciousness. In learning. This work calls for a substantive discourse among conclusion it is important to consider some useful way for educators, teaching artists, and scholars, aiming to providing flow state, especial y parents and coach should transform teaching practices through cultural y responsive pay attention to a type of experience that supports learning design and curriculum delivery. Additionally, the awareness of flow characteristics in a dance environment. importance of relationships that form the heart of culturally responsive First Nations dance pedagogies, wil be Lecture demonstrations highlighted, to ensure that all Australian children have the opportunity to explore and engage with First Nations knowledges and cultures within the school environment. Room 012 ID: 3011 Going back to move forward-implementation of movement as learning tool in school systems Sunčica Bandić Vrum performing arts collective, Croatia 43 d a C i - D a nce and the Child International Conference 2024 Movement Workshops language arts and visual arts. This workshop will culminate in a choreographic piece and visual art piece, created by the gathering of dancers, individuals, and participants. We Small Gym wil explore not only the external ecosystem, but also the intrinsic creative values and ideas generated through ID: 3213 Pando, thereby creating ideas for movement inspiration. (Un)fold me Participants wil also be provided lesson plans and outlines for the specified workshop to guide them through creating Igor Sviderski their own creative movement on Pando. Plesni Studi Intakt, Slovenia Gym 1 The workshop is aimed at adults who work in the field of creative dance, dance improvisation, and performance, ID: 3012 specifically those who teach or choreograph for young Building inclusion, imagination, identity, and dancers aged 13-18 years old. During the workshop we wil interdisciplinarity: Indigenous Ugandan dances as explore and apply different tools for creating archives of knowledge and meaning of being choreographies or dance compositions in space and provide information in how to establish an environment Alfdaniels Mabingo where dancers can experiment, take risks, and explore Makerere University, Uganda their unique creativity. The workshop wil present dance Improvisation methods and different creative approaches This movement workshop wil draw on archival research that can be incorporated into existing pedagogical work to conducted on Indigenous communities in Uganda to expand teacher's abilities in helping young dancers to immerse participants in selected dance material that explore their Imagination, body awarenes in space, navigates dance knowledge and ontologies as a frame for performative skil s and choreographic abilities. By using inclusivity, identity, and interdisciplinarity. The workshop these tools and methods with young dancers, teachers can wil be anchored in the elements of improvisation, voice, stimulate the creation of rhythmic and spatial movements rhythms, sounds, performative structures, and embodied and unique choreographic scores, promoting Individual experiences that underpin the dance practices in and group creative research. The incorporation of literature Indigenous communities in Uganda. The workshop will be and musical scores into dance compositions wil cover the guided by the following question: how can research on Interdisciplinary aspect of the workshop. The workshop Indigenous Ugandan dances as embodied archives wil conclude with a discussion panel where participants produce ideas that can facilitate experiential exploration can receive feedback and share their experiences and and understanding of inclusion, identity, imagination, and comments about the work they have done. interdisciplinarity? Through practical tasks and encounters, the participants wil dive into dance and music Gallery material as a point of departure to question their worldviews, navigate interpersonal and intrapersonal ID: 2954 connections, embrace Otherness, explore innovative ways Embodied Learning: Moving, Investigating, Creating, of valuing Indigenous Ugandan dances, and construct new and Contextualizing Pando the Largest Living experiences through reimagination of the dance and music Organism material. This workshop wil reveal to participants how Indigenous dances are archives for rich and complex ideas Chara Huckins that can be used to facilitate and advance diversity, equity, University of Utah Tanner Dance, BTS Arts Learning and inclusion (DEI) in dance education and practices. The Program, United States experiences immersed into during the workshop wil confront the longstanding stereotypical and objectifying In this movement workshop, participants will explore by notions that reduce dances and dancers from African connecting with the science core curriculum about Pando communities to physical objects that offer only the Populus. Pando is an aspen clone that originated from a movements aspects of dance cultures and experiences. single seed and spreads by sending up new shoots from the expanding root system. Pando is believed to be the Gym 2 largest, most dense organism ever found at 13 million pounds. Pando is located in central Utah on the Fishlake ID: 3331 National Forest. Participants wil use their kinetic Images come alive! imagination to connect with Pando through exquisite native images and movement. Improvisation wil be a Tadeja Mraz Novak component for developing descriptive movement about SDCO - Slovensko društvo Carla Orffa, Slovenia the living organism. This inclusive workshop promotes movement exploration for al participants focusing on the Fine art in communication with classical music can be an science and language arts curriculum. Participants wil excellent source of inspiration for movement creativity in explore through movement the physical and cognitive the music classroom. Our research and creation wil be aspects of Pando. Movement exploration wil also discover based on connecting artwork with musical concepts and the interdisciplinary connection between dance, science, skil s. We wil explore how can visual arts, music, and 44 d a C i - D a nce and the Child International Conference 2024 movement become dynamic tools for communication and emotional, and motor skil s, enhancing their developing social skil s. Through creative movement comprehensive understanding of the world. However, activities, participants wil discover how different art forms literature regarding music-dance activities in Montessori can communicate and encourage critical thinking and kindergartens remains scarce. There's a marked need to creativity. The main goals of the workshop: developing enrich this field in Montessori pedagogy. Our research rhythm and movement; exploring creativity and aims to gain insights into the characteristics of executing improvisation; translating visual images into movement music-dance activities within a Montessori early childhood and sound and creating visual images with movement and education. We sought to ascertain observed impacts sound. The workshop wil guide participants in creating concerning expressed interests, creativity, autonomy, visual images inspired by the synergy of movement and freedom, dance expression, and children's musical sound, encouraging col aboration and transformation. Our experiences. In our pursuit to improve methodologies, we goal is to transform static visual images into dynamic highlighted the positives and points of attention when languages of dance and sound. The content of the incorporating music-dance initiatives in Montessori workshop is primarily intended for primary school preschool settings. Based on children's feedback, we wil teachers, as well as for all those who enjoy visual, musical, offer recommendations for future planning and and dance arts. implementation of these activities within Montessori kindergartens. Tuesday 11.45–13.15 9 July 2024 Panel discussions Room 212 ID: 3073 Engaging the community in the creation and extensions of Suite Blackness: Black Dance in Cinema 11.15–11.40 Poster presentations Lynnette Young Overby daCi USA, United States A. T. Moffett Faculty Hall Delaware Institute for Arts in Education, United States ID: 2953 Tumi Nkomo Integrating Various Approaches in Early Childhood Artist Retreat, South Africa Education: Best Practices in Music and Dance Activities The purpose of this panel is two describe the development, presentation and community engagement associated with Ana Tina Jurgec the production of Suite Blackness: Black Dance in Cinema. University of Maribor, Faculty of Education, Slovenia The African American contribution and influence in the world of dance is profound, powerful, and undeniable. Maruša Laure Amazingly gifted choreographers and dance artists such University of Maribor, Faculty of education, Slovenia as Asada Dafora, Alvin Ailey, Katherine Dunham, Francesca Harper, Garth Fagan, Louis Johnson, Bil T. In today's world, there is a vital emphasis on actively Jones, Pearl Primus, and Camil e A. Brown just to name a fostering children's expression and experiences, as this few… have created an enduring, beautiful tapestry of Black facilitates their holistic growth and blossoming unique Dance that is visible for the world to see. Suite Blackness: potentials. Rooted in humanistic-constructivist views, Black Dance in Cinema paid tribute to some of these Montessori pedagogy focuses on the child as an individual, bril iant dance artists whose gifts were recorded on the big creating a nurturing environment tailored to their needs. A screen. From 1929 to 1950, more than seventy musical cornerstone of the Montessori environment is freedom, movies were made that featured Black dancers and Black allowing spontaneous learning experiences. This freedom performers - this number is a testament to the power and encompasses the exploration of a prepared environment, artistry of Black talent. The production, co-directed by movement, activity choice, and time. This ensures children Lynnette Young Overby, and Hassan El-Amin, Professors are mentally and emotionally engaged throughout the in the Department of Theatre and Dance at the University learning process. Combining music with movement of Delaware, involved community and university dancers, cultivates a distinctive learning ambiance, promoting choreographers, singers, and poets. The dances were children's holistic development. It nourishes their influenced by the content in the films that reflected many creativity, independence, sensory awareness, and fosters issues of race, while celebrating the wonderful an early love for music and movement. Through their contributions of African Americans to American Culture. bodies and movement, children develop cognitive, social, The production began with a look back at the African 45 d a C i - D a nce and the Child International Conference 2024 Influences, continued with dances represented in films like to express their emotions, develop their expression, define Stormy Weather, The Wiz, and School Daze, and themselves in relation to the surrounding society and find concluded with the evolution of hip hop as performed in their place in the world. In this presentation we justify the films such as Beat Street and Rize. Talented artists need for different ways of expression in the field of art in including Josephine Baker, Bill Bojangles Robinson and the school space at several levels of the learning process, Lena Horne were showcased during the production. After focusing on visual and dance art, which are related to each the major performance, excerpts of the production were other in visual (spatial) forms of expression. As part of shared with teachers and students at Gateway Lab School presented research we created a model of integration of an arts integrated school. In a collaboration between the art and dance experience, applied it to the learning process Delaware Institute for Arts in Education and The University and evaluated its effects. We introduced art and dance of Delaware, the classroom teachers of Gateway Lab experience into the learning process with the researcher as School, were given lessons and experiences that they a researching artist according to the principle of arts based could share with their students. research (ABR), which includes artistic practices as part of scientific research. During the implementation we also Paper presentations developed our own research methods within the aforementioned research strategies. We monitored how Room 016 the integration of the art and dance experience affects the experience of the learning process of the students, the ID: 2996 teacher and the researcher, as wel as the development of Dance and socialisation: An Australian study of arts the students' artistic and dance expression, the expansion learning online in primary schools of the students' conceptual field and the teacher's pedagogical work, combining a qualitative and quantitative Jeff Meiners research approach. The results of the analysis shows University of South Australia, Australia expansion of students' conceptual field and creative development of their artistic and dance expression, as wel Linda Lorenza as positive changes in other areas. The research thus Central Queensland University , Australia contributes to the understanding of the importance of art and dance experience in the learning process and also Children develop their social skil s and learn to socialize sheds new light on the ABR approach. and work with others in a process largely considered a key role of schools (Brint et al., 2001). Their development of ID: 3127 social, emotional and communication skil s are recognized Cultivating Empathy, Environmental Connectivity, and as ‘Personal and social capability’ in the ‘General Compassionate Action through Creative Movement Capabilities’ included in the Australian curriculum (ACARA, Education in Hong Kong Primary Schools 2023). Learning in the arts facilitates student interaction, collaboration and engagement, playing an important role in Julianna Ho Yui Ting their socialization and social development (Biesta, 2013; Hong Kong Academy for Performing Arts, Hong Kong Carter, 2019; Eisner; 2008; Joseph & Lennox, 2021; Lorenza, 2018). The arts contribute to personal happiness, This research paper presents a transformative approach to overcoming stress and anxiety and build social cohesion education: a creative movement program implemented in (Australia Council for the Arts, 2020). However, the COVID- Hong Kong primary schools. Designed to cultivate 19 lockdown periods of 2020 and 2021 limited children’s students' abilities to act, feel, think, and experience socialisation with their peers. This recent national study compassion, our study focuses on fostering empathy and explored Australian teacher, parent and student reflections environmental connectivity. We highlight the power of of arts learning online to identify if and how arts learning embodied learning in creating profound connections contributed to well-being, engagement and socialisation. between students, their peers, and the world around them. The study included a national survey, systematic literature Our research demonstrates the power of embodied review and digital examples of practice. This paper learning and how the program encourages children to presentation outlines the study and focusses on the explore the essence of life through empathy and findings specific to dance within the online learning compassion, stimulating connected thinking and context. promoting mindful choices. We present evidence of how this approach equips students with a holistic ID: 3121 understanding of learning that encompasses cognitive, The Integration of Visual Art and Dance Experience emotional, and physical dimensions. The paper details the into the Learning Process practical methods and interactive exercises used in the program, providing concrete examples of how dance Nuša Jurjevič pedagogy can foster these skil s. We discuss the University of Ljubljana, Faculty of Education, Slovenia outcomes observed in students, including increased empathy, heightened environmental awareness, and a The inclusion of various forms of expression from the field more integrated approach to thinking and decision- of art in the learning process encourages the development making. We aim to contribute to the body of knowledge on of students' imagination, creative and critical thinking. the transformative potential of creative movement Children can expand their communication skil s, find a way education. By sharing our experiences and findings, we 46 d a C i - D a nce and the Child International Conference 2024 aim to inspire the integration of imaginative and people as resources rather than to consider them as interdisciplinary methods in pedagogical practices obstacles (Anttila, Martin & Svendler Nielsen, 2019). A way worldwide, fostering more empathetic, connected, and forward might be to emphasise the arts including dance as compassionate future generations. a base in curricula, both as subjects in their own right and as methods used to integrate different subjects and as ID: 3228 teaching methods. Studies show that many Is Something Better than Nothing? Specialists vs. schoolteachers find it challenging to teach the arts Generalists in Dance Education (Svendler Nielsen & Burridge, 2015) which makes it necessary to find ways to empower future teachers to work Ann Kipling Brown, Professor Emerita, Faculty of with the arts already while they are in the process of Education, University of Regina, Canada ‘becoming-teachers’ (Adams, 2021). In this paper an embodied-artistic pedagogy (Svendler Nielsen & Samuel, Michel e Richter 2019) that was developed in a four-year project led by an Regina Catholic Schools, Canada intercultural group of a/r/tographers (Irwin, 2004) from Denmark and South Africa wil be presented. The In this presentation, I examine how dance education is pedagogy was further explored with student teachers in delivered within a school division. In recent years there has Dance, Physical Education and language/classroom been a decline in hiring arts specialists. In consequence, teacher programs in South Africa, Denmark and Finland the generalist classroom teacher is required to provide respectively during 2022-2023. Based on a hermeneutic experiences in all arts areas including dance, a task that is phenomenological analysis (van Manen, 1990) of material daunting for many who have little or no experience reflecting students’ experiences in text and drawings, the teaching in the arts. In my writing, I wil focus on dance focus of this paper is to cast light on how student teachers education, acknowledging that some points are applicable of these different programs and cultural contexts might be to the other arts areas. In my roles as an arts educator and empowered to teach using this pedagogy for arts- consultant, I have attempted to provide accessible integrated and intercultural processes in schools in the experiences for generalist teachers to demonstrate that future. dance provokes imagination, self-expression and creativity while exploring issues of identity and equity. With the ID: 3407 elimination of the Arts Education consultant, less time for Empowering Early Childhood Educators: Teaching arts education on professional development days and lack strategies & insights from a Creative Movement of experience of teachers, dance is offered infrequently. In Workshop in Taiwan response to school division initiatives, I wrote two interdisciplinary units to be used by generalist teachers. Jia-wei Zhu The unit themes were consistent through art, music, drama Independent teaching artist, Australia and dance which allowed for deeper connections and starting points for the exploration. I conclude that content Creative dance is a potent yet underrated medium for without proper instruction is ineffective, and that the nurturing crucial skil s vital for navigating a world alongside importance of the specialist dance educator cannot be AI. This presentation wil spotlight innovative teaching denied, However, with the lack of specialists in the schools strategies and movement activities designed to seamlessly there needs to be effective support for the generalist integrate movement into teaching curriculum. Drawing educator if there is to be exceptional dance education. from a teachers' workshop conducted by the presenters, it wil offer valuable insights into the impact and potential of Room 026 these approaches on early childhood educators. Moreover, the presenters wil share their reflections on ID: 3081 creative dance practice in their respective countries Empowering student teachers in Denmark, South Australia, Japan, and Estonia, providing diverse Africa and Finland to use embodied-artistic pedagogy perspectives on its implementation and impact. A Q&A for arts-integrated and intercultural processes in session wil allow for queries to be addressed and further schools insights to be shared. Marelize van Heerden ID: 3140 Nelson Mandela University, South Africa Dimensions of Embodiment in the Students' Reflections of the Course Embodied Approaches to Charlotte Svendler Nielsen Creation and Education University of Copenhagen, Denmark Urša Rupnik Gerard M. Samuel Freelancer, Slovenia University of Cape Town, South Africa Pedagogical faculties in Slovenia teach methodical As classrooms many places in the world become more subjects on incorporating creative dance as a teaching diverse there is a need to find ways of teaching that can approach in the kindergarten and primary school contribute to create experiences of meaning and curriculum, in line with the numerous researches that belonging, and to use the differences of children and young validate the positive effects that creative dance has on all 47 d a C i - D a nce and the Child International Conference 2024 areas of child development. Even though students learn Serenity Wise how to use creative dance in the pedagogical processes, University of Auckland, Dance Studies department, New they are not exposed to the experience of creative dance Zealand as a holistic discipline themselves. At the Faculty of Inclusive community dance practices can foster a sense of Education of the University of Ljubljana, we designed the belonging for participants, creating a supportive elective course “Embodied approaches to creation and environment for young dancers to explore additional education” because, in our experience working with channels of their own interests and creativity. Like a students, dance-didactic courses also significantly impact metaphorical river sprouting new waterways, the students' own perceptions. The course is intended for the community dance space can nurture dancers’ creativity in student's personal experience; the key topics of this ways that expand beyond the activity of dance. This course include embodied learning, creation, interpersonal presentation wil explore the roles of belonging and synchronization, and dance as a vehicle for (individual, inclusion in fostering a sense of personal development for communal, and group) experience. We present the results dancers that have participated in community dance groups of a qualitative study that combined art-based and from a young age, and how their group participation led to participatory research. We conducted a qualitative the discovery of additional creative and vocational analysis. The course evaluations from students with interests, passions, and skill building. Through case different educational majors were qualitatively examined studies and scholarship, we wil consider the experiences and categorized using Svendler Nielsen's (2015) six of community dancers who joined as youths and grew their dimensions of embodiment as a framework. The findings interests and capacities both within and outside the field of provided insight into the significance of dance based dance. We wil also discuss the importance of inclusivity as coursework for students' higher education, not only for an agent for fostering multifaceted participation and their career paths but also for their individual artistic development amongst dance learners of all ages. creativity, expressiveness, and performativity, understanding and sensing how their bodies function when ID: 3102 at rest and during movement, participating in group The Intention of Dance in Higher Education: a projects and forming relationships with others while community perspective challenging social norms and values. Joy Guarino Room 209 daCi USA, United States ID: 2967 Dance at Buffalo State University delivers a liberal arts A meta- analysis of inclusion pedagogies within education and embraces a civic and community community dance engagement philosophy in all aspects of the program. Rather than matching current careers in dance to Ralph Buck perceived community priorities, the community-engaged The University of Auckland , New Zealand research purposely began with community voice. This process included investigating the possibility of dance Susan Koff having an impact and then considered the education and New York University, United States training that are essential for providing the required skil s. Program leaders col ected data on-site through Barbara Snook observation and formal interviews, with questionnaires, University of Auckland, New Zealand and in conversation. This design comprises a community- based dance program that wil fulfil our dance students’ Dance is valued by diverse communities as a means to distinct aspirations and local and global societal concerns. foster inclusion, imagination and identity. A European Starting with this community dimension offered a fresh Commission report Culture, and Democracy: the evidence, perspective of possible careers for students after noted that, “Cultural engagement [inclusive of arts graduation and the education and training necessary to education] can play a key role in strategies for the inclusion cultivate these required skil s. The results impacted the of communities at risk of exclusion” (2023, p. 30). Dance configuration of Buffalo State University’s interdisciplinary can be used as a means to support communities at risk. dance program. We now consider community priorities This paper offers a meta-analysis of how dance has been through course content, capstone projects, choreography, used in diverse communities as a strategy for fostering and community service-learning projects. When inclusion and identity. Specifically the research wil focus considering the discipline of dance and its impact on our on how dance has been taught in such a way as to foster world, we believe everyone should dance and have access inclusion and a sense of community and individual identity. to quality dance education. Therefore, in addition to This paper reports on the common pedagogical practices teaching technique courses, the role of the dance curricula utilised in diverse community dance projects. is to connect students to an inner understanding, appreciation, insight, and curiosity, resulting in obtaining ID: 2952 21st century skil s. The implied career options include not Rivers of inclusion: the channels of participatory only artistic performance and choreography. They also opportunities created through inclusive community include commercial dance, education, administration, dance practices therapy, community education, and health and wel ness for a variety of populations. 48 d a C i - D a nce and the Child International Conference 2024 Lecture demonstrations methods and then discuss the advantages and disadvantages of these tools together with the participants. The aim is that the participants wil also get to Room 014 try out a few exercises themselves and create material with a site specific approach. ID: 3885 Dance a book 12.15–13.45 Studio 4 - Art High School Sophia Färlin-Månsson Stockholm University of Arts, Sweden ID: 3046 Roots and Wings: The Dance Life and Legacy of Dance a Book is a teaching method to combine children’s Virginia Tanner reading and language learning through creative Dance. The method promotes an artistic approach to use the body in Mary-Elizabeth Manley dance and at the same time developing language and Professor Emerita and Senior Scholar, Dance reading skil s. By embodying the book, the children get a Department, School of the Arts, Media, Performance & higher comprehension of language and reading, and Design, York University, Canada reverse, the book is an inspiration for movement and dance. The method may be used with any book, adapted This lecture/demonstration wil share the overall vision and for the age group that you work with. The method has been key concepts of Virginia Tanner’s (1915-1979) created in a collaboration between Sophia Färlin-Månsson comprehensive dance teaching philosophy. Excerpts from and the State Library of Uppsala, Sweden partially funded the recently published biography, Roots and Wings: The by the Swedish art council. The material includes a tutorial Dance Life and Legacy of Virginia Tanner, wil be presented of the methodology and specially created music. The by the author, Mary-Elizabeth Manley. Improvisational and methodology has been taught at Stockholm University of choreographed components, danced by members of the the arts and at the University of Gothenburg. Since 2017 Children’s Dance Theatre (CDT) and arranged by Artistic Dance a Book has been established in Pre-schools, Director, Mary Ann Lee, wil be incorporated throughout Schools and Libraries al over Sweden and Sophia has held the presentation to il ustrate Tanner’s dance teaching more than 300 Dance a Book-workshops for children in philosophy for children and youth. Beginning with Tanner’s ages 2-9 years old. The lecture demonstration wil start chief mentors, Evelyn Davis and Doris Humphrey, the with an oral presentation and then the participants are session wil reveal the figures, influences, junctures and invited to try to Dance a book physically. The workshop discoveries that helped Virginia formulate her dance combines reading, discussion and dance improvisation. teaching methodology. While the Children’s Dance Theatre wil demonstrate some of the modern technique devised Room 102 by Virginia that is stil an enduring element of their training today, they wil also il ustrate how she helped youngsters ID: 3033 navigate the transition from dance improvisation, to dance The Power of Play - Creating Interactive composition and finally into the realm of dance-making. Performances for Public Spaces Tanner recognized the aesthetic necessity of showing opposing strengths and possibilities in all her work with Annu Ronkainen young people, and chose the stunning image, ‘Roots and Dance teacher, Finland Wings,’ to express her philosophy of children’s dance. Roots and Wings (a dance work arranged by Tanner This lecture demonstration tackles the subject of remaining in the Children’s Dance Theatre’s repertoire performances in public spaces with a focus on interactivity today) introduces the lecture/demonstration. To il ustrate and how to engage the audience through playfulness. The how Virginia Tanner’s philosophy continues to inspire pandemic forced al performing arts to find new concepts young people, teachers, choreographers and audiences to and venues outside the black box and I’ve noticed that the experience the art of dance, a performance piece, created demand for arts in alternative places has been increasing by the CDT dancers and Tanner teacher and ever since also in the field of dance. I want to share my choreographer Joni Wilson, wil complete the session. experiences and the tools of the artistic approach that I have developed together with my colleagues over the last Movement Workshops 12 years in the company called React Public Performances. In the company we are 6 artists from four different countries (Finland, Sweden, France and Portugal) Small Gym with various backgrounds and educations. What unites us, is the interest in movement and dance - although we use ID: 2963 also elements from circus and theater in our creation Create, Perform, Respond and Connect through processes. The main topic I want to address in this lecture Social Emotional Learning Literature demonstration is how we in the company use play and playfulness as a choreographic tool to create both movement material and as a way to move the audience and connect with them. I wil share some of our React’s working 49 d a C i - D a nce and the Child International Conference 2024 Chara Huckins global acceptance. Target audiences: Understanding University of Utah Tanner Dance, BTS Arts Learning rooted jazz dance is essential for dance educators who Program, United States wish to decolonize and visibilize the social and kinetic elements of this evolving art form. Through embodied In this movement workshop, participants will create, practice, students of Secondary School age and older wil perform, respond, and connect with nature as wel as gain embodied knowledge and respect for jazz dance as social emotional learning, science and language arts an authentic Black American art form. curriculum. Participants wil investigate through movement the physical and cognitive aspects of nature using the Gym 1 book, Stick and Stone (Ferry, 2015) as a springboard. This book wil provide interdisciplinary opportunities for ID: 2968 exploration of story characters, interconnecting with visual LET’S make a DANCE – using Laban based material to arts, emotions, science concepts, and vocabulary facilitate choreographic processes enrichment. Stick and Stone is about a lonely tree branch and rock that find friendship and strength together. Stick Sabine Kaross and Stone feel very alone. Isolated, their solitary figures University of Education Freiburg, Germany appear downcast, until a chance encounter. Participants wil improvise using images from the environment as well Stefi Schmid as literature. Using their kinetic imagination participants Independent dance entrepreneur, Germany wil connect and combine images, the springboard book, curriculum concepts, and movement to inspire new dance To become literate in dance, four competencies are vocabulary. The workshop wil culminate in a required: creating, performing, observing and viewing, as choreographic dance created by the gathering dancers, wel as reflecting. As a dance educator, your task is to individuals, and participants, learning through each other’s facilitate the achievement of those goals by providing movement discoveries. Through the creative process, comprehensible structures, e.g., with the Laban dance participants wil explore not only the external concept applicable within every dance technique (e.g., interdisciplinary experiences but also the innate creative bal et, modern, urban). It offers six categories (body, value and ideas generated through literature. Participants space, effort, shape, phrasing, and relationship) with wil be provided lesson plans and outlines for the specified various elements. They can be depicted with graphic workshop to guide them through creating their own symbols. Motif writing, the "small sister" to the very creative movement experiences. complex but accurate and detailed labanotation, is a basic tool that al ows for the development of the above- Gallery mentioned competencies in young dancers. Laban based teaching materials that use motif writing are inclusive: ID: 2862 dancers of all ages (from 3 to 99) with different abilities can Rooted Jazz Dance and the 6 I’s notate their dances, even if they are not (yet) able to write. The use of motif writing addresses several sensory Patrica Cohen (learning) channels: bodily-kinesthetic, auditory, and NYU/Steinhardt, United States visual. – Young dancers sometimes call motif writing a secret language: "Labanesian". In this workshop for dance Rooted jazz dance, the intersection of the Africanist educators, we wil focus on motif writing for dance making. aesthetic, social dance, equity, creativity and African We wil make use of Laban based teaching materials Americans’ lived experience, incorporates and insists upon (posters and cards). First, we introduce the categories and daCi’s 6 I’s. This movement workshop wil explore their elements (posters). Then horizontal and vertical motifs Imagination, which may be revisited endlessly through (using individual cards) are the starting point for the dance seeing and performing movement differently with each making process: the dance educators wil try out, observe, friendly chal enge. Improvisation is the heart of rooted jazz combine, vary, discard and discuss its benefits dance, without which jazz disappears. Inclusion: (multisensory learning, multiple intelligences) and vernacular movement is accessible to all people regardless limitations (are there any?). of ability, skin color, or dance background because it is based in social dance and community. Identity: jazz dance Gym 2 is a Black art form shared with and adopted by people around the world. Community is manifested in the circle in ID: 2997 West African cultures, the Ring Shout of enslaved people, Decolonizing Laban Movement Analysis, a Practical the Big Apple from the Swing Era, and the cipher in Hip Application Hop. Intel igence is ingrained in jazz conversations, i.e., cal and response, performer-spectator interactions. Jil Pribyl Interdisciplinarity: jazz music is essential to jazz dance. University of Kisubi, Uganda Through movement, discussion and visual aids, we wil explore rooted jazz dance’s traditional steps developed in Grace Ibanda Flavia gathering places like clubs and jook joints, create phrases University of Kisubi, Uganda generated from group improvisations, and relate this vibrant and evolving art form to American history and 50 d a C i - D a nce and the Child International Conference 2024 "Decolonize Laban Movement Analysis: A Practical look at one of these aspects from their unique research Workshop" offers a transformative exploration of lens. The panel will conclude with a discussion by all movement analysis within a decolonial framework. This panelists on the connections of these areas to one another workshop chal enges conventional paradigms by in the dancing child, and the implications of this research acknowledging the diverse cultural expressions and for pedagogical design and advocacy for dance. perspectives that inform human movement. Participants Educational researcher Dr. Monica Frichtel (University of engage in a dynamic learning experience, reevaluating Delaware, USA) wil explore democratic, col aborative, and traditional interpretations of Laban's work through a lens phenomenological teaching/learning processes in dance of inclusivity and cultural sensitivity. Through interactive with undergraduate col ege students as a way to il uminate sessions, attendees delve into the historical context of how to foster inclusion in dance. Dr. Frichtel’s work movement analysis, recognizing its Eurocentric origins and involves in depth qualitative research, highlighting voices the need for a more global perspective. Emphasis is placed of students participating in a general education course on dismantling colonial biases and recognizing the rich examining diversity through the lens of dance, as well as movement traditions of non-Western cultures. Practical elementary aged students participating in a school based exercises guide participants in integrating these insights dance program employing similar democratic and into their own movement practices and pedagogies. The collaborative teaching/learning strategies. Findings of this workshop fosters a col aborative environment, study suggest the feelings of “belonging” are central to encouraging open dialogue and shared experiences. students' experiences of engagement and relate to notions Participants gain practical tools for adapting Laban of identity. Also examining the collaborative nature of Movement Analysis to diverse cultural contexts, ensuring dance instruction, Dr. Miriam Giguere (Drexel University, its relevance and accessibility across communities. This USA) wil look at the cognitive benefits of dance study includes strategies for acknowledging and respecting which includes attention to the group creative process. different movement vocabularies and expressions. Based on her research with elementary aged children, Dr. Furthermore, the workshop addresses power dynamics Giguere wil share a comparison of cognitive strategies within movement analysis, promoting ethical practices that used in dance creation with thinking and reasoning empower individuals and communities rather than methods documented in other areas of academic study. reinforcing hierarchical structures. Participants leave with Dr. Christian Kronsted (Merrimack Col ege, USA) wil look a renewed understanding of movement analysis as a at improvisation in dance as it impacts identity from a dynamic and evolving discipline that can be harnessed for cognitive science and philosophical perspective. A cultural exchange, social justice, and personal growth. This researcher in 4-E cognition (embodied, embedded, workshop wil provide a vital step toward a more inclusive enactive and extended) Dr. Kronsted wil look at the and culturally sensitive approach to understanding and cognitive processes that unfold during participation in interpreting human movement. By recognizing the plurality group dance improvisation; Moving together can lead to of movement experiences, participants can apply the formation of emergent joint selves which is intimately movement analysis in ways that honor and celebrate the tied to experiences of col ective effervescence. Col ective diversity of human expression worldwide. effervescence in turn is tied to the formation of identity. Finally, Dr. Matthew Henley, (Teachers College, Columbia 14.15–15.45 University, USA) wil present the results of a qualitative Panel discussions research project which explores how intel igence manifests across physical, cognitive, social, and affective domains during the process of learning in a dance technique class. He wil expand on the 4E cognitive perspective by Room 048 describing how dancing together develops individual and group identities through culturally situated ways of ID: 3076 knowing and being. Research and the Dancing I-Body: What the evidence says about Inclusion, Intelligence, Improvisation and Paper presentations Identity in children’s dance Miriam Giguere Drexel University, United States Room 026 Monica Frichtel ID: 2861 University of Delaware, United States How Does materiality matter in dance education? Matthew Henley Petra Hultenius Teachers College, Columbia University, United States Stockholm School of the Arts, Sweden Christian Kronsted The study research the teaching process of making a Merrimack Col ege, United States dance show within the Community School of Arts from a posthuman perspective. The research material for the This panel of dance researchers wil look at the benefits study was generated from the Community School of Arts and impact of dance education on inclusion, intelligence, in Stockholm (Stockholm School of the Arts). The study improvisation, and identity, in children. Each panelist will identifies matter that is making a difference for the dance 51 d a C i - D a nce and the Child International Conference 2024 teaching and learning in a process towards making a ID: 3048 dance show at the Community School of Arts of It's all about dance - effects of intervention Stockholm. The study investigates and articulates programme on different aspects of development in performative force between human and non-human children and adolescents with intellectual disabilities matter. The subject areas Body, Music/Sound, Clothes, Light and Space was identified as materiality’s of Katja Bucik importance. The study discusses how dance teaching and Centre for rehabilitation and education Vipava - CIRIUS learning can benefit from a more reflective use of matter Vipava, Slovenia and argues that knowledge-making in the Community School of Arts can be seen from a rhizomatic perspective. Therapeutic treatment of children and adolescents, That implies that the Community School of Arts can give including those with intellectual disabilities (ID), is more students the opportunity to experience art and dance effective when carried out using movement and various education from their different points of interest. I argue that sensory processes. The main intent of the presented study a more reflective and conscious use of matter can in this article was to analyze the effects of a dance- positively transform the dance teaching and learning of movement intervention programme on different aspects of today to be more including and make it possible to more development (communication, movement and social and different students to take part and develop. In a wider interaction) in children and adolescents with ID. We were perspective the matter of matter in dance teaching and particularly interested in the characteristics shown by the learning is a question that fosters environmental children and adolescents with ID in the selected areas of consciousness building on the sense that we share and are development (e.g. establishing and maintaining eye part of the same world, where matter matters. contact, level of social inclusion, movement repertoire, quality of mirroring and imitation of movement patterns of ID: 3023 other people) prior to the dance-movement programme, Once Upon a Time: A Movement Dialogue immediately after its completion, and six months later. The results show that al five children and adolescents with ID Elisabete Monteiro had difficulties in all of the selected areas that were the Faculdade de Motricidade Humana – ULisboa (FMH-subject of research. After the programme was completed, ULisboa). INET-md | polo FMH e FMH – ULisboa, all five children and adolescents with ID demonstrated Portugal improvement in all examined aspects. Six months after the programme, the results for the five programme participants Paula Lebre in all three domains measured showed some decline in the Faculdade de Motricidade Humana, Portugal programme's effects, but overal , the individuals performed better than before the programme. The model We chose this title in the context of the project Story for designing a dance-movement programme for people Makers: Many Voices Many Lives (2021–2022), co-funded with ID and ways to measure its effects on various areas of by the European Union’s Erasmus+ Programme, in a an individual’s functioning is also presented in the article. partnership with agencies from the UK (Hammersmith and Fulham), Poland (Teatr Grodzki), Portugal (Faculdade de ID: 3211 Motricidade Humana) and Cyprus (Síntese). The focus is Empowerment through Dance and Movement among on developing creative and innovative materials used not female Asylum seekers: Researcher's Reflective only for young workers, education professionals and practice socially excluded youth, but also to enhance the professional practice of anyone working in all age groups Hana Alhadi and with different abilities. We intend to present: a) a brief Independent Practitioner researcher (at the moment of conceptual framework regarding story making, social applying), Slovenia exclusion, social inclusion and young workers, b) a short video about the Story Makers partnership: The paper presents the situation of female Asylum seekers https://youtu.be/zbVeGa172aE; c) the main results of the who were accommodated in the Asylum Centre in project implementation, especial y some of the multiplier Ljubljana, and how they deal with feelings of vulnerability, events; and d) a portal with free tools and materials for passivity, uncertainty, and the tensions by not being in everyone to use on STORYMAKERS control of their lives. The author facilitated Dance and (storymakersportal.com). We will briefly mention the digital Movement workshops in the Asylum Centre, and by using guide (long and short), which has four constitutive Freire’s concept of “critical consciousness” she examined modules: Puppets and Objects, Creative Movement how these women through engaging in those activities, (sharing some of our experiences with our dance students), transformed their status from being “an object” under other Creative Writing and Art, and Creative Narratives. Each people's control to becoming “a subject” using their own module has six session proposals. Final y, we want to narration. The main focus of this paper is the researcher’s emphasise that the promotion of methodological, social, reflective practice in the above described research personal and entrepreneurial skil s is the first step of an process, within which she examines how this process was ongoing process, followed by the development of a career influenced by prospective and retrospective reflexivity and plan as a desirable impact of the future results of this also how the researcher was affected by it. Besides project. repositioning her power relationships and building trust with research participants through encouraging mutual 52 d a C i - D a nce and the Child International Conference 2024 learning, the author also positioned herself in physically Torun Mattsson vulnerable positions during the workshops (f.e. moving Malmö University, Sweden with closed eyes, letting her body fal ). In that way she exposed herself to similar process as that of the The marginalized role of dance in the educational sector is participants, and entered the vulnerable position of the worldwide highlighted by dance researchers and researcher, transforming also herself from being an educators (Parviainen 2002; Sansom 2011; Smith Autard, “object” within the role of the researcher to being a 2002). In collaboration between dance educators and the “subject” with her own personal narration. The findings of educational sector, different goals, perspectives and the research present approaches and practical tools that conditions are articulated, molded together and are useful for educators working with children and youth sometimes involve tensions and opposite agendas. This and are applicable to their work. brings possibilities as wel as chal enges into collaborations. This presentation problematizes the Room 016 – Faculty of Education experiences of collaboration between preschools, afterschool educare centers and visiting dance educator or ID: 3222 dance associations. From a discourse analytical Teaching dance to support language development in perspective (Potter and Wetherel , 2007; Potter, 2008) the young children article investigates the understanding, ideas and norms different educators within dance associations, cultural- Saskia Sap school and the early childhood educational field express Amsterdamse Hogeschool voor de Kunsten, Netherlands when describing their experiences of shorter or long- lasting collaborations. During semi structured group Children like to move, especial y young children. But interviews the respondents describe their experiences of moving our body is also a good way to learn cognitive collaborations related to dance in early childhood tasks, like learning language. We cal this embodied education. The variety of discourses relates to the inclusion learning and, in my research, I used this in dance classes of children’s perspectives and ideas, the role of the for 4 to 6 year olds in primary schools in Amsterdam. For educator, framework- factors and different perspectives on my research, I tested a teaching model in three primary learning in, about, with and through dance emerge. schools. As is the case in many cities, Amsterdam has a Discourses are described and discussed from a didactical population that is very multicultural. Around 30% of the perspective (Pramling Samuelsson & Johansson, 2007, children in Amsterdam have a migration background. For Selander, 2017; Stinson, 2005). In addition, how dance and them, Dutch is the second language. We call these children gender intersect are mentioned by the respondents, and 'NT2 preschoolers'. When they are 4 years old and come the awareness on how to overcome gender stereotypical to school, their level of Dutch is in many cases not positions are part of the result. Dance teachers need to sufficient to keep up with the learning material. With three improve their knowledge about the context and didactical preservice dance teachers of the Amsterdam University of tools to reach out to al children. Dance col aborations may the Arts, I used dance to support the language be very suited to develop children in a holistic educational development of NT2 preschoolers. We worked together landscape. with the school teacher and designed our lessons in the same ‘theme’ the children were learning about in the ID: 3329 classroom, e.g. ‘Spring’, ‘Traffic’ or ‘Art’. In the school Taking a Chancz on Arts Education - Building Literacy gym, we represented the new words within the subject, Through the Arts together with the children. We used our bodies to learn new words and concepts. Through a rich learning Chancz Perry environment (the classroom as a theater), meaningful Freckled Face Entertainment Inc., Canada dance activities and a lot of interaction, we supported the children. Dance teachers and primary school teachers Sophia Yannitsos were very positive about the teaching model. For the ful Freckled Face Entertainment Inc., Canada research and the model (in Dutch): https://www.ahk.nl/onderzoek/research- Some teachers consider the arts to be just an extension of profile/publicaties/publicatie/dansend-nederlands-leren- education, an enrichment for students. Sophia Yannitsos voor-nt2-kleuters/ and Chancz Perry wanted to change that. Both believed that the arts are a way of knowing through teaching, so ID: 3191 they col aborated to provide diverse dance and music Discourses on dance collaborations- challenges for a programming to kindergarten students at St. Kateri holistic education Tekakwitha School in Regina, with the goal of supporting literacy outcomes. They created a short video of the Martha Maria Pastorek Gripson process and wil present aspects of how self-expression Halmstad University, Sweden through dance and music transfers to students’ vocabulary development. They show that students learned literacy Anna Lindqvist outcomes through kinesthetic awareness, music, Institution, Country: Umeå University, Sweden alongside story. The aim of the project was to provide five modules; a cultural awareness and sensitivity workshop for teachers; creative dance; First Nations hoop dance; 53 d a C i - D a nce and the Child International Conference 2024 Ghanaian dance and drumming; and international Orff competence treating it as one of the fundamental Pedagogy barred instruments. In addition to learning about educational values. In that regard, it is important to focus dance and music, students and teachers were exposed to on applying suitable teaching strategies and methods that cultures and customs from around the world. As a result, have a positive developmental impact. In the educational students were completely engaged and built confidence context, creative dance focuses on the child and its over the course of the program. The programming made a personal and social development. Therefore, the aim of this lasting impression on the students as students were paper is to examine the ways in which creative dance bringing what Sophia and Chancz had shared with them contributes to students’ social competence development. back into the classroom and taking the knowledge they Taking interactive communication and the components of learned in the project into their everyday lives. They arrived social competence as the starting point, creative dance at the results by not teaching students to be actors or activities were developed with a focus on the development singers or dancers or hoop dancers, but by using art forms of communication, cooperation, kinesthetic empathy, and as a vehicle for physical expression, for building social collective problem solving. Creative dance activities were relationships, for gaining knowledge and understanding. conducted during homeroom classes at the contemporary dance department of an art school. The activities were ID: 3105 conducted during 10 sessions spread across a period of 3 Implementation of Multi-sensory Activity by Teachers months. The participants were 11 students from 7 to 11 in Early Childhood Education years of age. The col ected data obtained using interviews, video recording of the creative dance activity and a Abdul Halim Masnan collective drawing activity at the beginning and in the end Universiti Pendidikan Sultan Idris, Malaysia of the research were qualitatively analyzed. The results of the analysis indicate that there are positive changes in the Syazwani Aniyah Manja students’ display of their social competences. The paper Universiti Pendidikan Sultan Idris, Malaysia also discusses the effects of creative dance on the development of specific components of social The purpose of this study was to survey the barriers to competence. implementation of multi-sensory activities by teachers. Perception among early childhood education teachers is ID: 3066 seen based on teachers’ responds toward the barriers in Come fly with me dance ideas underpinned by a implementing multi-sensory activities in their teaching and triangulation of imagination, inclusion and learning process. This study is a survey study using a improvisation critically reflected upon questionnaire and the questions were evaluated based on frequency, percentage, one-way ANOVA and T-Test. The Name: Sue Cheesman respondents involved in this study are teachers of early University of Waikato, New Zealand childhood education in Mual im District, Perak Malaysia. The total number of respondents involved is 30 teachers. This presentation unpacks and critically reflects on the The findings of the study found that the greatest barrier for Come fly with me dance ideas workshop. Underpinned by teacher in the implementation of multi-sensory activities in a triangulation of imagination, inclusion and improvisation early childhood education is lack of equipment while the how does this applied dance practice, using the context of least barrier faced by teacher is in term of parent a series of dance ideas around flying kites, reflect the opposition. Other than that, even there are not significant, process of dance teaching and learning. Through semi but by mean score, a teacher with bachelor’s degree and narrative auto ethnographic methodology has allowed for master’s Degree more likely facing a barrier to me to reflect on my own practice honed over several years, implementation of multi-sensory activities. The findings with a piecing lens to shine a light on the ups and downs also found that teachers who did not attend any courses of kite flying topped off with the occasional crash landing. related to multi-sensory activities faced more barrier with Both pedagogical and content perspectives are (M=20.85) compared to teachers who have attended investigated in this particular context of working with related courses with (M=18.90). primary school focused teacher trainees. The specific challenges this project raised in terms of the turbulence Room 209 between specific dance steps and creative tasks. Possibility thinking coupled with the question ‘what if’ are ID: 2945 in full flight weaving in and out of being curious, embracing The Contribution of Creative Dance in Students’ challenge, stepping outside the square, incorporate your Social Competence Development own ideas, trial and error, dance play, tolerating messiness and developing the courage to preserver. How do these Senka Žižanović dance ideas give the participants agency? With reference Assistant Professor, Croatia to current research these complexities and pluralities are considered culminating in the celebratory success of Antonija Blažević dancing human kites. univ. spec. art. therap., Croatia The pedagogical approach to social competence puts focus on fol owing and developing children’s social 54 d a C i - D a nce and the Child International Conference 2024 ID: 3210 Togetherness – a physiological unity sensation. This case Movement-dance activity in the forest study explores the practice of generative dance and subjective experiences related to shared space-time and Tina Koscak Togetherness. Part of a doctoral research project at the Primary School Gradec , Slovenia Faculty of Human Kinetics, University of Lisbon, funded by the FCT - Foundation for Science and Technology, this My presentation introduces a movement-dance activity in research examines the interplay between generative art, the forest with multi-layered objectives. Among others, dance, and the creation of a collective, evolving these are: emotional aspects (calming, self-awareness, choreographic experience. concentration …), movement goals (motor skil s stimulations, incorporating elements of BrainDance), and cognitive aspects (learning specific content) of students. The paper presents an example of a school group (students from grades 1 to 3) engaging in creative Lecture demonstrations movement within forest settings. We explore the evolutionary development of movement patterns through Room 014 the animal kingdom, which paral els the movement patterns of infants in the first year of age. By practicing ID: 3014 specific movement patterns in the forest, we include the The Gift of the Forest: Te Koha a Tāne approach of BrainDance. Research shows that such exercises improve cognitive abilities and contribute to the Liz Melchior reduction of dementia, promote flexibility, improve the N/A, New Zealand physical core, reduce fatigue and stress, and contribute to improving attention and focus. BrainDance exercises Priya Gain promote reflex integration, the foundation for healthy brain University of Auckland, New Zealand development. The activity includes the exploration of movement concepts (space, time, force, body), uniquely The proposed lecture demonstration wil share a resource facilitated by the forest environment, fostering an aesthetic developed in creative collaboration between indigenous development process. Students are exposed to various (Māori) and non-indigenous dance and music educators in stimuli, such as air, water, animals, plants, and soil, Aotearoa New Zealand. The dance and rhythmic material creating a space for connecting with nature. It is currently developed through this bicultural partnership build on te ao the second year that I am gradual y implementing Māori (Māori worldviews). These include the rhythm of te movement activities in the forest. I’ve observed students reo Māori (Māori language), pūrākau (oral storytel ing), establishing a stronger relationship with nature, easily waiata (song), and whataktaukī (proverbs). The resource grasping the content, and exhibiting greater relaxation and aims to support learning in a way that explores the wairua self-awareness, which is reflected in good cooperation (spirit), mauri (life force and energies) of a language with classmates. practice that is steeped in the use of word play, metaphor and symbolism. The material is combined with creative ID: 2971 learning processes that invite improvisation, imagination Generative Dance: Crafting the 'We' through and interdisciplinary engagement. Participants wil engage Relational Ontology in structured improvisational dance and rhythmic activities, to develop ideas around themes of sustainability and Ana Leitão ecology that sit at the heart of this resource. The INET-md Institute of Ethnomusicology - Center for the collaborative process wil be discussed within the context Study of Music and Dance, Faculty of Human Motricity of current research. As part of this discussion, examples of (FMH), Lisbon University, Portugal the resource in action wil be shared from both English language (mainstream) and kura Māori (Māori immersion) Generative art involves artists creating their work through schooling contexts. Participants wil be encouraged to predefined rules, establishing a system that self-organizes consider how the exemplar supported relational (Galanter, 2003). In generative dance, compositions engagement between indigenous and non-indigenous adhere to organizational principles (Leste, 2014). Similar to dance and music educators. It is hoped that they wil find non-high-tech Generative Art, generative dance is their own relevance and connection with both the themes intertwined with choreography, where dance emerges from of environmental sustainability and creative dance learning intricate performer relationships, akin to a rhizomatic grounded in improvisation, imagination, interdisciplinarity system. Performers col aborate to shape shared space- and identity. time, achieve group cohesion, and co-create a dynamic dance, involving bodily states like suspension, attention, Room 102 and impulsion (Parra, 2020). Choreographers catalyze this process, striving for structural balance and encouraging ID: 3230 emergent collective behaviors while providing interaction Goodness, Gracious! Australia's Hidden Connection rules. Generative dance emphasizes a relational ontology to the Origins of the Educational Folk Dance and sensory awareness, promoting self-organization of Movement for Schools & Playgrounds bodies, group cohesion, a shared identity as 'We,' and 55 d a C i - D a nce and the Child International Conference 2024 Erica Okamura desire to dance bal et increased by the lesson and after the Independent Researcher, Australia lessons, the student’s knowledge was broadened, and their opinion changed. Students' general wel -being In schools across Australia, the use of folk dances for improved after the ballet lessons. The presentation will be physical education and recreation can be traced easily to conducted as a 15 minute lecture about the thesis’ theme the 1930s. A popular notion that folk dancing first entered and followed by a 30 minute ballet activity where the Australian schools in this era, however, is incongruent with participants wil be encouraged to experience bal et in a the history of the broader educational folk dance way that students of primary education would. movement when considering certain trends in educational and social reform that happened concurrently in the UK, USA, and Australia. These trends -- to include the Muscular Christianity, Arts and Crafts, and New Education movements -- laid the groundwork for a well-orchestrated educational Folk Dance movement to blossom in British Movement Workshops and American schools and playgrounds by 1909. The paral el history for folk dancing in Australian schools and playgrounds at this time has yet to be written. In 2023, dance historian Erica Nielsen Okamura was researching Small Gym the first known folk dance resources used in British and American schools when she came across a 1912 ID: 3317 Australian edition of Grace McMil an's "Swedish Body Landscape workshop with dance, voice, creative Recreative Exercises for School & Playground," originally drawing and writing published in the UK c.1905. This discovery prompted a year-long journey to uncover the story of Grace McMillan, Jelena Oleami which is now summarised on the website Kulturno izobraževalno društvo Plesonoga, Slovenia www.SwedishCastle.com. In "Goodness, Gracious," Erica wil describe her research process and contextualise Miss In the somatic artistic workshop "Body Landscape" we will McMil an in light of the broader educational folk dance explore the inner map of our body and become aware of movement, recognising her as the first known Australian- the physical, emotional and mental landscape of our body born person to have a direct influence on its early through our artistic expression and therapeutic methods. development in the UK and USA. Attendees wil also be We wil use various art modalities to embody artistic invited to participate in children's singing-games/dances expressions through movement, dance, voice, creative that McMil an col ected in Sweden in 1904. drawing and writing to create a map of our inner and outer view that reveals where we are in life. This workshop is Room 012 intended for people who wish to incorporate the embodied creativity of the arts into their personal lives and ID: 3250 professional practices. In this workshop we wil use Master Thesis: Ballet as The Content of Dance methods of improvisation, visualization, experiential Extracullicular Activity in Primary Education anatomy, body mapping, experiential anatomy, aesthetic response. Some of the principals are unique to The Kleo Marinič-Žunič Tamalpa Life/Art Process®, also referred to as the Halprin Primary school teacher , Slovenia Life/Art Process®. In the master's thesis, the research focused on the idea of Gym 1 bal et being the content of dancing extracurricular activity in one of the primary schools in Ljubljana. The research not ID: 3025 only covered how ballet as an extracurricular activity Re-connect your Identity by Biodanza influenced children's opinions and knowledge about bal et; before and after bal et lessons, but also which dance Jana Berčič genres are being taught and the reason behind it. The aim Biodanza Rolando Toro, Slovenia was to research how students and teachers in primary education see ballet as an extracurricular content. For the Simona Škorja qualitative research the prime research subjects were one Biodanza Rolando Toro System, Slovenia group of children and three dance teachers. The examination was constructed of seven ballet lessons for Biodanza is the induction of integrative experience through the students during which their wel being was being music, voice, movement and dance through group work. monitored and each of the three teachers were Embodied knowledge through experience is methodology interviewed. The conclusion was that teaching ballet in of Biodanza. It can be applied to people of any age and primary education depends on an individual teacher if they condition, for different groups with similar needs or know the basics of ballet and if they have the interest to. It interests. Biodanza was created by Rolando Toro Araneda also showed that students before starting ballet lessons from Chile, who was psychologist, anthropologist and a did not have much knowledge about ballet, the prevailing teacher of primary education and he developed innovative opinion was that ballet is beautiful, but quite difficult. The teaching methodologies through art, which later gave rise 56 d a C i - D a nce and the Child International Conference 2024 to Biocentric Education. In biodanza workshop we use the Nicole Flinn-Culver integrating vivencias, experiences lived with great daCi USA, United States intensity, here and now, to stimulate the human potentials. The workshop creates a space for discovering the Joy Guarino authentic expression of the individual in a safe and daCi USA, United States accepting environment. The participant gets positive experience which leads to the empowerment of identity, Universities have a long history of making meaningful which in any case begins with emotional contact and is contributions to their surrounding communities. Now more discovered in the presence of the other. A fundamental than ever, developing students as active citizens through benefit of biodanza is the rehabilitation of the participant civic engagement (CE) experiences is critical. Research identities. Identity is the center from which we experience has shown connecting academic program learning the world and we differ from it. It is the awareness and the outcomes with opportunities to address local and global experience of being. Research shows that biodanza community priorities is a high impact, applied learning reduces the effects of stress and psychosomatic disorders practice. Civic engaged dance practices require creative and increases psycho-social abilities. It is especially curricula, quality design, and events that benefit students suitable for professions that require a lot of creativity, and local, national, and international community activities of social support and working with groups in the organizations. Dance as a movement language has the field of education and artistic creation. Biodanza is a power to create accessibility and inclusion across diverse method to re-learn, re-innovate, re-connect and re-feel student and community groups. When paired with the enjoyment of life. opportunity for students to recognize active citizenship through service-learning courses, independent study Gym 2 experiences, and choreography projects at home and abroad, practical life skil s can be developed in a safe ID: 3122 environment guided by an experienced educator. Having Improvisation in the frame of methodology of creative coordinated dozens of projects connecting students to dance for children and young dancers dance course content and cultural and community- engaged learning opportunities, the panelists provide in- Markéta Pucová depth background information and promising practices NIPOS ARTAMA, Czech Republic and discuss ways they intentionally incorporate civic engagement into the dance experience for their students. This workshop is designed especially for dance educators Students are often unaware of the fact that they can make who work with children and young dancers and want to a difference in the world. Community engagement explore the role of improvisation in creative dance programs provide a lens into this reality. These models pedagogy. It wil look at dance improvisation as a method, successful y support student participants and deepen a learning process and a way of creative expression. We respect and appreciation for diverse communities. By wil be interested in these questions: what is the place of utilizing student-centered pedagogical practices such as dance improvisation within the methodology of creative storytelling, creating cultural awareness, and utilizing dance pedagogy? How does creativity develop in dance integrated applications adaptable for in-person and virtual improvisation if I have complete freedom? If I have settings, the panelist challenge students to explore complete freedom, how quickly wil I exhaust my ideas? opportunities to connect the dance discipline to civic How quickly I can get lost? How to leave children and priorities. The community-based projects have engaged young dancers enough space to explore their own toddlers to senior citizens and refugees to special needs spontaneous dance/movement expression, while populations. They have taken the form of participatory nourishing and supporting their dance skil s? Is focusing workshops, lecture demonstrations, lesson plan attention on a specific topic in dance improvisation, on guidebooks, and dance performances and have occurred exploring and finding solutions within a specific in the classroom, dance studio, theatre, community, and assignment a way that stimulates and encourage virtually. We have experienced how global and civic creativity? engagement fosters emotional intelligence while offering a pre-professional dance experience. Graduates credit their 16.00–17.30 critical analysis and problem-solving skil s to participating Panel discussions in study abroad and community engagement programs. These skil s serve graduates well as researchers, practitioners, and educators. One Example involves a trip to South Africa in 2017, where the University students Room 048 performed a multidisciplinary production that focused on racial issues in the US and in South Africa. The university ID: 3108 students guided school age students to create dances Movers and Shakers: how dance can lead to active about becoming resilient. After the trip, several students citizenship indicated a goal of working in communities near and far, to provide dance experiences for children. Another dancer is Lynnette Young Overby now in the Peace Corps and credits her decision to the daCi USA, United States many opportunities to share her talents with individuals of all ages. Students are prepared to make a difference in the 57 d a C i - D a nce and the Child International Conference 2024 world by sharing their gifts in col aboration with groups called stolen children (the diary of Slavka Preložnik and the external to the university. When they can expand their memorial book of Pepce Medved), as wel as the knowledge by applying their skil s outside of the Pesmarica (Songbook) of Justine Marolt (NUK). The Diary classroom, possibilities for future teaching, performance of Anne Frank is on the UNESCO World Heritage List and service are broadened. alongside the Bible and Grimms’ Fairy Tales. The removal of Anne Frank’s diary from the Slovenian Language Arts Paper presentations Curriculum is an unethical gesture by the Slovenian government (2018/2019) and is contrary to the spirit of respect for children and the humanist message “what has Room 016 happened cannot be undone, but it can be prevented from happening again”. The Diary of Anne Frank has been ID: 2962 performed several times in Slovenia since 1958, and it Dance and Children’s Literature in Arts Education: appears in the 2023/24 programme at Theatro Koper Forwarding Aesthetic Discourses with the Help of (Capodistria) as children’s theatre and dance storytelling. Student Teachers in a Faculty of Education In the play, the first character, the literary Anne Frank, reads an extract from The Diary, while a second character, Barbara McNeil an imaginary friend (Dear Kitty) appears as her alter ego. University of Regina, Canada The imaginary friend is a dancing figure whose movements reflect or mirror Anne Frank’s thoughts. Other characters In a compelling article on “Dance in Arts Education” with choreography are dancers who use modern dance to Maclean informs us that, “[d]ance can take a variety of illustrate the most important events and thoughts. The play forms from simple spontaneous activity to formalised art or is also multimodal, with a video projection showing a from a social gathering to a theatrical performance – broader picture of the Second World War, including [dramatic performance]. In this presentation, I describe allusions to the wars of today. How to teach, learn and working with student teachers to respond imaginatively represent the Holocaust, or children in wartime more and aesthetically, to carefully chosen multicultural, and generally, is a complex topic in education and culture, imaginatively-abundant children’s literature via dance and ranging from the Children’s Crusades (1284), through the movement—languages of the body: tongue, heart, mind, Hamelin Children’s Tale (1816), to the present day. Anne and the page-- as ways of exploring and forwarding Frank wrote: “How wonderful it is that no one has to wait aesthetic discourses in the interest of understanding self, even a moment before starting to make the world a better other, the human condition, and enlivened, inclusive, place”. It is little known that Anne Frank had a Slovenian multicultural classroom spaces where al children are friend (Anica Mislej) in Bergen Belsen (from 23 to 31 March included and valued. During the presentation I will 1945) and that Anne died in Anica’s arms. In an interview showcase examples of children’s literature that lend/have from 2009, Anica talks about her encounter with Anne lent themselves well to emotive/emotional articulations Frank. Perhaps this would be an inspiration for the theatre through dance by drawing attention to the power and to perform the second part of the dance story of Anne and beauty of words, ideas and images and, how together, they Anica. tel stories that are enhanced via imagination-fil ed articulations through dance. In addition, I wil share video ID: 3201 of student teachers engaged in creatively and Water Journey, an interactive guided tour of the performatively translating literature into dance. museum exhibition with a dance and movement Furthermore, I wil discuss the value of such culturally rich, workshop and experiment for groups of children from literary/imaginative, bodily translations for children who 4 to 9 years of age have difficulty speaking and for those who are new commers, learning the dominant language of schools. For Ema Marinčič such and other children, and student teachers, I wil Museum and Gal eries of Ljubljana, Slovenia illustrate the cultural and pedagogical value of storytelling through dance in Arts Education, and schools in general. The presentation aims to demonstrate how a natural science topic, such as water, can be presented in a ID: 3255 museum environment through dance or creative The Diary of Anne Frank as Dance Storytelling in movement to younger children. My wish is for the Children’s Theatre exhibition about water to be suitable for the youngest children, aged 4 to 9. Thus, I have been thinking about how Milena Mileva Blažić to engage the whole body in exploring this natural Faculty of Education, University of Ljubljana, Slovenia resource, which is so crucial in our lives. Alongside visual material, sound, theatre objects, actual contact with water, The article presents the topic of the Holocaust in the and experimenting with the functioning of a fountain, I have Slovenian curricula in three social systems (1984, 1998, also included a water cycle dance in the practical part. 2019). It is based on a literary analysis of children’s writings Accompanied by music and the story of the journey of a (diaries, poems and memorial books) during the Holocaust. water droplet, each child transforms into a water droplet Special attention is paid to the diary of 13-year-old Anne and dances their water cycle. The feedback from children Frank (1942–1944). The Museum of Contemporary History and teachers has been exceptional and encouraging, as in Celje collects the diaries and memorial books of the so- they do not expect anything like this in a museum. Children 58 d a C i - D a nce and the Child International Conference 2024 easily followed the interactive museum tour, which constitute a key component of the 2030 Agenda for concluded in the museum’s classroom, where they all Sustainable Development and are intended as a blueprint danced the water cycle together. They were focused and for peace and prosperity for al people on the planet participative, and al of them were active, from the (https://sdgs.un.org/goals#history). This presentation will youngest to the oldest. examine the daily workshops for children and youth, titled “Exploring Our Futures”, that were held during the daCi ID: 3039 2022 virtual conference. These sessions focused on the FORMA VIVA – an interdisciplinary project connecting UN SDGs. The participants were divided into 6 groups dance and visual arts involving pupils of organized by age, with 3 groups 8-12 years of age and 3 contemporary dance at music school groups13-18 years of age. Each group included participants from a minimum of two countries; for example, Sandra Koren one group encompassed youth from Canada, the United GLASBENA ŠOLA CELJE, Slovenia States and Uganda. The presentation wil describe the process through which these sessions were planned and The contribution presents an interdisciplinary project the subsequent curriculum that was developed, engaging contemporary dance pupils (ages 12-15) at Celje augmented by personal reflections of some of the Music School. The field of dance was intertwined with the “Exploring Our Futures” leaders/facilitators. The goal of field of sculpting. The pupils were introduced to the this presentation is to share how the SDGs were concept of FORMA VIVA, which refers to outdoor sculpture incorporated into sessions for children and youth, to collections. They’ve explored it extensively with the help of encourage others to employ the SDGs in their teaching, their teacher, which led them to interesting starting points and to offer information on materials to support these of the dance creative process. Their research culminated efforts. in the creation of a group choreography. The project's design followed dance pedagogical approaches that ID: 3080 emphasise the insufficiency of using a direct method of Exploring the Link Between Dance and UNESCO’s teaching and advocate for the implementation of diverse Sustainable Development Goals – The Case of themes and methods in dance education practice. The Barbados integration of sculpture with dance proved to be meaningful, as selected sculpture concepts were applied Aisha Comissiong in a new dancing context. They significantly shaped and Dancin' Africa, Barbados enriched both the dance creative process as well as the group choreography. Through their participation in the Dance, as an art form, embodies cultural expressions, project, the pupils developed their imagination, creativity, transcends boundaries, and fosters social cohesion. This and aesthetic sensibility, as well as honed their study delves into the intricate relationship between dance collaborative and group creative skil s. The interdisciplinary and UNESCO's Sustainable Development Goals (SDGs) nature of the project introduced them to new concepts in within the unique context of Barbados. With a focus on this the field of visual arts and provided insights into the Caribbean Island nation, renowned for its rich cultural interconnectedness of various artistic disciplines. Project heritage and vibrant dance traditions, the research work has proven to be an efficient approach when investigates how dance practices contribute to the organizing interdisciplinary collaborations. It encourages advancement of various SDGs, particularly those related to in-depth learning and an active role of the participants. cultural preservation, education, gender equality, and Interdisciplinary collaboration within a music school is social inclusion. By employing a multi-faceted research usually limited to the fields of music and dance. In the approach, this study uncovers the ways in which dance future, it would be intriguing to cooperate with external serves as a vehicle for community engagement and individuals and institutions. empowerment. It explores how local dance initiatives and institutions in Barbados play an essential role in preserving Room 209 the nation's cultural heritage while promoting inclusivity and equality. Additionally, the research investigates the ID: 2871 educational impact of dance programs on youth and Introducing the UN Sustainable Development Goals to adults, shedding light on the potential for enhancing quality Children and Youth education and lifelong learning as outlined in the SDGs. Ultimately, this research underscores the significance of Norma Sue Fisher-Stitt supporting and integrating dance as a means to foster York University, Canada cultural sustainability, education, gender equality, and social inclusion, highlighting its potential to drive progress The process of creating the United Nations Sustainable toward the achievement of the SDGs and offering valuable Development Goals (SDGs) began at the 1992 Earth lessons for the international community. Summit held in Brazil, with 178 countries adopting a plan of action in response to global concerns around the quality ID: 2873 of life for people and the need to protect the environment. “Leaving it all on the floor!”: Student perspectives of a The work continued for over twenty years, eventually dance-at-home course culminating in 2015 with the adoption by all 193 United Nations Member States of 17 UN SDGs. These 17 goals 59 d a C i - D a nce and the Child International Conference 2024 Marelize van Heerden gardening” transformative work of social and emotional Nelson Mandela University, South Africa learning that is unearthed, the dance. To conclude: The future dance gaze- like a plant with a child - wil then be In 2020, the Covid-19 pandemic struck South Africa and innovatively illuminated and questioned from the insights the dance education course for pre-service student of moving within a “plant playground” process, with the teachers had to be re-imagined for distance learning. aim of extending the liberative and co-creative potentials Global y, many dance educators moved to synchronous of achieving meaningful sustainable goals. learning platforms, but in South Africa students struggled with internet access, data, devices and the lack of Room 026 appropriate physical space to work synchronously. Hence, I designed an asynchronous teaching method that ID: 3085 facilitated dance experiences to my vastly diverse Nurturing perception of dance students: embracing students, at home. Students were provided with imagery in somatic movement explorations instructions for dance-making activities that they could do either by themselves or with their family members. Unlike Rita Rato other dance education methods, students could share the Faculty of Human Kinetics, University of Lisbon; Institute actual dance experience with family members, bringing the of Ethnomusicology - Music and Dance Studies Center - dance into the home and community environments. INET-md., Portugal Students had to provide evidence of participation in these activities by means of video recordings, photos or writing Maria João Alves a short reflection and received weekly individual feedback Faculty of Human Kinetics, University of Lisbon; Institute via WhatsApp voice notes. A reflective analysis of my of Ethnomusicology - Music and Dance Studies Center - personal experiences as designer and facilitator of this INET-md., Portugal course, found that this method of teaching creative dance seemed to create spaces for decolonisation, since many This paper wil present some findings of a study from the students explored their own indigenous movement faculty of Human Kinetics, University of Lisbon, which was vocabulary with their family or community members in the conducted with a group of 10 students from a higher dance-making activities. Students also seemed to education institution in Portugal, Escola Superior de Dança experience connection in times of isolation, which for these - Instituto Politécnico de Lisboa, with the purpose to students lasted almost three years – until December 2022. observe, analyze, and understand the process I also observed that students experienced moments of experienced during a somatic movement course (SMC). healing and joy as they engaged in the dance activities, in Specifical y, it wil be addressed the role of imagery to times of trauma. This paper investigates the impact of this foster awareness on the living and sensing body and how dance-at-home course from the perspective of the it can inform and participate in the body perceptive student. processes, when it is experienced and embodied by the dance student. Based on the underlying common ID: 2943 principles of somatic education: Breath, Sensing, Dance first in the plant playground – and think later Connection, Imagery, Initiation, and Intention, the SMC was designed to develop sensitivity and self-awareness in Sinead O'Connor motion. It also aimed to facilitate self-reflection and the Open University, Ireland appropriation of the sensations experimented by the dance students. Data were col ected throughout the process, and This presentation wil re-imagine the planetary boundaries included student journals, group discussions and in-depth of the dance and child discourse – through alignments with interviews. By exploring movement through metaphors the what and how of social and therapeutic horticultural and images, the students investigated and discovered new dance (STHD-0) as an ally practice. STHD-0 is a direct ways to move and to feel. The use of imagery enhanced intra-active, emergent, immediate way of tapping into greater spontaneity and creativity in movement sustainable earth system dynamics. This nurturant practice experiences, and in some cases, changes emerged in the is based primarily on the synergies between plant-child perception of self and involvement that were felt to be encounters – acts of love, play and care - and non- especially transformative. prescriptive dance processes. For context: The “green care” sensory properties and “more than human” ID: 3093 conventions of this non-linear body-led approach will first Understanding Assessment: Exploring Visual Images be il ustrated. This re-grounding mother flow of as Metaphors reconciliatory movement and agency dwel s within and is conceived out of the cracks of human il usion: landscape Marissa Nesbit degradation and disruptive global states of eco-anxiety. University of North Carolina at Charlotte, United States The movement embraces the “feminine living body” vortex – a space for expanding vision and perceiving degraded Assessment in dance education is a complex process landscape as a “plant playground”. A review of recent wherein teachers negotiate their own pedagogical values STHD-0 experiential learning plant-child play encounters and the expectations of various stakeholders to make and collaborations, outside different corners of the Irish meaning with and through the information they gather landscape will be shared, to illuminate the “inner- about student learning. As experts in curriculum and 60 d a C i - D a nce and the Child International Conference 2024 pedagogy, dance educators demonstrate how intel igence Teacher, Croatia is actualized in teaching as they integrate movement, observation, planning, dialogue, and analysis to Eni Vesović understand student learning and further develop their Teacher, Croatia curricula. Dance assessment becomes understood as far more than simple recording and reporting; it is an ongoing The Ana Maletic Contemporary Dance School is a place endeavor of making meaning across interactions to that includes specific knowledge in contemporary dance, support students’ development. Metaphors, in the form of improvisation and music. With its long tradition, and visual images, provide one means for exploring and recognized School curriculum, it is a place of creativity and understanding the multitude of ways that dance educators inclusion, where children and young people have the conceptualize assessment as part of their curricular chance to learn new skil s, gain new experiences and practices. In this qualitative study, experienced middle and evolve as an individuals which are part of their own high school dance educators teaching in public schools in community. Among many school subjects, there are some the United States were asked to reflect on a series of visual of them where emphasis is on improvisation, composition images and describe how the images relate to their and performance (improvisation as an educational tool was experiences with assessment. Metaphors show the diverse kept, from the very beginning, as the first, essential method ways that dance educators approach this aspect of their in School). The idea is for students to develop imagination, curriculum, including understanding assessment as hiking creativity, body and mind awareness, along with their a trail, assembling a patchwork quilt, and solving a puzzle, identity. In their final years, within the subject among others. Such metaphoric thinking reveals the “Performing/stage practices”, students participate in imagination at play in the assessment process and invites professional dance projects with renowned local and us to consider ways that we, in turn, can imagine other foreign dance artist. This frame of work is an opportunity possibilities for assessment in dance curriculum. This to get out of their comfort zone and to learn about different presentation wil provide an overview of the study, share practices in different environments, which are the key for visual images, relate excerpts from the interviews, and them to develop as individuals in the community. Although discuss implications for understanding curricular process young people are educated to become dance artists or through metaphor. educated through art of dance, they all are encouraged to be mindful of their moving bodies to ensure health and ID: 3212 wel -being as they move through life. This lecture From an idea to a dance performance with young demonstration is focused on the value of mentioned people- case study approach that results with performative and creative community through the whole educational process, with Grozdana Lajić Horvat the emphasis on the Performing/stage practices as a Zagrebačko kazalište mladih, Croatia school subject at the end of their education. Marija Bitunjac Room 012 Dance pedagogue, Croatia ID: 3340 In this paper presentation, we will present the challenges me/now/on stage and the process of the creation of the dance performance “The dressing room” performed by the dance studio of Petra Hrašćanec Zagreb Youth Theatre. The performance was made in Academy of Dramatic Arts, dance department, ful time collaboration of dance and theatre pedagogues who professor, Croatia attributed their own perspective to the creative process (story, mood, relations, dramaturgy, movement, The aim of this presentation is to revise the notion of improvisation) with a group of young dancers aged 13 to professional contemporary dancer on stage and to open 23. The chosen topic of questioning identity through possibilities of bringing these values back in the vertical clothes and movement improvisation, which corresponded line of art education system. That original something that to the ideas of the young dancers, were two basic starting bypasses and goes beyond pure form and that points for creating a performance. The paper wil examine differentiates us from others is probably the thing that wil the entire work process, the role of drama and dance get us a job in dance. This notion of something special that pedagogues and the general connection between we bring on stage is often hard to pul out of a dance improvised and set performative material. student cause most of the time we are dealing with what we are doing instead of what we already are in this Lecture demonstrations precious moment of exchange on dance classes and while performing. This especial y comes out through teaching dance technique where even the most innovative practices Room 014 are suggesting something more to achieve. Throughout the ten years of working on the dance department of the ID: 2992 Academy of Dramatic Arts in Zagreb I started to col ect School as a performative and creative community some insights on the development of a performer artist that can stil remember the joy of sharing and the beautiful risk Normela Krešić – Vrkljan taking experience that the presence on stage reveals. The 61 d a C i - D a nce and the Child International Conference 2024 results that came out talk about the freedom that unique Teacher’s Hearts in an embodied, transformative, contemporary dance technique offers so that the creative and multidisciplinary manner. Jody Gottfried Arnhold potential of the performer can play and grow. Lecture founded the Dance Education Laboratory (DEL) in 1995 at demonstration wil also invite the audience to try out how the 92nd Street Y in NYC, with Joan Finkelstein as are we working on our presence and how we can nurture Founding Director and Ann Biddle as Founding Faculty. that special something in our performative skil s. Since its inception, DEL has provided a welcoming and inclusive community that nurtures and supports Movement Workshops professional learning across the lifespan. DEL’s comprehensive curriculum equips dance educators with the tools they need to succeed in the dance classroom. Gallery Anchored in a creative movement and dance-making approach, DEL’s mission: “inspires dance educators to ID: 3047 engage in creative, transformational, and ongoing Tap Dance is Inherently Multi-Disciplinary - Simple professional learning centered in the artistry of teaching Techniques for Approaching Tap Improvisation and focused on humanistic principles of equity and justice. Through Musicality DEL provides an inclusive, nurturing, and dynamic laboratory where dancers and educators from diverse Heather Cornel communities gather to experience embodied exploration Hope Col ege, United States and discovery, collaborative dance-making, cultural y responsive practices, and col ective self-reflection.” The great jazz pianist Barry Harris used to say “if you can’t DEL…art at the heart of teaching™ The workshop wil dance to it, it ain’t jazz”. Wel , often today that very music include active movement exploration, collaborative dance- that defines our artform of Tap Dance has been lost in the making, self-reflection, and group discussion. passing forward of the dance. Improvisation is the foundation of al jazz, and Tap Dance is one of the most Gym 1 influential branches of Vernacular Jazz Dance. The dance and music practices of this rich North American folkloric ID: 3162 artform have a combined history of evolution and i-improvise: Exploring Dance through Viewpoints collaboration. Ms. Cornell has worked with live music for training over 4 decades. She has created 100+ new compositions, arrangements and choreographies in collaboration with Fatima Wachowicz generations of musicians, and co-teaches with them at her Federal University of Bahia, Brazil annual “Tap Labs”, first created in NYC in 1990. She wil discuss the multidisciplinary nature of Tap Dance and The Viewpoints principles were first articulated by demonstrate how musical practices can be employed in choreographer Mary Overlie and expanded by directors the foundation and basics of the pedagogy. She’ll talk Anne Bogart and Tina Landau in New York/US. The training about the connections that existed between dancers and consists of awakening a consciousness of specific musicians and pass on tips for bringing the music back to qualities of presence in time and space, usually in a more the dance. This workshop can be presented in conjunction improvisatory way. Most of the exercises are done in with the Lecture Demonstration “Tap’s Music and Dance groups and seek to enhance the practice of “listening with History - Practitioners and Pedagogy”. the whole body”. It develops the senses to respond quickly to surrounding stimuli, highlighting attention and awareness, building the perceptual awareness of self and Small Gym the connection with others around, improving the sense of aliveness on stage, developing the responsibility to create ID: 2902 a group dynamic, and increasing the sense of Kinesthetic Dancing My Teacher’s Heart- A Dance Education Response that leads to experiencing the connections Laboratory (DEL) Workshop created with others in the room. Participants can experience an exciting and versatile ensemble exploring Ann Biddle different ways of dance improvisation, creating dance Dance Education Laboratory (DEL), United States engagements between the body in Space and Time, and experiencing dance through modes and lenses that al ow This interactive movement-based workshop for adults the group to function together spontaneously and shares the Dance Education Laboratory (DEL) model of intuitively. This workshop is for dancers, choreographers dance teacher training presented by Ann Biddle, Director, and artists, and it is not required previous knowledge of DEL Institute. Participants wil explore the DEL pedagogy Viewpoints. model as applied to one’s own dance educator identity and engage in self-reflective learning, col aborative dance- making, and col ective meaning-making with the intention of increasing cultural competency, and self-actualization. Participants wil be guided through an integrated poetry and dance activity that models different aspects of the DEL model and leads participants to access and share their 62 d a C i - D a nce and the Child International Conference 2024 Thursday space-time, leading to group cohesion and the emergence of collective spatial-temporal patterns. As outlined by Susi 11 July 2024 & Ziemke (2001), col ective behavior often demonstrates a phenomenon referred to as the 'coordination paradox.' In this context, individual ants, for instance, although not overtly cooperating or communicating, engage in implicit collaboration at the social level, resulting in the emergence of cooperative behavior without the need for central coordination. Furthermore, in generative dance, the choreographer acts as a catalyst for a collective decision- making process, that transcends their individual vision. It promotes the exploration of 'movement spaces' by 11.45–13.15 employing simple interaction rules, acting as a System Panel discussions Creator to attain a more synergistic and balanced choreographic creation. Our research promotes a choreographic composition rooted in a relational ontology Room 048 that emphasizes sensory awareness, self-organization, and the act of composing the collective 'We'. This 'We' ID: 3087 flourishes through contagion, transmission, affection, and A Journey into Dance and Complexity with DAST an openness to differences, following a complex (Dancing Simply Together) arithmetic. On the other hand, studies on neural processes in dance have given rise to the field of neuro-aesthetics, Maria João Alves shedding light on the intricate relationship between our University of Lisbon, Faculty of Human Kinetics, Inet-md, brains and the art of movement. Our goal is to nurture an Portugal ethical framework through diverse interactions and a politics that prioritizes consensus, not based in verbal Adriana Gehres reasoning, but within the dynamic equilibrium of a University of Pernambuco - Brazil, Brazil relational ontology. This exploration is rooted in complex processes, a strong sense of togetherness, and neuro- Ana Leitão aesthetics, aiming to understand the dynamics of University of Lisbon, Faculty of Human Kinetics, Portugal generative dance within a range of groups and populations, by employing Agent-Based Models (ABM) as Carla Fernandes a guiding framework. Our goal is to extend beyond Universidade Nova de Lisboa, FCSH, Portugal conventional choreography to encompass the narratives, perceptions and cognitive signatures (EEG) of those Fatima Wachowicz involved. In doing so, we enhance our understanding of Federal University of Bahia, Brazil this transformative and inclusive dance form and its significant influence on the human experience. In dance production and education, there is a growing interest in improvisation that involves both trained and Paper presentations untrained individuals across various domains, including art, education, health, and leisure. DAST (Dancing Simply Room 016 Together) is an interdisciplinary research project that analyzes the intricate movement relationships and ID: 3198 distinctions within contemporary dance, which are shaped Aesthetics of teaching by the interplay between humans and Agent-Based Models (ABM), resulting in the creation of shared Anita Godler experiences. In today's dance scene, the creative process OŠ Trnovo, Karunova 14a, Ljubljana, Slovenia within a col aborative context is significantly guided by organizational principles, fostering an environment that One of the contemporary approaches to creative learning explores the diversity of bodies. This approach encourages is the integration of different art forms into the teaching the generation of dance patterns and compositions, which process. In this presentation I would like to show the are shaped by the interaction of dancers with generative implementation of artistic creativity and formative way of principles, ultimately leading to the creation of generative learning/ teaching, as part of an international Erasmus dances. This unfolds on multiple levels, embodying the project Two Sides of Beauty and the River between. The concept of 'unitas multiplex' (Morin, 2005), creating a project was carried out with 5th grade students and in network of connections among performers. Performers cooperation with Nuša Jurjevič, an artist and il ustrator engage in co-creating a collective dance that is constantly whose expertise was integrated into the teaching process, evolving, grounded in the establishment of relationships, once, a week from January to June. The activities were 'Othering,' and dynamic intricacies. 'Othering' prompts planned in a way to emphasize the il ustrator's professional participants to activate body states like Suspension, perspective which enriched the learning content and forms Attention, and Impulse (Parra, 2020), fostering an of work. Through a variety of activities such as creative intersubjective exchange. This interaction shapes a shared movement, painting, il ustrations, designing, and exploring, 63 d a C i - D a nce and the Child International Conference 2024 the students were introduced to difficult concepts such as project "Two Sides of Beauty and the River Between architecture and construction, showing strength, precision, Them", where I participated as a teacher of mathematics aesthetics, and usability on one hand and the influence of and computer science. In this project, the students gained architecture on the natural and built environment on the experience with different tools for editing texts, images, other. In addition, the written word of art, was incorporated digital il ustrations, videos and other media elements, and which enabled the students to drift into the world of they also tried their hand at creating animations based on imagination and holistic knowledge building. In the final their creative movement. They used a variety of technology evaluation of the work, it became evident that integrating in their work, including computers, mobile devices and, creative movement and other artistic elements into the final y, the use of drones. With my support, they learning process brings many benefits to the students and documented al the activities with photos and videos, from the teachers. It has proved that the approach of integrating which we ended up creating several documentary videos. different art forms into teaching process enhances creative These were published on the project website and other learning, promotes the acquisition of new skills and channels. The activities are based on the STEAM (Science, competences, influences personal growth and helps with Technology, Engineering, Arts, Mathematics) approach, building a positive self-image. which is a great way to emphasise the links between different disciplines and promote interdisciplinary learning. ID: 3221 I believe that the link between STEAM and the arts allows The Power of Art in Inclusion for a broader and deeper view of the world and encourages students to explore and develop their creative abilities. I Petra Iskra believe that by participating in the project and working as OŠ Trnovo, Karunova 14a, Ljubljana, Slovenia a team, the students have demonstrated creativity, responsibility, logical thinking, the ability to make Inclusive education is a key effort to integrate children with connections between different subjects and have disabilities into the school system, based on the belief that developed an appreciation for the use of different all children have the right to develop their potential to the technologies. optimum. Educators attempt to provide a supportive environment that enables successful inclusion and equal Room 209 opportunities for all while considering the diversity of learners. In the framework of the international Erasmus+ ID: 2956 project "Two Sides of Beauty and the River between Becoming an Engaged Dance Scholar them", I wil present my experience on the integration of creative movement and visual arts especially with pupils Lynnette Young Overby with special needs. The project proved that inclusion is daCi USA, United States possible in practice. The pupils I have dealt with have got different kinds of special needs such as: pupils with Dance has always been very connected to the community impaired hearing - using cochlear implants, pupils with through studio classes, performances, recreational learning disabilities, pupils with other minor disabilities and opportunities and K-12 programs. In recent years, many a pupil with ADHD. The approach has proved that involving professional dance companies have included a community art in the teaching process, as a tool for inclusion, engagement approach as an extension of the work of the encourages collaboration between pupils with different company. Secondary schools often include a service abilities. When creating together, pupils learn to accept learning/volunteer requirement and Universities promote diversity and develop empathy. Moreover, they develop academic service learning, and community based research the skil s for cooperation and communication. Art not only in the curriculum. The purpose of this presentation is to allows pupils with disabilities to express their talents, but share strategies required to become an engaged dance also creates bridges between people of different abilities. scholar. Engaged Scholars create, implement and It fosters understanding differences and creates a disseminate mutual y beneficial projects with community community that strives for an inclusive society. partners that address public issues. The scholar's work may be in teaching, research/creative activity, or service. ID: 3218 The engaged scholar's goal is to apply their disciplinary Art in a digital world knowledge in col aboration with community partners to benefit local, regional, and/or global communities, and Robertina Dugar their own scholarship. Definitions and examples of OŠ Trnovo, Karunova 14a, Ljubljana, Slovenia scholarship and engagement wil be presented, and the audience members wil receive guidance in designing, Digitalization in the lower grades of primary school plays implementing and assessing their own community an important role in preparing students for the modern engaged projects. At the conclusion of the presentation, learning environment, where digital skills are the audience members wil be able to share their indispensable. One of the strategies for easier discoveries with others. A workgroup of interested dance understanding and adoption of new content is the inclusion professionals may continue to meet virtual y throughout of a creative movement, which is meaningfully connected the next academic year to receive guidance as they with technology. This approach has proven to be an implement their engaged scholarly dance projects. effective motivator. I would like to demonstrate the integration of different digital content in the Erasmus+ ID: 3018 64 d a C i - D a nce and the Child International Conference 2024 Teacher-researcher intelligence: driving imaginative Difference and analyses how these terms are used within change through inclusive learning opportunities for a dance classroom context in Aotearoa, New Zealand. students UNESCO. (2020). International Commission on the Futures of Education. Education in a post-COVID world: Nine ideas Lee Davall for public action. Paris, UNESCO. Royal Academy of Dance, United Kingdom ID: 3192 Developing an inclusive dance studio or classroom is a vital No Body, No Mind! driver for dance educators in supporting their students’ successful growth, inclusion and development in dance. Carmelina Martin Dance educators must be imaginative, open-minded and Ontario Col ege of Teachers, Canada utilise their intelligence in order to be responsive to inclusive learning opportunities. The intelligent dance This multi-media presentation wil introduce participants to teacher-researcher plays a critical role in including al “Chalk Moves”, an arts-based research project which students towards the greater good of dance education by centralizes body-led research endeavors. The intention of making dance accessible. Being able to sense and Chalk Moves is to spark dialogue about the mind/body understand students’ needs in order to act upon these in dualism that permeates the Western-Liberal education teaching can be driven through imaginative change. This system. This research-creation project (presented in film, paper shares insight into how the dance teacher- text, and dialogue) pushes against the Cartesian view of researcher develops and drives imaginative change the brain which reinforces the mind/body fracture, through research and reflection on their dance teaching privileges mind-intellect and invalidates bodily-processes practice. This reflection propels the teacher-researcher to for meaning making. If the education system continues to consider how to develop an inclusive learning environment position the arts and their inherent embodied practices as for children and young people. The impact of this inclusive unreliable, then what chance do the arts and the bodies practice leads to the imaginative development of teaching that create them have in terms of being perceived as delivery to enhance learning opportunities in dance. A key cognitively robust, educationally relevant and legitimate? driver in the case studies shared is the consideration of “When your body ceases to function as a living, organic how to make dance more inclusive and accessible for whole of coordinated activities and processes, you lose learners through a range of imaginative strategies. This your mind” (Johnson, 2008). Participants wil be invited to imaginative development of the dance teacher-researcher engage in focused conversation throughout the is driven by the interdisciplinary lens of dance and presentation. education. Through transformational and imaginative change the teacher-researchers are able to design Lecture demonstrations inclusive learning opportunities for their students. Thus, providing new insights into their dance teaching. Room 014 – Faculty of Education ID: 2941 Negotiating meanings of Inclusion and Diversity ID: 2972 OPEN DRAWERS _ interdisciplinary approach in Bronte Jones performing arts for young audiences The University of Auckland, New Zealand Ajda Tomazin Ralph Buck Slovenian, Slovenia The University of Auckland, New Zealand In the lecture demonstration we will present the Presentation by Bronte Jones and Professor Ralph Buck. interdisciplinary art works (mostly combing dance-visual- A report by The International Commission on the Futures intermedia arts) which are focusing on toddlers, kids and of Education UNESCO 2020 states that “Teachers need to also making intergenerational collaborations with elderly be more recognized and more highly valued; they are people. We wil share glimpses of our methodologies of essential participants in defining the futures of education” interactive performances in order to get an idea what kind (UNESCO, 2020, p.13). Further to this however, my of values and experiences of performing arts we are trying research paper notes that schools and classrooms in to give from the very first visits of theatre. Our range of Aotearoa, New Zealand are becoming increasingly diverse, dance performances are form 1+ with dance-visual-tactile resulting in learning environments that present more performance YELLOW DOT IN THE SKY, 3+ interactive individual differences than similarities. In this presentation, performance FROM DROPLETS TO THE OCEAN, "silence I will outline the findings of my PhD thesis, which is guided disco" ecological dance performance GIANTS _ plastic by the research question; What are Early Career Secondary landscapes and intergenerational project of social School Dance teacher's meanings of teaching diverse choreography FLCK OF EXPERIENCED BIRDS from 6 - learners in Aotearoa, New Zealand? Through a qualitative, 99+. All the performances have active spectator, who on constructivist lens, I used semi-structured interviews to one point of the performance become co-creators of it. explore Early Career Secondary School Dance teacher’s meanings of diversity. This paper reports on the negotiation of the terms Diversity, Inclusion, Pluralism, and 65 d a C i - D a nce and the Child International Conference 2024 Room 102 Hispánico to develop a dance education program that promotes trauma-informed and culturally responsive- ID: 2933 sustaining dance teaching practices reflective of Integrating the Dance Curriculum: Facilitating Madison's complex and diverse student populations. interdisciplinary projects to encourage creative dance Working with local teaching artists, I promote urban and making, promote student agency and build folkloric dance forms representative of Madison's Latinx, community Black, and Hmong student populations while embracing non-BIPOC students evolving cultural identities in the Pam Vlach classroom through creative movement explorations of Spence School, United States various cultural dance forms. In this lecture, I wil share research findings from my work with Bal et Hispánico’s Dance is an effective method for interdisciplinary practice Community Arts Partnership Teaching Artists to define among educators. Its multifaceted nature creates a culturally responsive-sustaining dance pedagogy. conducive atmosphere for curriculum integration that Participants in this session wil embody these pedagogical encourages creativity and promotes student agency. In approaches together as we dance, share, and explore our practice, effective interdisciplinary integration serves as a cultural practices and identities. medium for engaged and measurable student learning. It’s an inclusive and responsive model for diverse learners with Movement Workshops differentiating needs and various interests. Loepp (1999) states that “…an integrated curriculum can result in greater intellectual curiosity, improved attitude toward schooling, Small Gym enhanced problem-solving skil s, and higher achievement in college” (p.21). This presentation explores replicable ID: 2917 examples of curriculum integration projects, facilitated by Examining the discourse and roles of the artist- an American dance educator in a New York City teacher and teacher-artist elementary school, in collaboration with homeroom teachers and discipline specialists. Improvisation, Ann Kipling Brown cooperative learning, imagination and creative process are Ann Kipling Brown is Professor Emerita in dance emphasized, as students research and discover answers education in the Arts Education Program in the Faculty of to guiding questions from their Social Studies curricula Education at the University of Regina in Canada., Canada using movement as the central medium. Themes like mapping/geography, transportation, city systems and Jeff Meiners immigration are explored through projects in the dance University of South Australia, Australia curriculum and supported by activities in literacy, technology and art. Throughout the presentation, a In many teaching contexts dance teachers position blueprint wil emerge for facilitating curriculum integration themselves as artist-teacher or teacher-artist and are in various educational environments. responsible for the experiences of students in education and community settings. They both enter teaching from a Room 012 different locus and face identifiable challenges and obstacles. For instance, the artist-teacher perceive ID: 3141 themselves as artist first and enter teaching with little or no Trauma-informed, culturally responsive-sustaining experience in teaching practice, creating tensions in approaches to teaching creative movement managing their teaching selves alongside their artistic selves. On the other hand, the teacher-artist focuses on the Michel e (Chel ) Parkins pedagogy and curriculum requirements in teaching dance University of Wisconsin Madison, United States and may not have the depth of artistic experience. This workshop wil explore the commonalities and differences This lecture demonstration investigates trauma-informed between the insights and understandings of the artist- and culturally responsive-sustaining approaches to teacher and teacher-artist and the roles they play in various teaching creative movement. United States classrooms dance teaching contexts. Additional y, the broader issues increasingly represent global, non-homogenous of current education curriculum policy wil be examined communities, and students and schools are requesting and questioned whether the dance artist-teacher or more diverse dance genre offerings. How can we meet teacher-artist are recognised and valued. student needs to engage with material relevant to their diverse cultural identities while advocating for creative Room 302 movement in the dance room? As a past scholar-in- residence and consultant at Bal et Hispánico, I witnessed ID: 2969 and defined the utilization of trauma-informed and The Orff-Schulwerk Approach to Arts for the culturally responsive-sustaining dance teaching practices Development of Social and Emotional Skills that spoke specifical y to the needs of Latinx and Afro- Caribbean students in New York City public schools. As Petra Brdnik Juhart the Arnold Director of Dance Education at the University of Faculty of Education University of Ljubljana, Slovenia Wisconsin-Madison, I am taking what I learned at Bal et 66 d a C i - D a nce and the Child International Conference 2024 Andreja Blimen Majcen environment for team members to open up, experience of Elementary School Pod Goro Slovenske Konjice, Slovenia a team dynamics through movement in space – how to feel myself and my group with my body, getting to know basic In this Movement Workshop, we will present an activity that principles of leading through bodily experience, combines creative movement, and musical and visual emphasized empathy, ability to understand others and creation with the Orff-Schulwerk approach, a holistic accepting differences and dynamic ability to lead and be music and movement education that emphasizes creativity led – a crucial element for creative and innovative process. through elemental music experiences using voice, Important part will be also how can a team establishes percussion instruments, and body percussion. Through a optimal relations that are based on respect, understanding, music and art activity linked to the approach, we wil listening and open communication and how get to know observe how participants develop emotionally and socially oneself and one's emotions in different relations and and in what ways they release tension, thereby improving situations and how to enhance positive relation to one's their ability to express emotions. In doing so, we assume body and bodily dimension as wel as awareness of oneself that becoming aware of one's own emotional and social and borders of oneself and others. The workshop wil use competencies can help strengthen one's understanding and connect all six “I” with emphasis on improvisation, and handling of emotions, establishing empathic inclusion and interdisciplinary. It is applicable to different connections with others, and building and maintaining teams and leaders-young, adult and for different positive relationships. The activity was conducted as a part environments – educational, creative, and professional. of a study aimed at evaluating the effectiveness of the Orff- Schulwerk approach in early adolescence. The research Gym 2 was conducted with two randomly selected classrooms of ninth grade at an elementary school in Slovenia (14–15- ID: 3172 year-olds). Through triangulation of data sources, we R.E.A.L. Method and The Trail Towards Peace found that a key factor in the development of social and emotional skil s is authentic teaching through Music, Jil ian Harris Movement, and Art that fosters a supportive learning Temple University Department of Dance, United States environment, collaboration with peers, and mutual trusting communication. We wil complement the present findings This experiential workshop first introduces a new visual with a pilot study that wil be conducted during the model and method for generating and transforming upcoming school year in Music and Arts workshops using movement material. R.E.A.L. represents Relational the Orff-Schulwerk approach, targeting three age groups: Embodied Active Learning. Informed by research in children, adolescents, and adults. The main goal of the interpersonal neurobiology, cognitive science, and learning study wil be to build on current findings and explore how theory, this model comes to life through a process that social and emotional skil s manifest in conjunction with involves improvisation and collaborative choreography. movement and artistic tasks. The approach is highly adaptable to a wide range of populations and settings. It is grounded in the belief that Gym 1 learning is a creative act, involving problem-solving, choice-making, and enhanced awareness. Focused upon ID: 3160 challenging habitual movement behaviors and expanding Leadership Embodied: How to raise leadership personal agency, the method il uminates the enactive competences to a higher level through nature of consciousness. R.E.A.L also uncovers our movement/dance improvisation capacity for change, within our own bodies, our lives and our interactions with others. Imagination is central to Aleš Kranjc Kušlan harnessing our ability to manifest what does not yet exist. Ekvilb inštitut, Slovenia The workshop’s second half thus introduces my future project, “Dancing the Trail Towards Peace”, a form of The process was designed by professional dancer, interactive embodied cartography in which I invite both psychologist, and sociologist as an interdisciplinary educators and high school dance students to draw collaboration in 2014/2015 and has been developed in inspiration from my journey along Slovenia’s Walk of practice since then. Background: Leadership is becoming Peace, a 500 km trail that traces the former WWI Isonzo increasingly complex activity that demands whole Front. Once a site of unspeakable brutality, the trail carries personality. Quality leadership is a competitive advantage visitors from the Julian Alps to the Adriatic Sea, providing and is a prerequisite for an innovative and creative opportunities for reflection at sites of remembrance. By environment that enables long-term success of a documenting my journey via an interactive, multi-media team/organization. Optimal leadership development is website, I hope to generate a kinetic dialogue between based on a personal and professional development, so we dancers around the globe about mistakes of the past and need an integrated approach which encompasses bodily, the potential to work col aboratively towards the UNESCO emotional, rational, and spiritual level. Almost by rule, it is goals of cultivating peace and cooperation. our physicality that is neglected even though it presents most primal, “inner” and natural level. Therefore, conventional leadership education is most often inadequate/incomplete and not sustainable. Participants of the workshop wil experience how quickly set a safe 67 d a C i - D a nce and the Child International Conference 2024 14.15–15.45 Margarida Moura Panel discussions Faculty of Human Kinetics, University of Lisbon, Portugal According to Fink et al. (2021), despite the cultural diversity in dance movements and contexts, the primary Room 048 communicative functions of dance may be the same across societies. Cultural diversity, understood as a ID: 2955 dynamic process of transcultural exchange and constant Intercultural cooperation for educating sustainable, re-articulation of tradition, results in the persistence of embodied early childhood teachers certain cultural practices (Cocks, 2006). We intend to report on teaching and choreographic creation practices Martha Maria Pastorek Gripson grounded in traditional dances, drawing from experiential Institution, Country: Halmstad University, Sweden learning, contextual observations, and a review of the literature. We conducted an analysis of semi-structured Universities around the globe strive to cooperate and interviews with teachers and choreographers who have connect by reaching out to partners for exchange specialized in traditional dance for over a decade. These programs and other activities. By doing so intercultural professionals combine the teaching of traditional dance understanding can be facilitated and developed. repertoires with choreographic creations based on International cooperation between universities that contemporary principles of dance, including knowledge of educate Early Childhood Teachers can benefit from traditional repertoire, style fusion, personal expression, bringing dance into the center of such partnerships. As organic movement, improvisation, interdisciplinary Daci’s vision is that al children and young people should collaboration, abstraction, challenging norms, and be able to express themselves through dance, university experimentation. This approach allows us to explore the teachers around the globe could be united to share intersection between tradition and innovation within the knowledge valuable for Early Childhood Education context of traditional dance practices in the community. In Students. By focusing on dance in Early Childhood conclusion, we find that there are specific aspects fil ed Teacher Education, and more precisely the work on with cultural significance that hold great importance and connecting the Global agenda, embodied learning and meaning for these teachers and choreographers. These dance, Early Childhood Teacher Education can take action aspects encompass the recognition of traditional dance as to make a change. During this round table discussion a collective practice that unites bodies through physical university teachers from around the globe discuss and contact; the simplification of language to facilitate dance exchange ideas on possibilities and challenges related to transmission, seamlessly integrating motor memory and digital cooperation within courses in Early Childhood musical memory; and the capacity to reinvent dances Teacher Education. Following questions wil be addressed; within a simple and pre-established structure, enabling the 1. Can we find overarching aspect to address in dance exploration of variations at the level of movement factors education for Early Childhood Teacher Students, that we such as tempo, space, dynamics, weight, and energy. can cooperate to put into practice? 2. Can digital resources be used to develop online seminars and ID: 2988 lecturers for our Early Childhood Teacher Students, so that Caring for Country & Kin: Critical Dance Pedagogy in they can connect and expand their own embodied Australian Tertiary Education capacity informed by early Childhood Teacher Students in another country? 3. Can Early Childhood Teacher Carol Brown Educators, by bringing critical reflection into the center of University of Melbourne, Australia our discussion, problematize different aspects on how to dance can or cannot be related to sustainable How do we build and sustain anti-racist praxis towards an development? 4. Do we need a shift in our own inclusive pedagogy within tertiary dance education in understanding of dance and what would facilitate an even Australia? In the wake of the Australian Referendum on an more sustainable dance education for Early Childhood Indigenous Voice to parliament many questions are being Teacher Students, and for the children they wil meet in asked about the 'cemented racism' in the body politic of their future professional life? Australia (Langton 2023). Efforts to decolonise the dance curriculum often start with acknowledging the role of First Nations peoples as the traditional custodians of the land Paper presentations on which we dance. But beyond this more fundamental change demands undoing cultural assumptions and Room 209 hierarchies embedded in the dance techniques we teach, and the choreographies we learn and perform. Inclusive ID: 2986 approaches to youth dance education in Australia Traditional Dance Practices in the Community: increasingly seek to recognise and value non-Western Between Tradition and Innovation dance knowledges by incorporating these into their curricular and commissioning artists from diverse cultural Maria João Alves heritages to work with students. But how do these shifts University of Lisbon, Faculty of Human Kinetics, Inet-md, avoid the charge of ‘tokenism’? In this paper, I discuss Portugal recent curriculum developments at the Victorian Col ege of 68 d a C i - D a nce and the Child International Conference 2024 Arts that foreground ‘Stories of Place’ through a complete person. The programme enables the possibility interdisciplinary and collective learning on Boonwurrung of early detection of developmental issues and enables the Lands. I discuss what it means to teach on lands that are inclusion of children with special needs. With adaptions, it part of a continent with the oldest surviving culture in the is also suitable for preschool and school children as well world. Through critical, col ective and caring dance as the elderly. The author wil also represent the results of pedagogy, I relate efforts to engage in al yship, ‘walking- the research, which aim was to investigate the suitability of with’ First Nations dancers towards addressing the unique a dance program, adapted for toddlers, focusing on the challenges we encounter in the wake of colonial violence. development of toddlers' motor, social and communicative skil s. It makes an important contribution to understanding ID: 3139 the importance of a dance program for early development The Role of Embodiment in Civic and Social and to extend existing approaches of working with Engagement toddlers. A part of a lecture demonstration wil be presented with theoretical background, according to the Allison Trotta lecturer's experiences in practice, and some personal I am a doctoral student at Teachers College, Columbia experiences of preschool teacher, who was included in the University and a Faculty member of the Nightingale- research. Our own experiences are very important after Bamford School, United States that. During active participation, the participants acquire new knowledge, understanding, experiences and This paper presentation looks at a qualitative competencies that that can transferred to their work. There phenomenological case study that explored relationships wil be also time for discussion. The dance program between embodied learning and civic and social provides further guidance for the inclusion of dance and engagement from the perspective of the five students movement as a way of communication and expression. who participated in the study. This pilot study presents empirical evidence that reveals how students learn and Room 102 think in movement. The study was conducted at an independent kindergarten through twelfth-grade school in ID: 2959 Manhattan. Using interviews and the reflections of Terpsichorean Sonics: a system of education for student participants, data were col ected and coded dance improvisation through music according to the themes and patterns that emerged. These themes aided the researcher in understanding the Ivan Mijačević connections between students' embodied experiences Dijaški dom Ivana Cankarja, Ljubljana, Slovenia and civic and social engagement. Although student reflections were written and col ected post-movement Lecture demonstration wil be a presentation of some of exploration, these are documentation of the reflection the the theory and practice of Terpsichorean Sonics (TS), a students were doing while moving. Findings address system of creative education in the theory of music put into students' ability to synthesize their embodied learning dance improvisation practice. TS has been informed by when provided with reflective time and its potential western music theory, post-modern dance improvisation impact on their social and civic engagement. methods, Laban/Bartenieff Movement System and somatic movement education, and facilitated in a range of international contexts. It is approachable for students of all Lecture demonstrations ages and levels of experience. It doesn’t discriminate against dance or music styles. You do not have to be an expert in music and dance to facilitate this work, as it Room 014 – Faculty of Education draws from principles that create conditions for play and exploration. If you are a musician, dance artist and/or ID: 2904 teacher of these practices, TS shares a framework to Dance and Movement dialogue with toddlers and synthesize connections between them. Lecture young children demonstration wil include a simple but complex task that supports dancers’ discoveries of the undisputable units in Neva Kralj music theory, alongside their subjective and divergent Slovenia experiences of them. Connecting with the DACI community is an exciting opportunity to share the work Urška Kljun more widely, enrich the understanding of TS by Slovenia collaborating with other dance, music and pedagogy experts, as well as consider further possibilities of this A lecture demonstration focusses on dance and movement pedagogy with children/young people of different ages, dialogue with young children from one to three years of cultures and needs. age, as a way of expression, non-verbal communication and forms of movement. The author understands dance in an interdisciplinary way, as integration of physical, emotional, cognitive and social development, which overcome and outgrows the usual, functional forms of movements and has effects on the child's development as 69 d a C i - D a nce and the Child International Conference 2024 Room 012 encouraging Trust building, Tension release and Empowerment among participants - the Empowerment ID: 2989 being defined as encouraging self-expression and raising Embodying Identities: Excavating personal and self-confidence. It consists of exercises in which political body intersections through critical and participants engage at individual level, in pairs and in a creative research group. It combines movement methods stemming from improvisational dance methods, tension release exercises, Julianne O’Brien street theatre movement exercises and somatic methods. Chapman University, United States Through raising assertiveness in a safe environment participants are stimulated to express their own narratives What are the rhythms and gestures of your childhood? and encourage engagement towards self-actualization. How might they be tied to your ancestors and cultural Through raising kinesthetic empathy the exercises also history? What are the movements of your adolescence and build supportive and inclusive group dynamic bringing sexuality? What was revealed or concealed? How does awareness to the relationship between the individual and your racial identity show up in physical ways of resisting, the group/community. The workshop joins unique restoring, and rejoicing? As you are now young adults in a knowledge and experience of the author and supports new college culture, what is disrupted? How is/is your strong participatory practice that is based on embodied embodied identity changing? These are questions I asked and experiential learning. It offers easily applicable college students in a course I taught that centered around practical tools that conference participants - educators, the famous choreographer Camil e A. Brown and her researchers, students and young dancers - can then apply personal exploration of black identity. Through to their teachings, work and to their everyday life. improvisation and imagination, students in the course engaged in their own personal exploration to create Gallery dances that responded to these and other questions on identity. This creative movement research was supported ID: 3197 and inspired by critical research in the class. The critical MOVEMENT IMPROVISATION AS INTUITIVE FLOW to research included multiple readings and lectures on arise POTENTIAL of creative PROCESS with the help identity, writing assignments based on Brown’s of yogic tools choreography within social and historic context, and even the opportunity to share their choreography with Brown for Nataša Tovirac feedback and wonderful y relevant discussion. I propose a PLESNI STUDI INTAKT (Dance Studio Intakt), SVŠGUGL, lecture demonstration for daCi that discusses the Slovenia challenges and successes of the class; shows student work; offers improvisations for participants that lead them MOVEMENT IMPROVISATION AS INTUITIVE FLOW to in similar creative research and dance making; and arise POTENTIAL of creative PROCESS with the help of concludes with strategies for those interested in offering yogic tools. The purpose of the workshop is to explore similar educational experiences at their schools. mindfulness, slowing down, and breath in movement, aiming to surrender to spontaneous, intuitive dance—a Movement Workshops practice that unfolds authentic and unpredictable movement material. In the realm of artistic exploration, Movement Improvisation emerges as an intuitive flow—a Small Gym dance where the authentic language of 'I body' intertwines with the vivid tapestry of imagination. This dynamic ID: 3098 interplay, guided by yogic tools (opening physical, mental, Re-Create through Dance and Movement: energy, and emotional bodies), becomes a conduit for encouraging Trust building, Tension release and unlocking the latent potential within the creative process. Empowerment As the body moves in spontaneous movement, fueled by intuition and authenticity, the dance of self-discovery gains Hana Alhadi depth. The rhythmic breath and fluid postures in Independent Practitioner researcher (at the moment of movement, influenced by yogic principles of Shakti -the applying), Slovenia yoga of dance (body-mind-soul awareness), harmonize with the artist's imagination, creating a vibrant synergy. This workshop has been developing over the last six years This alchemical blend transforms the artistic journey into a by continuous identifying its good practice, by being boundless landscape where intuition, authenticity, and inspired by the participants themselves and through yogic wisdom converge, giving rise to the limitless integrating their feedback and ideas. Initially, the workshop possibilities inherent in the creative process of a dancer. was created for and with Asylum seekers in Asylum Centre The workshop begins with a brief theoretical introduction, Ljubljana Vič, where the author also conducted academic fol owed by a hands-on experience where participants research about its impact on female Asylum seekers. This actively engage in a guided dance-movement process. workshop was then further implemented in cultural y mixed groups, afterwards for local and international youth, and later for educators, researchers and students in educational institutions. The workshop aims at 70 d a C i - D a nce and the Child International Conference 2024 Gym 1 and to playfully explore movement. The workshop requires a great deal of childlike curiosity. ID: 3050 I for imagination, I-creative dance, I-dance with ‘8’, I- 16.00–17.30 dance with ‘water’, I-dance with ‘thank you’, I for Lecture demonstrations interdisciplinarity: Let's dance! Elisabete Monteiro Gallery Faculdade de Motricidade Humana -ULisboa (FMH- ULisboa). INET-md | polo FMH e FMH -ULisboa, Portuga l ID: 3308 A Body of Work: A Dance Practitioner’s Retrospective Cristina Rebelo Leandro Education School - Polytechnic Institute of Coimbra. Clare Battersby INET-md - polo FMH, Portugal New Zealand With Dance, students develop the expressive- This lecture demonstration presents a retrospective of communicative-creative dimension by exploring different dance projects by Aotearoa/NZ dance educator Clare ways of communicating with the body and movement. This Battersby, aligning with the conference theme I Body – I Creative Dance Workshop aims to get participants to Dance. Clare and co-presenter Youth Dance Artist Cassidy experience dance exercises, understanding the concept of Scoones share innovative and interdisciplinary approaches the Expressive Body - as a vehicle for messages, feelings explored with children as il ustrated through various dance and emotions. But also, for example dance with the 'legs experiences utilising video footage developed by in the air', the '8', the 'water', the 'thank you', participants Videographer Jasper Putt alongside visual images wil experience dance exercises in an interdisciplinary garnered over time. Each project il ustrates how children practice, developed in the doctoral study, thus discovering are empowered to express their ideas and identity through this empowering side of dance in the interconnection of dance. The projects have been considered with a focus on knowledge between contents. This workshop aims to: 1) the environment, connection to place, reciprocity, and To experience dance exercises, developed with dance embodied and empathetic connections that contribute to elements of movement: Body, Space, Time, Dynamics / the children’s sense of belonging and wel -being. The quality of movement, Relationships from the domains of agentic nature of children’s personal and collective Interpreting / Creating / Appreciating. 2) To analyze knowledge, their interests and curiosity, and a wil ingness interdisciplinary practice the creative dance in learning, to enter the unknown are prominent features in Clare’s that interconnect the contents of Dance (elements of dance experiences nurturing children’s creative dance movement) with those of Mathematics and Social Studies possibilities and honoring children as the creators of their disciplines. Target groups: children 7-10 year old dance. Furthermore, conversations and documented responses from children engaged in Clare’s dance classes Gym 2 over many years provide inspirational insights into what these dance experiences meant to those involved. ID: 3166 Following the presentation participants wil be invited to Magical forest - Workshop for kids 8-10 years old move, developing responses in situ to the local environment. This drawing on embodied knowledge, Aleksandra Lončar shaped by specific urban and environmental places, with Slovenia the visual imagery and site-specific tasks il ustrated in the video footage, wil enable a visceral experience for This workshop is meant for dance teachers who work in participants of the themes il ustrated of identity and sense the field of creative dance with young kids. On the of inclusion through intercultural connections. This wil be workshop participants wil be introduced to the Saša's suitable for all ages and abilities. unique approach to dance teaching. First participants wil create movement using the principle of layering. Through Room 102 the imaginative world, they wil construct a path that leads to intriguing visual materials al owed by the magical forest. ID: 2939 All visual images wil be translated into movement Physical conditioning for dancers to reduce the risk of materials with which each individual wil navigate their own injury and improve dance performance dance journey. Depending on the materials created, through the evolving story, each wil develop their own Nina Ogrinc selectivity and guide others through the magical forest on Conservatory for Music and Bal et Ljubljana, Bal et a different path with varying movement sequences, shaped Col ege, Slovenia by the momentary decision. There is no end to the imagination as we stroll through the groves of crazy hats, Monika Pavlović taking a dip in the magical wel that transforms our shape, University of Ljubljana, Faculty of Health Sciences, and the giant eyes of the swinging COO-Cuckoos alter the Ljubljana, and University of Primorska, Faculty of Health flow of thoughts. The workshop main goal is to awake Sciences, Izola, Slovenia movement imaginations, to free participant creative inside 71 d a C i - D a nce and the Child International Conference 2024 Basic movement skil s (balance and stability, strength and participants to engage in these practices. Participants wil power, flexibility and mobility, coordination and agility, and leave the session with knowledge and hands-on strategies functional skil s) are essential for dancers. These must be to take back to their classroom and educational settings. properly developed to successfully perform dance elements and avoid musculoskeletal injuries. Just as a Gym 1 house cannot stand without a good foundation, the body needs a well laid foundation for successful dance training. ID: 3189 Despite the increasing awareness of appropriate and Inclusion for Adaptive Needs Dance in Children and healthy training methods, the incidence of both acute and Adults chronic musculoskeletal injuries in dancers remains high. There are several reasons for the occurrence of Ashley Boyack musculoskeletal injuries in dancers, as it is influenced by University of Utah Tanner Danc, United States various factors. However, we have a great influence on some factors, such as physical condition. The purpose of Joni Wilson this lecture demonstration is to familiarize dancers and University of Utah Children's Dance Theatre, United (dance) teachers with appropriate exercises and physical States conditioning for dancers, which are essential to meet the needs of a good and healthy dancer during daily dance For 75 years the University of Utah Tanner dance program training. The demonstration lecture includes theoretical has offered dance classes to include all students. The part explaining the importance of properly developed LEADD Program (Learning and Engaging through Arts movement skil s (balance and stability, muscle strength Discipline and Development) is Tanner Dance’s art and and power, flexibility and mobility, coordination and agility, dance program for children and adults with disabilities. and functional skil s); practical implementation of exercises This Presentation wil discuss how we use inclusion and to reduce the risk of injury and improve dance interdisciplinarity to encourage participants through performance. sharing tools, philosophy, lessons, and best practices on how to approach a dance class for students with adaptive Movement Workshops needs. We wil walk through what a class looks like from start to finish as well as share videos of students in our program and how they are excel ing and growing. We wil Small Gym discuss ways we have grown to meet the needs of students with intellectual and physical disabilities. Tools ID: 3161 wil include what we use to help students move by way of From urban schools to refugee camps: how incentive and purpose. The lessons shared will help integrating trauma-informed strategies can benefit the participants see how we help students move their bodies dance educational experience. with intent and support as wel as students becoming co- creators in making dances rather than dances being Kimberly Gower layered on them. Last, we will share what we have learned DC Public Schools, United States as best practices in starting a program with students with adaptive needs. This wil include how we determine if a The term "trauma" has greatly increased in usage within student is right for our program as well as how we handle the educational world over the last few years. More than difficult circumstances when they arise. ever, students are coming into classrooms carrying trauma in their minds and bodies. That trauma is affecting Gym 2 behavior, communication skil s, engagement, attendance, and mostly importantly their physical and mental health ID: 3129 needs. Many psychologists have conducted research in An artistic and salutogenic perspective on sexuality, how humans hold trauma in the body just as much as they consent and relations. do in the mind. Therefore, it is vital that dance educators are aware and informed on how to integrate trauma- Teresia Vigil Lundahl informed practices into their dance classes. What if dance Fryshusets gymnasium, Sweden educators could create an opportunity for those with trauma to be able to learn how to function and cope with it How can we work with sexuality, consent, and relations in in a healthy way? I am proposing a movement workshop in an inclusive, creative, salutogenic and democratic way in which I wil present best practices in utilizing trauma- school? The area of this knowledge field lies in the tension informed strategies within the dance class. These will between the schoolś mission of knowledge and values, include the integration of mindfulness, yoga, breathing and this is clearly stated in the new curriculum for both exercises, mind/body connection and choreographic tools primary and secondary school in Sweden. #metoo opened such as Language of Dance. I wil share research that our awareness to power, aesthetic, and interplay in informs the participants of how trauma affects the brain relationship to artistic processes. The embodiment of al and body. I wil also share from my own experience using kinds of artforms can help us to understand borders, these strategies both in urban education and also my work sexuality and communication and hopefully make artistic overseas in refugee camps. In addition, I wil provide and aesthetic processes more democratic for all movement and choreography opportunities for participants. In this workshop we wil explore different 72 d a C i - D a nce and the Child International Conference 2024 possibilities of working with consent in artistic and ID: 4280 aesthetic processes with A/R/Tography as a methodology. Intersection of Art and Modern Technologies This means that A, Art, and R, Research and T, Teaching tightly are intertwined. Al artistic expressions have a bodily Vesna Geršak practice connected to them, and when the body is Faculty of Education, University of Ljubljana, Slovenia activated with imagination and creativity, we come more easily in touch with ourselves. Art and sexuality are what Helena Korošec Maslov (1964) cal “peak experiences” and since they Faculty of Education, University of Ljubljana, Slovenia create state of consciouses characterized by euphoria and blissfulness, they are great ways to explore our identity. Petra Brdnik Juhart Interdisciplinary studies show that artistic practices and Faculty of Education, University of Ljubljana, Slovenia expressions wil play a greater role in creating sustainable societies that are experienced as meaningful and Nuša Jurjevič developmental for al . Professor Eva Boijer Horwitz writes Faculty of Education, University of Ljubljana, Slovenia in an article from 2021 that we strengthen our self-esteem and competence in different ways when we explore our Urša Rupnik identity through emotions, play and creativity. Faculty of Education, University of Ljubljana, Slovenia Friday The poster presents the working process and evaluation of the elective course 'Intersection of Arts and Modern 12 July 2024 Technologies', which we conducted as a pilot project at the Faculty of Education of the University of Ljubljana in the academic year 2023/24. The aim of the course was to explore and connect different artistic practices with the help of modern technologies. Various tools and applications from the fields of dance, puppet theater, music and visual arts were used, which eventual y resulted in short, animated films. We looked for inspiration for the 11.45–13.15 theme in our surroundings, in our own bodies, in the objects and materials that surround us and in the sounds Poster presentations that are part of our existence. In the creative workshops, we explored the inner nature and metamorphosis of animation materials through creative dance movements, in Faculty Hall the theatre part we explored the movement of materials and objects in creating stories, and in the music part, ID: 3158 through various creative tasks, students explored how we Dance education as a connection between school and can use new technologies to create music as the basis for society: a culturally responsive approach to dance in an animation. The creative process resulted in six stop- primary education motion animations. During the implementation of the course and at the end of the creative process, students Eva-Luca Pouwer wrote down their positive experiences of combining Amsterdam University of Applied Sciences, Netherlands different artistic genres using different applications and software programs. It is clear from the notes that The aim of this presentation is to inform about the participants not only developed digital skil s during the preliminary research for a PhD project that wil explore the course, but also developed other professional skil s in art potential of dance education as a way of connecting and transferred these into their practice. We invite you to school and society. Dance education bridges the gap see the process of our work, some conclusions from the between the arts and physical education and is a form of reflections and screenshots of the final animations on this (self)expression practiced in many cultures. When dance poster. Project ULTRA NOO 5.02. Environmental and education is offered in Dutch primary schools and after- digital literacy (the project is co-financed by the Republic school care, it is often approached from a Western of Slovenia, the Ministry of Higher Education, Science and perspective. To prepare students for lifelong physical Innovation and the European Union - NextGenerationEU). activity and cultural expression, it is essential to align lessons with the culturally diverse student population. This ID: 3349 research explores how a cultural y responsive dance Teaching art history by creative movement pedagogy can be used to reduce the cultural gap between the school’s staff, children, and their families, as wel as Vid Lenard enhance the wellbeing of students and staff in the school. Professor, Slovenia The research methods include desk research and participatory action research, involving teachers, students, The research monitors the use of creative movement in and dance professionals. students of visual arts and design. The aim was to determine whether creative movement is a useful tool for learning and memorizing art history concepts. The aim of 73 d a C i - D a nce and the Child International Conference 2024 my work was to expand the range of learning of my the act of feeling, in the act of creating, in the act of students. Students translated concepts into movement communicating (verbalizing, the communicative sense of and used dance elements. My goal was also to make their the act of dancing in line with typographic content, images learning more fun and collaborative, improve their social and drawings and other stimuli), in which the intelligence and help them be more engaged Than it was correspondence and ability to use digital instruments and checked on the exam how much they remembered those resources in the development of activities take place, in concepts that they showed in movement and dance. It correspondence with dance. Acknowledge: The author turned out that everyone remembered at least material gratefully acknowledges the support of CESEM - information about the pieces they tested with movement, UIDB/00693/2020, IN2PAST (LA/P/0132/2020). more than half also knew stylistic features and stories, or possible interpretations of early Renaissance artifacts. We ID: 3111 can conclude that the creative movement is a useful means AMBIFOTO of acquiring information and concepts in art history. Ana Vovk Pezdir ID: 3196 Slovenia Making Space for Artistic Movement The main purpose was to get the students to think about Jaime Pavlicevic composition during the summer (when they don't have KittedNZ, New Zealand regular practice), about the relationship between the environment and their own bodies, and to avoid superficial A case study about ‘Making Space for Artistic Movement’ movement in the environment. The photos were displayed with imagery to inspire conversations about identity and in an exhibition alongside the winter production of the gendered spaces, examining a relationship with inequity in Harlequin Society for the Art of Dance. Not al photos were investment in spaces for artistic movement. The images equally successful, but all students received diplomas for aim to challenge the structural inequalities and institutional their participation. The focus of the project was to norms in the masculinist subcultures found in recreational encourage students to be aware of their surroundings, and placemaking and sports facility design and development. the holiday season provides many opportunities for this The exhibition features New Zealand dancers collaborating type of exploration. Another aim of the project was for the with gymnasts. It centers strong girls 'claiming space'. students to socialize during the summer and experience They use their friendships and physicality to improvise, being independent in their work. The future plan is to link play, and dance to promote inclusion. They reimagine our dance students with students from another dance spaces designed specifically for their needs. centre and build friendships rather than competition. The AMBIFOTO campaign also aims to facilitate cross-border ID: 3075 cooperation. Emotions to Dance: Digital Artistic Educational Project ID: 3144 Plečnik’s Ljubljana – The City as a stage Ana Silva Marques Escola Superior de Dança and CESEM, Portugal Vesna Geršak University of Ljubljana, Faculty of Education, Slovenia The aim of this work is to present the project Emotions to Dance: Digital Educational Artistic, which the main goal is Ema Marinčič to use Creative Dance as an educational tool to approach Museum and Gal eries of Ljubljana , Slovenia the emotions of children between 6 and 10 years old, which corresponds to the 1st Cycle of Basic Education, in Nuša Jurjevič Portugal. The aim is to develop emotional intel igence and University of Ljubljana Faculty of Education, Slovenia improve children's socio-emotional skil s by combining artistic activities with digital education. Specific activities Helena Korošec wil be integrated to promote emotional competences such University of Ljubljana, Faculty of Education, Slovenia as self-awareness, self-regulation, empathy and social skil s. Digital education is very important since digital Urša Rupnik resources are used, such as digital educational platforms University of Ljubljana Faculty of Education, Slovenia and resources, to extend and to enrich the experience of the subject in question. Children are encouraged in dance The poster presents an artistic dance and puppetry class to use digital environments, using an interactive (research) approach to the life and work of the screen and tablets, in order to take part in interactive extraordinary Slovenian architect Jože Plečnik. His work activities that stimulate the development of emotional was an invitation and a chal enge for research and intelligence. Thus, an interdisciplinary perspective is creativity in the elective subjects of dance theatre and promoted between Artistic Education (Creative Dance) and puppetry, which are taught in the third year of the other curricular components (Portuguese Language, preschool education at the Faculty of Education in Citizenship, Visual Arts and ICT - Information and Ljubljana. We collaborated with the Museum and Galleries Communication Technologies). The inclusion of concepts of Ljubljana, which led us on the trail of Plečnik’s Ljubljana such as emotion, reason and imagination, are present in and his life. There we developed ideas, created stories and 74 d a C i - D a nce and the Child International Conference 2024 music, were inspired by movement, line and word, played ID: 3246 with light and shadow, object theatre, created figures and Interactive Dance Theatre – Take the picture book brought them to life. Plečnik’s innovative ideas in creating play of what the moon tastes like as an example his works encouraged us to boldly search for approaches and unusual solutions for stories and creations in dance LiChing Huang and puppetry. Plečnik’s invaluable legacy has not only Music Fairy Studio, Taiwan enriched our knowledge of his works and life, but also led us to connect with each other and find our own voice in the In recent years, "interactive dance theatre" has played a world here and now through the expressive means of positive role in the art world, just like another term, "art dance and puppetry. Who are we, where are we going, why crossover". This kind of additive dance expression adds are we here? Our project entitled "Plečnik’s Ljubljana – The various elements other than dance to the creative teaching City as Stage" was concluded with an event in the garden of dance and becomes an integrated art activity that of the Plečnik House, where we presented selected integrates various elements such as music, instrumental chapters from Plečnik’s life and work through a series of improvisation, creative dance, creative drama, and light dance and puppet theatre miniatures. With this poster, we and shadow stage. Based on the perspectives of "Basic invite you to take a walk with us and perhaps relive a Theory of Laban Dance" and "Basic Theory of Music and fragment of what the designers and creators of this project Drama of Karl Orff", this research method guides students experienced. to combine music, rhythm, and Dance and drama activities and encourages students to experience the charm of ID: 3145 interactive dance theatre in an immersive way. The Puppet Atelier – Transforming visual art into a puppet purpose of this study: enhance students' cognitive abilities theatre performance in interdisciplinary areas; develop students' ability to design aesthetic courses in interdisciplinary fields. Results Helena Korošec of this study: il ustrated book can be used as an art University of Ljubljana Faculty of Education, Slovenia medium for interdisciplinary curriculum design in interactive dance theater; through the setting of various Nuša Jurjevič keywords, helps to develop students' curriculum design University of Ljubljana Faculty of Education, Slovenia skil s in interdisciplinary fields. 13.00–14.30 The poster is an artistic way of using a work of visual art Panel discussions (Atelje by Gabriel Stupica) as inspiration for the creation of new movement stories and transforming them into a puppet performance. The project took place in the Room 048 semester of the academic year 2022/2023 as a cooperation between the Faculty of Education, Department of Preschool Education (University of ID: 3146 Teaching Engineering Students using Dance, Drama Ljubljana), the Academy of Fine Arts and Design (University of Ljubljana) and the Modern Gallery. We have joined and Puppetry forces in the project Puppet Atelier – from Atelier to puppet theatre performance. One of the exhibited artworks in the Helena Korošec exhibition Up close: Conservation, Protection and University of Ljubljana Faculty of Education, Slovenia Restoration of Modern and Contemporary Art at the Modern Gal ery (the exhibition was on view from December Vesna Geršak 22 to April 16, 2023), was the painting Atelier (Atelje) by University of Ljubljana Faculty of Education, Slovenia Gabriel Stupica. The painting served as a starting point for the students of the elective subject Puppetry to conduct Gregor Geršak artistic research with the aim of deepening their University of Ljubljana Faculty of Electrical Engineering, understanding of (puppetry) art and discovering its impact. Slovenia The research and artistic process led to the creation of three puppet miniatures based on an original painting. The Nuša Jurjevič students experimented with different styles and University of Ljubljana Faculty of Education, Slovenia approaches to puppetry. They also explored movement and visual art as important components of a puppet theatre Urša Rupnik performance. They created three different performances University of Ljubljana Faculty of Education, Slovenia with unique aesthetics and creative storylines. We invite you to discover the process of artistic development and Tina Skalar take a look at the final performances by fol owing the Faculty of Chemistry and Chemical Technology University timeline on our poster series. of Ljubljana, Slovenia The panel presents the integration of artistic experiences into engineering education at the university on the topic of the green transition. 90 University of Ljubljana engineering undergraduate students (from the Faculty of Chemistry and 75 d a C i - D a nce and the Child International Conference 2024 Chemical Technology, the Faculty of Electrical Engineering wide range of dances that provide diverse choices for and the Faculty of Maritime Studies and Transport) were children and their parents, have experienced a rapid rise in introduced to innovative approaches to learning through popularity (Chen, 2022). However, this expansion has led arts – dance, drama, and puppetry. The presentations were to systemic chal enges for teachers and schools of given by artists – a dancer and choreographer, a children’s hip-hop. This paper, therefore, explores the key dramaturge, a visual artist, and a puppet technologist. question: How do teachers experience systemic Topics included sustainable issues for a low-carbon challenges within the teaching of children’s hip-hop dance transition and environmental issues. Student reactions to education in China? Following a qualitative and this type of teaching were sought through two phenomenological approach, this research draws on semi- questionnaires – on engineering students' attitudes and structured interviews and analyzes emerging themes. beliefs towards this type of teaching and learning before These include the adequacy of teacher training for hip-hop and after the lesson, and on their experiences of learning and children, the diminished professional status of through an artistic experience. In addition to other teachers of children and hip-hop dance, and the resource measurements, psychophysiological measurements were limitations presented by dance studios. These emerging also carried out. These were used as an objective measure issues suggest that for dance education for children to of the activity of the students' autonomic nervous system advance in China, diverse stakeholders need to be during lectures. Using non-intrusive wearables in form of included in the development. rings students' electrodermal activity, skin temperature and heart rate were acquired. In this panel, we share their ID: 3103 views and beliefs, such as whether learning engineering Digging Deep: Exploring student/dancer identity content through an artistic experience stimulates students' within choreographic collaboration creativity, contributes to a positive atmosphere in the group, promotes students' well-being during lectures and Sarah Knox enables a better understanding of the subject matter. We Dance Studies, The University of Auckland, New Zealand also analyzed how they understood the material, whether they found the way the material was presented interesting, Dance-making has been argued as a pertinent space for whether they were physical y active during the lesson, identity construction and affirmation to take place. Both whether they used their imagination and whether they dancers and choreographers (and those who occupy both would like to experience this type of lesson more often. In roles simultaneously) can be invited to inject the addition to this analysis, we wil also present the study choreographic process with their individuality and using videos from the lectures. We wil present our vision uniqueness in order to create a dance work, explore of this type of teaching for engineering students through thematic ideas, and to infuse the performance with artistry. the eyes of engineering professors, artists and professors As such, it can be proposed that through making a dance, of dance and puppets education. The integration of we are simultaneously making and remaking ourselves. embodied learning, drama and puppets is proving to be a However, the ways in which this might take place can be successful teaching approach not only for young children, covertly buried within creative processes, and the but also for engineering students who are not normally choreographic journey may also prove troubling for exposed to the arts as part of their studies. In this way, we students’ identities as they work col aboratively and bring have given them the opportunity to experience innovative their ‘ful selves’ into the work. This qualitative approaches to learning and to foster a sensitivity to the constructivist research draws on the narratives of high artistic fields. The project entitled "Promoting innovative school dance teachers in Aotearoa New Zealand. This learning environments in teaching and learning for paper explores the ways in which student identity can be engineering students on green transition topics" is co- invited into the dance-making process and identifies how financed by the Republic of Slovenia, the Ministry of Higher personal stories, questions and aspirations may safely Education, Science and Innovation and the European become fuel for choreographic themes. The paper also Union - NextGenerationEU. considers the moments in which educators must inherently negotiate students’ personal challenges, and at times Paper presentations trauma, as it can become evident in this context. This research wil be of interest to those who teach dance- Room 016 making as wel as those involved in other art forms. ID: 3179 ID: 2958 Systemic challenges faced by children’s hip-hop Delaware Institute for the Arts in Education: dance education in China Administering Multidisciplinary School-Based Arts Programs for Children and Teachers Yuxiao Shen University of Auckland, New Zealand A. T. Moffett Delaware Institute for Arts in Education, United States Abstract: Children’s dance education in China has undergone significant change in the last decade, along Ashley SK Davis with broader education reforms and economic growth, Delaware Institute for the Arts in Education & Pieces of a enabling broader investment in children’s leisure activities Dream, Inc, United States (Lin, 2019; Yang, 2019). Hip-hop dance classes, among a 76 d a C i - D a nce and the Child International Conference 2024 This paper presentation wil focus on the role of non-profit Room 209 arts organizations in supporting access to high-quality, multidisciplinary arts experiences for children and teens. ID: 3084 Special emphasis wil be placed on the opportunities and In-Pulsar Culture for all: process and outcomes of an challenges of administrating programs and services during inclusive dance and arts project the school day. These include fundraising, advocacy, Paula Lebre community engagement, and stewarding relationships Faculdade de Motricidade Humana, Portugal with school and community-based partners for mutual benefit. The paper wil ground these key topics within the Ana Caridade three program areas of the Delaware Institute for the Arts Musa Associação Artística e de Intervenção Social, in Education (DiAE): K-12 artist in residency modeled after Portugal The Lincoln Center Institute for Aesthetic Education, Wolf Trap Early Learning through the Arts, and teacher Rui Dória professional development. Conference themes of INOVENTOS/MUSA, Portugal interdisciplinarity and identity will be highlighted as they relate to the unique arts policy context of the United States InPulsar, a project developed by the Platform for inclusive and the nuances of Delaware's arts education ecosystem. artistic and educational projects MOSAICO and MUSA - Associação Artística de Intervenção Social, under NORTE ID: 3013 2020 “Culture for Al in Cávado” Program of the Cávado “I am becoming...” through creative dance teaching Intermunicipal Community (CIM), took place between May 2021 and December 2022 (https://in-pulsar.pt/sobre- Ziyan Zhou inpulsar/). Using artistic practices based on a space for The University of Auckland, New Zealand experimentation, through dance, music, video dance, photography, cultural traditions the project involved Teacher identity and creativity are impeded by the participants with and without disabilities with the aim to authoritarian pedagogy and an examination-oriented inform, bring together, facilitate inclusion and mutual assessment system that are hegemonic in educational understanding through and in the arts, giving priority to system in China (Rowe et al., 2020). Under the context of artistic co-creation, promoting personal, social and artistic disjunction between creative policies issued and creative skil s and creating moments of awareness for diversity and pedagogy applied, creative dance teachers’ the development of quality artistic paths. In total, 30 professionalism and teaching practice are under community entities were involved in the project, 2 training surveil ance. That is, creative dance teachers are required actions for staff (130 hours) and 160 participants. Dance to teach for technical proficiency in isolated activity, rather workshops involved 120 participants (150 hours of than positioning dance teaching in a flexible and creative sessions held in six groups in six municipalities and partner context. It results in a lack of development of identity institutions). A video dance inspired by the traditional through creativity. Therefore, my research question is: How patrimony was produced “The whisper of the waters of do creative dance teachers experience developing identity Cávado” involving the participation of 138 participants with through creativity in Mainland China? It aims to explore the and without disabilities. The presentation wil include data relationship between dance teachers’ experiences of retrieved from the quality assessment conducted, showing creativity and identity through creative dance teaching. the main project outcomes, that corresponded to the This qualitative research is based on an ongoing doctoral objectives outlined, highlighting: the partnership dynamics, study that delves into creative dance teachers’ sense of adherence to the activities exceeding initial expectations, becoming through creativity when teaching creative dance the high satisfaction from the participants and audiences in Mainland China. Data is gathered from semi-structured regarding the artistic outcomes as wel as the personal interviews with six participants who are experienced development achievements. creative dance teachers from public schools in Mainland China. Using the Wise Humanizing Creativity theory ID: 3171 (Chappell et al., 2016) as a lens for a narrative inquiry MeetShareDance international inclusive dance festival analysis, I analyze teacher’s perspectives on the reciprocal relationship between creativity and dance teacher identity. Monika Požek This study critically examines the meanings of Asociación MeetShareDance, Spain experiencing creativity for teachers in teaching creative dance, the potential mismatch between dance teachers’ The MeetShareDance international inclusive dance festival values and wider educational discourses in Mainland aims to promote best practices in the field of inclusive arts China, and the main factors that support and inhibit practices and foster an International Dance Network for teachers from constructing their professional identity individuals and groups working with dance and disability. through creativity. The festival offers those interested in dance, movement, and inclusive art practices the opportunity to experience, support, and contribute to this emerging field of dance arts practice. Since 2012, eleven editions were organized, and more than 700 professionals, choreographers, and dancers from 22 countries participated. So far, it has been held in Spain, Slovenia, Ireland, Finland, Germany, 77 d a C i - D a nce and the Child International Conference 2024 Portugal, Northern Ireland, the USA, and Bosnia and ID: 2879 Herzegovina. The festival was recognized as a best Dance and Sign Language inclusive practice in 2017 when it won the EU BeInclusive Sports Award. Each year after the festival, the evaluation is Ruping Wang done, and it shows that the festival provides numerous University of Taipei, Taiwan benefits for the participants and the local community where the festival is held. The positive social impacts on Dance conveys meanings and feelings, and so does Sign local communities include adapting different sports and Language. Both Dance and Sign Language are cultural activities to become more inclusive, the social expressions of movement. However, each one of them sustainability of the festival, and the recognition of people represents its cultural significance and requires specific set with disabilities in professional dance pedagogy. The of training to cultivate its rule of abilities. This research festival shows the lack of choreographers and dance stemmed from the curiosity of finding the commonalities teachers with disabilities, which results from the absence between Dance and Sign Language since both are of chances for disabled professionals to work in the movements created by human beings. Creative dance is performing arts. In both formal and informal dance one way of facilitating spontaneous movement for creating education, it is essential to expose inclusion in dance and dances, and this research utilize methods of mirroring and provide ways to make the art form more accessible to a flocking in creative dance activities to bridge teenage larger audience. dancers and teenage deaf students for collaborating a performing work. This paper shows findings from the ID: 3187 creative process of a work entitled Embrace, which is School enrichment with Biodanza for children performed by 2 teenage dancers, 4 teenage Deaf students, and a college dance major. Not only is this the process of Nataša Babič creating a dance work, but practicing creative dance is one Gustav Šilih Center for Education, Training, and way of getting to know how deaf people comprehend and Counseling in Maribor., Slovenia express their world through movements. By comparing or contrasting the way dancers and deaf people utilize their At elementary school Angel Besednjak Maribor from movement, this process of creativity becomes a profound school year 2015/16 until end of school year 2021/22 we experience of cultural exchange. As the result, we would were conducting a project With music and movement appreciate the similarities as well as embrace the towards better relations with assistance of musical and differences. motion system biodanza for children in the form of interdisciplinary courses of music, sport and learning about Lecture demonstrations the environment. Sessions are named Music and movement. Classes are conducted by class teachers and special pedagogue, who is educated biodanza facilitator. Room 102 By definition biodanza is music and movement-based system of integration of individual with herself, with others ID: 3110 and with environment. It is a system to revitalize and renew Celebrating Literacy Through Dance: Unlocking emotions. It is based on carefully selected and empirically Inclusion, Imagination and Community tested exercises with vast theoretical background knowledge in psychology, biology, sociology, and Nicole Flinn-Culver neurology. Exercises with selected music are inclusive, daCi USA, United States pupils develop body coordination, emotional and motoric integration, creativity, emotivity, and compassion. Good stories don't remain just words on a page. They are Exercises are performed individual y, in pairs or in a group. entered into, felt, lived, and even danced. In this session, Many exercises reminisce of dance. With the above- we wil describe StrikeTime Dance Theatre's "Dancing mentioned method we develop foremost nonverbal Through the Pages", a pre-professional dance company communication, motion development, emotional program that connects literacy, community, and dance. development, and social integration. Method as such is The purpose of this program is to show how physical exceptionally connecting and provides opportunity for expression can be a way of entering into and supporting inclusiveness of all pupils into the processes of improving literacy, cultural awareness, and positive social emotional, social and motion development. Method engagement. Drawing on perspectives from all provides for each pupil their optimal development at al stakeholders involved in the program (i.e., young audience mentioned levels of development. In general, we have members, dancer, director, and community members), we noticed that pupils included in program mostly develop wil discuss the logistics of the program, our community social integration, inclusion, expressiveness, coordination, impact over the years, success stories, and challenges. We sensitivity with each other, caring for others, expressing of wil also share recommended steps for initiating similar gentleness, empathy and self-consciousness. programs that build on community engagement and social responsibility. 78 d a C i - D a nce and the Child International Conference 2024 Movement Workshops into movement phrases through a series of improvisational prompts and supports. The process al ows for exploration of one’s identity, intelligence, and capacity, in a shared Small Gym space that promotes and encourages inclusion. The workshop is designed for people over the age of 18 and ID: 2925 may be adapted for those requiring accommodations. Let’s Dance with Quanta! An interdisciplinary exploration of dance and quantum physics. (Adult Gym 1 movement workshop) ID: 3190 Paola Maria Bassignana A Focus on Dance Integration Through an Ed.D. Dance Education Program, Teachers College, Interdisciplinarity Experience Using Core Subjects as Columbia University, New York, U.S.A ., Italy Inspiration Inspired by the successful fusion of dance and quantum Ashley Boyack physics in an Italian 5th-grade class, this interdisciplinary University of Utah Tanner Danc, United States movement workshop wil explore the creative integration between dance and quantum physics concepts. Tristana Black Participants wil experiment with breaking down complex University of Utah Tanner Dance, United States ideas into smaller, manageable parts through dance, conveying accurate scientific information. Some of the Tanner Dance has been a pioneer organization in dance physics elements explored wil be the movement of the education for over 75 years. This movement workshop wil electrons, the different behavior of particles like fermions show how the elements of dance can be used as and bosons, and quanta’s corpuscular and oscil atory instruments for interdisciplinary skills to explore core nature. Dance becomes the vehicle to embody and subjects: math, language arts, and science. We wil also understand the complex scientific processes of quantum share how dance can be used as a best practice for physics. What may seem unknown or difficult to teachers to explore inquiry-based learning using understand wil become malleable material through an imagination and improvisational skills. Participants will be embodied creative process. This approach to teaching able to observe how this is done in a model class with physics has gained recognition from the Italian Quantum students as part of the presentation. Participants wil Weeks contest “Suggestioni Quantistiche” 2022, observe students from our program engaged in a science- acknowledging the scientific reliability of this dance based lesson about energy transfers and we wil show how experience to foster a deeper understanding of complex students engaged in this lesson are using interdisciplinarity scientific concepts through artistic expression. This skil s to explore the world in which they live. We wil then educational and artistic workshop wil progress from an have all participants engage in a model math lesson about introduction to quantum concepts, to movement fractions and a language arts lesson about storytel ing. We explorations, creative group compositions, and a final wil use these lessons to discuss traditional educational sharing of participants’ work, allowing attendees time to concepts and methods to arrive at new approaches or reflect on possible applications of this interdisciplinary solutions. approach to their teaching. The interdisciplinary approach presented aims to demonstrate how dance can facilitate and reinforce the comprehension of theoretical subjects in an educational setting, highlighting the power of movement and creative expression. Gallery ID: 3217 Body monologuing - A Three-Part Series Chancz Perry Freckled Face Entertainment Inc., Canada BODY MONOLOGUING (WORKSHOP) The aim of the guided movement workshop is to expose participants to a 3-step process of exploring visual art, narrative, and movement, in an interdisciplinary fashion. Using their imagination, participants will trace their bodies on a large piece of paper and fil that canvas with metaphors and similes in relation to their bodies and things found in nature. The next part of the process includes creating words, narratives, or poems based on the art piece just created. And lastly, the words just created are transformed 79 d a C i - D a nce and the Child International Conference 2024 Movement Workshops for acting, and other fields of learning and creation. These workshops wil use imagery as a tool for weaving together Young Dancers various ways to warm the body and the imagination into a ready state of physicality. Dancers wil also learn to create and write choreographic scores and employ them in the creation of spontaneous composition. Tuesday Studio 4 – Art High School 9 July 2024 ID: 2931 Smile and Look at Me: Biodanza for Children Nataša Babič 10.30-12.00 Gustav Šilih Center for Education, Training and Counsel ing, Maribor, Slovenia Studio 2 – Art High School This musical movement workshop for children is based on ID: 3184 the Biodanza method for children. With the help of a story Elements of Folk Form Movements as Vocabulary and selected music, the children wil make movements. The exercises wil be performed individually, in pairs or in Carolyn Russel -Smith a group. The participating children should be aged 7–12 Director, Jamaica years. With the stimulation of music and movement, we wil primarily focus on nonverbal communication development, The objective is to use these folk form elements to teach a motion development and emotional development, as wel technique that has a Caribbean base, al owing participants as social integration. Nonverbal communication wil enable to enrich their dance vocabulary. The music used is simple children to communicate with each other using looks, drumming music, which then changes to modern movements, bodily expressions and touch. In the field of contemporary music in order to show that the movements motion development, we wil develop rhythm, synergy, taught can adjust to use any idiom. The movements are flexibility, balance and coordination. The area of emotional broken down for al to learn. The students then have an development wil include the enhancement of emotional opportunity to apply what they have learned in groups to intelligence with an emphasis on empathy, caring for make their own movement phrase. Our key phrase is others, gentleness, respect for others, self-respect and ‘Learn to Dance to Learn’. The age of the participants is self-confidence, while social integration wil focus on 10–13 years. developing inclusiveness, acceptance and respect. The exercises that we wil perform are based on natural human Studio 3 – Art High School movement such as walking, walking in pairs, rhythmic and melodic synchronisation in pairs (rhythmic and melodic ID: 3104 dance in couples), trains, dance in a circle, relaxation in a Making Dance Maps – Mining the source: Develop group, hugs, caressing, liberation of movement, unique movement vocabulary and find the ‘dance’ in expressive (rhythmic and melodic) dance, dances of light movement, animal dances, and so on. If there are more the memories and stories inside ourselves than 12 children at the workshop, their teachers or parents should be present. Yvonne Ng www.princessproductions.ca, Canada Studio 5 – Art High School Participants wil be guided in an improvisational setting and using imagery as a tool to weaving together various ways ID: 3176 to warm the body and the imagination into a ready state of Creativity connects the seemingly incompatible physicality. This wil al ow the participants to uncover and concepts of thinking and productivity originate movement focusing and building on their impulses and personal histories found in their physical self. Natasa Jurisic Using the choreographic vocabulary that each participant Ana Maletić school of contemporary dance, Croatia has generated, Yvonne wil guide the participants with strategies to development of their choreographic voice, At this workshop the focus wil be on the individual creative and with a practiced eye wil gently mitigate the natural atmosphere in which the participants wil use objects in tendencies to fal back on learned or derivative different, Innovative way, repurpose them and integrate choreography. This work celebrates diversity, with voice and movement. The goal of the workshop: collaboration, and individual creative empowerment: free Individuals will create short dance piece, dance of inhibition, accessing intuitive knowing, and inviting the composition, and convert literalness into metaphorically mind to col aborate. A remarkably effective and and abstractedly using three unconnected elements. revolutionary way of learning, the Open Source Forms Creativity connects the seemingly incompatible concepts approach can catalyze learning and transformation in of thinking and productivity. It helps us to materialize many kinds of practices, in movement as wel as voice, Imagination, thoughts, feelings to the audience in a more 80 d a C i - D a nce and the Child International Conference 2024 or less comprehensible way. It helps to embody all our Studio 9 – Art High School Identities through a creative, Innovative, creative, choreographically shaped work. Methods/forms of work: ID: 3318 oral presentation, leading free and set Improvisation, Dancing Kamishibai encouraging and monitoring the work process Independently. Workshop is intended for young people, Ana Vovk Pezdir twelve years and older. Duration of workshop: 90 minutes Slovenia Studio 6 – Art High School Kamishibai is a form of Japanese paper theatre. After decades of teaching dance and choreographing, Ana Vovk ID: 2998 Pezdir discovered kamishibai and developed an interest in “Free”, an Afro Fusion and Modern Dance Movement the connection of kamishibai with dance. It turns out that this connection provides new incentives for children’s Cathy Bradley creativity. In the process of working with children, other Kingdom Dancers, South Africa talents of the students, who mainly attend dance lessons, were revealed. Connecting the two media enables dance “Free” is a dance piece choreographed to be taught in a students (in dance studios, schools and kindergartens) to dance movement workshop. The dance genre combines demonstrate their affinity for artistic, verbal and musical elements of Afro fusion with modern dance. It is aimed at creation. There are countless topics for connecting the two teenagers over 13 years of age but can include adults at media, depending on the goals we are pursuing in an intermediate level of dance. It is a high-paced dance education. The workshop offered relates to environmental that is uplifting and hopeful, bringing both dancer and awareness through children’s perception. The text of the audience a sense of joy and happiness. The dance is linked story for kamishibai has been prepared and written by a to the identity and inclusion themes of the conference, as 12-year-old pupil. The participants in the workshop wil it is about being free as an individual to live the life you look for suitable movement material and an appropriate want and find your identity, enabling you to forget about sound image (several small and improvised musical your past and be free to hope, dream and love. It considers instruments will be available). As the workshop is for God’s love for humankind and how it is inclusive of children (aged 10+) and adults, the work process promotes everyone. mutual cooperation and tolerance, while at the same time enabling control over the selected movement and sound Studio 7 – Art High School material. The slogan of diversity in nature can become the slogan of the workshop: everyone depends on others, and ID: 3205 everyone contributes to the survival of others. Together, From an Idea to a Dance Performance with Young we form a huge network of connections. People: A Case Study Grozdana Lajić Horvat Zagrebačko kazalište mladih, Croatia Marija Bitunjac Dance pedagogue, Croatia The workshop is for young people (15+) and dance teachers. The work is based on the process of creating the dance performance “The Dressing Room” by the Zagreb Youth Theatre, which examines identity through clothing. The participants wil be given tasks on which to improvise. The improvised material will then be reflected on by workshop leaders with the aim of questioning the possibilities of the improvisation-performance relationship, bearing in mind the dance and drama aspects of stage performance (story, metaphor, mood, relations, characters, movement, space etc.). The workshop wil examine ways of col aboration between dancers, a dance pedagogue and a drama pedagogue. 81 d a C i - D a nce and the Child International Conference 2024 Thursday modalities can empower dancers to engage confidently and playfully in improvisational scores based on rhythm. In 11 July 2024 this workshop, we wil move to a steady pulse, explore ways to subdivide that pulse with actions of long and short durations, and create rhythmic patterns through combinations of these subdivisions. Alongside our danced explorations, we wil read and write simple scores of motif notation using the symbols for action, stil ness, and accent 10.30-12.00 to visualize our rhythmic patterns. We then use these scores as the basis for a playful improvisation, exchanging Studio 2 – Art High School rhythms with a partner in an inclusive conversation integrating music and dance. This workshop serves middle ID: 2869 and high school students, college dancers, and dance Inclusive, Intelligent and Imaginative Dance Making educators. with Brain-Compatible Dance Education Anna Mansbridge Studio 4 – Art High School Freelance, United States ID: 2926 In this fun and engaging workshop participants will Dancing together for a better world: A civics experience an inter-generational Modern Dance Class engagement dance workshop for kids using the pedagogy developed by internationally recognized American dance education pioneer, Anne Paola Maria Bassignana Green Gilbert. This class is for adults and children age 8 Ed.D. Dance Education Program, Teachers College, and above and is inclusive regardless of dance experience. Columbia University, New York, U.S.A., Italy We wil use our imaginations to make creative connections through Gilbert’s conceptual five-part lesson plan In this workshop, the children will experience the structure: Warming-Up with the BrainDance (based on the interdisciplinary connection between dance and civic developmental movement patterns that babies naturally education in an engaging escalation of joy and fun. The two move through in the first year of life that integrates the mind disciplines wil be combined to create a unique embodied and the body); Exploration, Developing Skil s, Creating, learning experience that will leave a lasting impact on the Sharing and Responding. We wil use our imaginations to participants. This workshop arises from Citizens in Action! better understand another person’s perspective, and to an interdisciplinary dance and civic education project solve problems, by alternating between teacher-directed active in Genoa, Italy, since 2022 that has proven to be very and student-centered activities. This approach gives popular with students due to its focus on embodied participants opportunities to take charge of their own learning and creative processes. This embodied approach learning through self-discovery and improvisation, to education aims to foster a generation of active, problem-solving, and peer col aboration and reflection. We informed, and socially responsible citizens who will make wil use our imaginations to create mixed age dances meaningful contributions to their communities and society. integrating the lesson concept and generating new ideas. Civic education values like inclusion, cooperation, respect, We wil conclude with sharing and reflecting on what we and empathy wil be approached through creative experienced and witnessed, thereby deepening our movement. In this workshop, children wil engage in ful - knowledge through connecting with our thoughts and group warm-up experiences and pair and small-group feelings, and through social engagement. Throughout the explorations designed to reinforce the civic values of workshop activities wil encourage mixed ages dancing inclusion, cooperation, respect, and empathy. Short verbal together and wil be inclusive of different abilities and exchanges wil allow the children to reflect and apply their diverse learners, supporting the success of al participants. insights in creative movement, building greater social awareness of themselves and their peers. The workshop is Studio 3 – Art High School designed to promote a new way to teach civic engagement through dance ID: 3094 Rhythmic Play: Exploring Timing, Duration, and Studio 5 – Art High School Accent through Improvisation and Motif Notation ID: 3057 Marissa Nesbit Dance in Nature and with Nature University of North Carolina at Charlotte, United States Sabina Schwenner The interrelationship between dance and music provides Plesni studio Intakt, Slovenia fruitful ground for exploration and creativity. At the same time, understanding music and working creatively within The workshop “Dance Hour in Nature: Dancing in and with musical structures can be intimidating for some dancers. Nature” for young dancers (aged 13–18 years) is designed Making aspects of music, such as rhythm, explicit through in a performance space that primarily connects with nature a holistic approach of visual, aural, vocal, and kinesthetic through sound. A pre-prepared sound backdrop acts as 82 d a C i - D a nce and the Child International Conference 2024 the pulse of nature, serving as In this movement proposal, I would like to work with young support/inspiration/encouragement for creating and dancers (12–18 years old). The aim of the workshop is to exploring new dance movements and impulses. This explore with the participants how to work collectively, to allows adolescents to bring a fragment of nature’s dance identify what is happening in one’s surroundings, to adjust into their everyday lives. The workshop is conceived as a to possible changes (in the space, in dynamics, in the blend of pre-prepared dance sequences (provided by the group) and then to modulate and create new possibilities mentor) and improvisation by the participants. The of relating to the group. The proposal creates space for connection between pre-structured dance steps and experimenting and developing performing skil s. We wil spontaneity, as free expression of the individual to the explore how to be together and how can we create certain sounds of nature, can give rise to new, unique movement landscapes or feelings together. The workshop offers material. The combination of pre-prepared dance playful tools to raise awareness and build connections sequences and improvisation aims to create a safe space between participants. These soft tools can be used to learn for dance expression, with imagination being a key how to follow/lead the group, develop peripheral vision, element. Imagination becomes a crucial element in trust your group, develop a sense of how to touch others shaping and creating new dance interpretations both at the with direct and clear information, move through the space individual level and within the group. The purpose of the with confidence and understanding, and support others. workshop is to embody nature, while also answering the While working with the group, each participant has a space question: What does nature “do” to the body and how does to work on their own performing expression and ways of it influence the shaping of movement? The workshop aims dance making. to discover a different type of connection and collaboration between individuals and nature (through the sound Friday backdrop), involving participants in a deeper and more holistic way. 12 July 2024 Studio 6 – Art High School ID: 3040 Improvisation workshop: Applying different movement 10.00-11.30 vocabularies to your body Studio 2 – Art High School Lea Oroz Dancer, teacher, choreographer, United Kingdom ID: 3254 Ska to Dancehall: Jamaican Popular Dance Lea mainly brings together a variety of contemporary Exploration dance techniques, however, she tries to move away from labelling the movement into a particular style. Her class Sophia McKain aims to play, research and expand physical and cognitive Edna Manley College of the Visual & Performing Arts - possibilities, starting with leading the body and mind into Junior Academy Dance, Jamaica present, available and alert state. In the workshop we wil delve deeper into the improvisation tasks and explore the Liane Wil iams diversity of movement qualities, such as working with the Le Wi Dance Jamaica, Jamaica contrast of the conscious separation and isolation of body parts, and totality of the whole body as wel as al owing “One Good Thing About Music ...When it Hits You Feel No fluidity and spirals to be broken with sudden dynamic Pain” Bob Marley. What is this “hit’? Exploring the impact changes or pauses that might be inspired in the of the “hit” of Jamaican music in the body through circumstance, musicality or playfulness that triggers us in movement, cultural expression and identity. This the moment. In Lea’s workshop the participants are undeniable force of movement is embraced in our limbs, encouraged to be curious and approach the movement in waist, rhythm/timing and feet. Jamaican music has had a a versatile and androgynous way. She has a deep direct connection with Jamaican dance; the pace, fluidity admiration for the human body and its infinite potential for and characterization has helped to propel the production exploration that goes far beyond conventional of dance moves across generations. From Ska to expectations. In her workshop she hopes to bring Rocksteady to Reggae and Dancehal , Jamaican music participants more confidence to their uniqueness, broader evolution has been propelled by the dances of the people. perspective to movement choices and artistic individuality. For many years, dance in our little island, embodies and mirrors our music effortlessly and is now a key feature of Studio 9 – Art High School our identity. Dance, specifically popular dance, functions as a means of socialization, enjoyment and self- ID: 3083 expression, among other things. This movement workshop Tune, Adjust, Modulate is open to all age groups and will allow participants to: identify and examine various Jamaican musical genres and Maja Kalafatić the dances associated; explore varying types of Dance scholar, dance maker, dance pedagogue, Slovenia movements commonly used in Jamaican popular forms (grounded movement, jumps, body isolations, etc.); 83 d a C i - D a nce and the Child International Conference 2024 explore the impact of social media on the development and to feel self-efficacious, build up confidence, and thus reach of new Jamaican dance moves or choreography. promote identity development. The aim is for each child to become literate in dance in their own unique way. Studio 3 – Art High School Studio 5 – Art High School ID: 2906 ID: 2909 The Situated Body as Meaning-Maker An Introduction to English Country Dancing Carmelina Martin Anna Mansbridge Ontario Col ege of Teachers, Canada Freelance, United States In this movement workshop, participants will engage in a This movement workshop is for everyone! Come and learn body-led (embodied inquiry) related to memories of some fun and easy social dances from jol y old England! In home(land). Participants wil engage in a variety of somatic, 1651 John Playford published “The English Dancing improvisational, and imaginative exercises to generate new Master,” a col ection of 105 traditional English country insights into the choreographies of place, geography and dances and tunes. It proved so successful that 18 more identity. The body will be centered as the primary editions of the book (titled “The Dancing Master”) were investigator, perceiver, interpreter, and scribe. The published until 1728. These dances are very inclusive and workshop wil invite participants to [re]shape meaning were enjoyed by people from al levels of society, from the when the memory of everyday choreographies of the built cottage to the court. In the First Edition a personal note and natural environments of home are [re]called, from John Playford praised the benefits of dancing, saying [re]appropriated and [re]located in a new context. The that it had “much to commend it to be Excel ent for individual and the common body will have opportunities to Recreation, after more serious study, making the body share, interact and weave their “bodied” home/place active and strong, graceful in deportment.” So let’s come stories into a col ective movement tapestry that invites together as a community from around the globe, kick up connection, community and resilience. The workshop is our heels, and dance! intended for participants ages 15 and up. Studio 9 – Art High School Studio 4 – Art High School ID: 3082 ID: 2966 The Curious Body “Same same but different” – how to embody uniqueness in unison Sonja Karoli na Aaltonen Dance scholar, dance pedagogue, movement Sabine Kaross practitioner, Finland University of Education Freiburg, Germany The Curious Body is a 60-minute movement workshop that plays with decentralising the verticality of a moving body Stefi Schmid through generating movements with al of the different Independent dance entrepreneur, Germany parts of the body, while focusing attention specifical y on rhythms. The aim of the movement workshop is to To warm up, we introduce the very basics of motif writing recognise patterns in a dancer’s practice and open up while moving to familiarize the dancers with the material curiosity towards multiplicity in the ways of moving. The we wil be working with. We wil advance with the SAME Curious Body thus plays with dynamics and coordination, vertical motif developed with Laban based dance cards as well as musicality. First, the workshop guides (with picture, motif writing symbol, and explanation) to participants to approach the intel igent curious body make a dance. Each dancer wil then create their own through a common physical warm-up on the floor, which solution based on their DIFFERENT ideas. Now, we are focuses attention on several volumes of the dancing body. ready to move in UNISON with the UNIQUE motif solutions The participants are then guided through scores that are developed by the dancers in smal groups: they observe, worked both individual y and col ectively. Final y, the combine, vary, try out, discard and discuss the workshop seeks to recognise the group as moving choreographic possibilities to come up with a decision. together through listening and playing with moving Finally, the dances that were designed wil be presented interactions, by visiting the scores that have been and appreciated by the other dancers. Laban based introduced during the movement workshop. The working creative dance provides the tools needed to embody the method is based strongly on improvisation and is targeted uniqueness of each dancer within the group community: it especially at young dance students and dance needs imagination to find a solution to a movement professionals. The Curious Body seeks to create a space problem through improvisation. Appreciation of one‘s for active consciousness within the dancer’s practice and ideas fosters identity and is inclusive. Interpersonal to play with bending patterns and verticality in dancing. intelligence is improved in the decision-making processes of creating, performing, observing, and reflecting. Al in all, participating in al steps of the process al ows the dancer 84 d a C i - D a nce and the Child International Conference 2024 Studio 1 – Art High School ID: 3185 Green, Inclusive Educational Enrichment through ‘Flying Dance’: Exploring Movement with Ropes and Harnesses Linda Parker-Wendt Arohanui Specialist School & Outreach Service, New Zealand Intergenerational workshop Green, Inclusive Educational Enrichment through ‘Flying Dance’: Exploring Movement with Ropes and Harnesses. Theme: How Maui Slowed the Sun: https://youtu.be/jbM3PwcGi0g?si=OV5JylgpEXEr9BvW Aim: to discover how we engage in creative teamwork in Aotearoa New Zealand to provide training in the education/arts sectors for teachers, dancers and students at all levels. Flying Dance Te Kanikani Rere is a unique process that features on the educational DVD ‘Discovering Dance’ produced by Unitec for the New Zealand Ministry of Education, which was released to all New Zealand education organisations to support the New Zealand Arts Curriculum. We started by discovering that what real y made people happy was something that can involve everyone at whatever level they are at. Teams wanted to be able to cater for professional, semi-professional and beginning performers of different ages, cultures, genders and abilities. Our combined philosophy is ecological: we think ‘green’ and seek to celebrate the diversity of the Earth, acknowledging that we are all part of one ecosystem. We wil open further discussion regarding the idea that when society celebrates diversity between cultures, genders, abilities, species and environments the Earth can flourish. After outlining their use of their most recent processes, the presenter wil facilitate movement exploration based on the traditional Maori story ‘How Maui Slowed the Sun’. Participants wil make use of ropes, mountain climbing harnesses and karabiners. The class is inclusive, i.e., neurodiverse students can come together to experience the joy and freedom of movement through creative processes. 85 d a C i - D a nce and the Child International Conference 2024 BIOGRAPHIES Aaltonen Sonja Karoliina Astbury Sally Dance scholar, dance pedagogue, movement Primary school teacher, United Kingdom practitioner, Finland Sal y’s background is in 3D design (ceramics) and the Sonja (they/she) is a dance maker, dancer/performer and visual arts. After her degree, she had a ceramic exhibition facilitator/dance teacher currently located in Helsinki, before taking time out to raise my family. She retrained as Finland. They hold Master’s Degree in Arts (Dance) from a Primary School teacher in 2012 and has worked in that Theatre Academy of the University of the Arts Helsinki role for the last 12 years. Sal y works with children aged (TeaK, 2023). Besides, they hold a Bachelor’s Degree of between 7 and 11 and teaches al subjects from English Fine Arts in Dance Performance from Stockholm University and Maths, Geography and History, to Art, Music and of the Arts (former DOCH, 2021), and have graduated as PE. Sal y states, “Children are all different and so my professional dancer from Tampere Conservatoire (2019). approach to teaching and learning has to be flexible. My Previously, they have worked with Amanda Piña, DACE - creative background allows me to think 'outside of the box' Dance Art Critical Ecology, Cristina Caprioli, Isabel Lewis, and over the years I have seen the positive responses that and Salva Sanchis. Sonja works with dance and children have to music and movement. It has been a performance practices through queer lenses. privilege to work with the Head to Toe team and this has allowed me to explore the concept of movement and its Alegre Luisa role in learning. Agrupamento de Escolas São João do Estoril, Portugal Luisa Alegre is a Physical Education teacher. She has been Babič Nataša teaching for 31 years in Portugal. She completed her Gustav Šilih Center for Education, Training, and master’s degree in human Movement Pedagogy in Brazil Counseling in Maribor, Slovenia and completed her PhD in Human Motricity-Dance at the Nataša Babič is a special pedagogue and Biodanza University of Lisbon in 2015. Over the years she has been facilitator. She currently works as a mobile special involved in Creative Dance projects in public schools, pedagogue at the Gustav Šilih Center for Education, among other projects. She believes in Dance as a Training, and Counseling in Maribor. She has been mobilizing element for the person and the community. involved in Biodanza for Children since 2014. For eight years, she intensively conducted Biodanza for Children Alhadi Hana lessons, in the presence of class teachers, at the Angel Independent Practitioner researcher (at the moment of Besednjak Primary School in Maribor, where she was applying), Slovenia employed as a special pedagogue. In this way the classes Hana Alhadi works interdisciplinary - she merges artistic were enriched, and the movement, emotional and social field with academic field and practical work in Intercultural development of pupils was encouraged through movement education. She holds an MSc in Migration and Ethnic and music. studies from University of Amsterdam, and she worked directly with vulnerable groups as a project coordinator in Bandić Sunčica Institute for African Studies and as an Associate Expert for Vrum performing arts collective, Croatia Unaccompanied Minors in Postojna. As a published Sunčica Bandić started her dance journey in Bal et school Practitioner researcher, she is committed to developing of National Theatre in Split where she started performing in bottom-up effective practices using dance and movement its repertoire. She graduated contemporary dance and methods in empowerment and promoting social cohesion. dance pedagogy at Academy of dramatic arts in Zagreb She has more than 20 years of experience in the field of where she was rewarded with Rector’s award. During her dance (especial y contemporary dance), movement, studies she is col ecting further professional experiences performative arts. as a dancer performer and teacher. Currently she is finishing her master’s in arts pedagogy at MUK Alves Maria João conservatory in Vienna. As a dance artist she is interested University of Lisbon, Faculty of Human Kinetics, Inet-md, in transmediation, theatre for young audiences and Portugal integration of different art forms in societal systems. Dance Teacher at the Human Kinetics Faculty, Department of Education, Social Sciences and Humanities, in the Bashaw Barbara University of Lisbon. BA in Dance, Master in Artistic Teachers College, Columbia University, United States Performance - Dance and PhD in Human Kinetics, Dance Barbara Bashaw (EdD) is the Arnhold Professor of Practice specialty, she teaches Dance Technique (Modern and in the doctoral program in Dance Education and Executive Classical Dance), Social Dance (International Dances), Director of the Arnhold Institute for Dance Education Dance Pedagogy, Dance Methodology, Dance Laboratory. Research, Policy & Leadership at Teachers Col ege, Regularly, she organizes courses open to the community. Columbia University. Her research interests in youth Scientific Advisor of MSc and PhD studies in Practice artistic development, teacher education, and leadership Based Research in Dance, and in Dance Education. are informed by her early career as a PK-12 dance educator and directing several collegiate dance teacher 86 d a C i - D a nce and the Child International Conference 2024 preparation programs. A certified Laban movement Bitunjac Marija analyst, she earned her MA and EdD degrees at Teachers Dance pedagogue, Croatia Col ege. She is a recipient of the NYU Distinguished Born in Zagreb, Marija Bitunjac graduated from the Teaching Award, NDEO Emerging Visionary Award, and an Mathematics High School and the School for Classical honorary doctorate from SUNY. Bal et (2003), before gaining a degree in preschool education from the Faculty of Teachers (2010). From 2003 Bassignana Paola Maria to 2006, she danced as a member of the bal et ensemble Ed.D. Dance Education Program, Teachers College, of the Croatian National Theatre in Zagreb (Bajadera, The Columbia University, New York, U.S.A., Italy Nutcracker, Swan Lake, etc.) Since 2007, she has worked Paola Maria Bassignana is a dance educator born and as a dance pedagogue and choreographer at the Zagreb raised in Italy. She is an elementary public school teacher Youth Theatre, where she has choreographed numerous at the Istituto Comprensivo Albaro in Genova, Italy, and a performances with children and youth. In addition, she doctoral student in the Ed.D. Dance Education Program at conducts workshops for students and educators. Teachers College, Columbia University, USA. Bassignana is also a teaching artist for the non-profit international Black Tristana organization Mus-e Italia, founded by the famous violinist University of Utah Tanner Dance, United States Yehudi Menuhin. Bassignana is committed to giving dance Tristana Black is originally from Colorado, where she had a more prominent position within the public school the privilege to study many forms of dance from a young curriculum through innovative activities inspired by an age. She graduated from the University of Utah with a interdisciplinary and transdisciplinary teaching approach. Bachelor of Fine Arts in Bal et and a Bachelor of Science in Economics, where she was awarded the Etta Keith Merit Battersby Clare Scholarship. She has taught and danced al over the Salt daCi New Zealand, New Zealand Lake Valley, and currently teaches for the Tanner Dance Clare Battersby, Graduate Diploma Movement and Dance Arts in Education Side by Side Residency Program and (University of Melbourne); DipTchg (ECE). Clare is known bal et for the Tanner Dance studio program. across New Zealand for her expertise in young children’s dance. She teaches dance classes at TAPAC Performing Blažević Antonija Arts School and in early childhood centers, kindergartens univ. spec. art. therap., Croatia and primary schools. Clare has been involved in daCi since Antonija Blažević, univ. spec. art. therap. graduated from 1994 and has presented both research projects and the Faculty of Law in Osijek. She became a certified dance teacher and children’s workshops at subsequent instructor by finishing a course, at the Public Open conferences e.g. 1997 Finland; 2015 Denmark; 2018 University in Zagreb. She enrol ed a postgraduate study Adelaide; 2022 Toronto. In addition, Clare has played a programme at the Academy of Arts and Culture in Osijek central role in supporting the daCi initiative One Bil ion and became the first university specialist of the Specialist Rising from its inception in 2012. Study of Creative Therapies majoring in Dance movement therapy. She is the cofounder of the Broadway Dance Berčič Jana Studio in Osijek where she works as a dance teacher and Biodanza Rolando Toro, Slovenia choreographer. She is employed as a classical ballet Jana Berčič encountered Biodanza 16 years ago. Since teacher at the Art School in Beli Manastir. then, Biodanza has become an important part of her life. After completing her training as a facilitator at the School Milena Mileva Blažić of Biodanza (Roland Toro System), she has been sharing Faculty of Education, University of Ljubljana, Slovenia her passion and joy with her participants on weekly group Prof. Dr Milena Mileva Blažić, Faculty of Education, in Ljubljana for already 11 years She received a tutor University of Ljubljana, Slovenia: humanities, literary degree and she is specialized in following classes: Identity science, children's literature, picture books, folk and fairy and 4 elements, Biodanza with children, Biodanza in nature tales, The Diary of Anne Frank etc. and Biodanza and neoshamanism. She is finishing her studies as Gestalt Psychotherapist. Blimen - Majcen Andreja Elementary School Pod Goro Slovenske Konjice, Slovenia Biddle Ann Andreja Blimen Majcen is an art teacher at an elementary Dance Education Laboratory (DEL), United States school. She researches how to combine visual arts with M.A., Dance Ed, TC, Columbia Univ., B.A., English, Kenyon creative movement in order to strengthen emotional and Col ege and Fulbright Scholar. Ms. Biddle is the Director of social skil s. Her master's thesis in Creative Arts Therapy is the DEL Institute, Director of DEL at Jacob’s Pil ow, and titled Strengthening Emotional and Social Skil s in Art teaches at UMASS/Amherst. She has written numerous Lessons for Students with intellectual disabilities. curricula including New York Export: Opus Jazz, Jerome Robbins: The Essence of Cool, Dance Making & Langston Boyack Ashley Hughes Poetry, The Essence of Pearl Primus, Reimagining University of Utah Tanner Danc, United States D-Man in the Water and Into Sunlight. Ms. Biddle is in the Ashley Boyack received her BFA from the University of EdD Dance Education program at TC, Columbia University Utah and MAT from the University of Northern Colorado. focusing on transformative learning and teacher education She joined the Lawrence Arts Center in 2010, where she and is the recipient of the NDEO 2023. was Artistic Director of the Youth Dance Theater. While at LAC she created the modern dance curriculum and served 87 d a C i - D a nce and the Child International Conference 2024 as the LAC Dance Education Specialist. In 2015 she Buck Ralph received the Sorenson Legacy Award for Excel ence in The University of Auckland, New Zealand Elementary Dance Instruction. In 2017 Ashley returned to Professor Ralph Buck (PhD) is Head of Dance Studies, and the University of Utah Tanner Dance program to become Associate Dean International, University of Auckland, New the Director of Professional Development as well as work Zealand. His research and teaching focuses on dance in all areas of the program. education curriculum, dance pedagogy and community dance. Ralph is the UNESCO Co-Chair on Dance and Bradley Cathy Heather Social Inclusion, and currently working within several Kingdom Dancers, South Africa international dance research and service organizations With over 30 years of dance experience, Cathy Bradley has such as, World Al iance for Arts Education (WAAE). Ralph’s been the owner, director and choreographer of Kingdom teaching and leadership has been recognized by: The Dancers for the past 15 years. The dance studio teaches University of Auckland Distinguished Teaching Award, modern, contemporary and hip hop dance to children 2008; Award for Leadership, 2010; Excellence Award for starting from the age of 5 all the way up to a lady’s class. Equal Opportunities 2006; and, Creative Arts and The dancers take part in the studio's dance productions, Industries Research Excellence Award, 2016. modern medal tests and hip hop exams as wel as many guest performances. Cathy has also choreographed Camper - Moore Christi dances for a local high school's musicals, Grease and Ohio University, United States Fame. Cathy also runs body conditioning classes. Dr. Christi Camper Moore is an Assistant Professor of Dance and Head of the Master of Arts Administration Brdnik - Juhart Petra program at Ohio University. She teaches a range of Faculty of Education University of Ljubljana, Slovenia courses including undergraduate technique and Petra Brdnik Juhart is a teaching assistant in Music composition and graduate dance pedagogy and arts Didactics at the Faculty of Education, University of management courses. Her research explores how dance Ljubljana, Slovenia. Her research interests include the training, curriculum, and community shape students’ holistic approach to music education at all stages, identity. She is published in various outlets including especially the Orff-Schulwerk Approach, and the Research in Dance Education, Journal of Dance Education, development of experience and understanding of music in Dance Teacher, and the American Journal of Arts all years of education. She participates in congresses and Management. She has received two 1804 Endowment seminars in Slovenia and abroad and publishes Grants for her research (2020-2024) and recently received professional and artistic articles. the prestigious University Professor Award (2022-2023). Brown Carol Caridade Ana University of Melbourne, Australia Musa Associação Artística e de Intervenção Social, Carol Brown is an international y established Portugal choreographer, artist-scholar and director from Aotearoa Graduated in Religious Sciences, postgraduate in Special New Zealand. After completing one of the first practice-led Education and master's degree in Artistic Education. PhDs in Dance at the University of Surrey, UK in 1995, Creator of MOSAICO – Platform for inclusive artistic and Carol was invited to become The Place Theatre London’s educational projects and president of Musa – Artistic and Choreographer in Residence. Together with composer Social Intervention Association. Artistic director of Art with Russel Scoones she founded Carol Brown Dances, a the Community and Inclusive Art projects, particularly in company renowned for the transdisciplinary reach of its Dance. Creator of artistic education projects implemented collaborations and for choreographies that take place in in numerous schools in national and internation level. unexpected places. Carol’s work has been acknowledged Researcher and writer of several books and scientific through a NESTA Dream Time Fel owship, the Jerwood articles. Artistic training in Dance, namely Danceability, Choreography Prize, and the Ludwig Forum International specialized courses in dance movement therapy and Prize. dance for the community, Theatre, Oral Narration and Music. Psychotherapist and Yoga teacher, Areial Yoga, Bucik Katja meditation etc. Centre for rehabilitation and education Vipava - CIRIUS Vipava, Slovenia Cheesman Sue She works intensively in connection of DMT in SLT. She University of Waikato, New Zealand started development of dance technique on wheelchair in Sue Cheesman works in Dance Education in the Division Slovenia and connecting therapy with stage performance. of Education at the University of Waikato, Hamilton, New In past years she regularly organized several international Zealand within teacher education. She has been for many wheelchair dance workshops, lectures of DMT and years a teacher, researcher and choreographer both in development of holistic communication trough movement New Zealand and the United Kingdom. Her research has and play. She received the price for the best dance centred on critical dance pedagogy in education, dance performance on International Festival in Portugal. The and disability and her applied choreographic practice highest national price for dance achievement was given to particularly in relation to site-specific work. Her dance her and she received the highest national price for special research has been published in several articles and education and SLT for her professional work and chapters in edited collections. realization of inclusion dance project “Rdeči čeveljčki". 88 d a C i - D a nce and the Child International Conference 2024 Chen Yabei Comissiong Aisha Kimbal Union Academy, United States Dancin' Africa, Barbados Yabei has been a dance educator for over 14 years. She Aisha Comissiong is a Barbadian multiple award-winning received her B.A. from Bucknel University and M.A. in dancer and choreographer. In developing her creative Dance Education from the University of Northern Colorado. voice Aisha found her niche in what may be termed ‘dance She has taught dance at boarding schools in the USA, edutainment’. An important aspect of her mission is to Leiden University in the Netherlands. She created a K-12 utilize dance to educate. She is known for executing dance program at Northbridge International School of projects that play a vital role in enriching the educational Phnom Penh, Cambodia in col aboration with the Juil iard experiences of the wider community by effectively and School and most recently directed the dance program at creatively using choreography, dance photography, Western Academy of Beijing in China. As a champion on videography, site-specific dance-works and social media dance literacy and the arts, Yabei has presented both to il ustrate and share important and empowering lessons domestical y and international y at conferences. about our history and culture. Aisha is currently a lecturer at the University of the West Indies. Clancy Jo Wagana Aboriginal Dancers, Australia Cooper Jacqueline A descendant of the Wiradjuri people of Western NSW, Jo Macquarie University, Sydney Dance Company, Australia Clancy is a First Nations choreographer, dancer, mentor Jacqueline Cooper holds a Master of Research from and teacher who lives in Gundungurra and Dharug Country Macquarie University and is the Learning Coordinator for in the Blue Mountains. Jo commenced her full-time dance Sydney Dance Company, Australia’s leading training at NAISDA Dance Col ege in 1990 and then went contemporary dance company. She was a Macquarie on to Western Sydney University where she became the University scholarship recipient and presented a paper on first Aboriginal person to gain a Bachelor of Arts in Dance integrated dance practice at the university’s Research in NSW. Jo was Head of Dance at NAISDA Dance College Frontiers Conference. Jacqueline also holds a Bachelor of from 2005-2007 and Head of Cultural Practice from 2020- Arts, with a double major in Dance and Performance and 2023. She founded her company Wagana Aboriginal Creative and Non-Fiction Writing. In January 2024, she Dancers in 2007. was elected as the Australian Co-Representative for Dance and the Child International (daCi). Her expertise and Cohen Patricia interests span primary dance, integrated arts practice, and NYU/Steinhardt, United States the delivery of large-scale educational outreach. Patricia Cohen, adjunct faculty member, NYU/Steinhardt MA dance education program. Developed and teaches Cornell Heather courses promoting equity in rooted jazz dance, Hope Col ege, United States professional development and culminating internships. Heather Cornel is a mover and shaker in the world of tap Develops and teaches courses for NDEO’s Online dance with a career that has spanned four decades. She is Professional Development Institute, including Dance director of the acclaimed Manhattan Tap, is an History: Furthering Equity Through Cultural Awareness. international solo artist, choreographer, director and Presents regularly at national and international producer. She was mentored by giants of the tap dance conferences. Contributed chapters to Jazz Dance: A genre, and the iconic bassist Ray Brown. Her 10 hour oral History of Roots and Branches, and Rooted Jazz Dance: history is housed in the NYC Library for the Performing Arts Africanist Aesthetic and Equity in the 21st Century. at Lincoln Center. She teaches at Hope College and has Editorial board of NDEO’s DEiP journal. NDEO’s Board of initiated the Heather Cornell Legacy Project where she is Directors. NDEO’s Leadership Award. continuing her work in reconnecting the music and dance in North America. Colliander Tuire University of the Arts Helsinki /Theatre Academy Davall Lee /Performing Arts Research Centre Tutke, Finland Royal Academy of Dance, United Kingdom Tuire Colliander is a dancer, dance pedagogue, and PhD Lee is currently Head of Learning and Teaching, and the candidate at the University of the Arts Helsinki Finland. Her Master of Arts (Dance Teaching) Programme Manager at dance pedagogic background is in the context of basic the Royal Academy of Dance. Lee is on the Executive dance education and Tuire also works as a freelance dance Committee for the Society for Dance Research in honorary artist. Her doctoral thesis focuses on early years dance role as Secretary. Lee is completing the DBA in Higher pedagogy with the questions of ethical and respectful Education Management programme, University of Bath. encounters through dance. Her research is inspired and Lee has extensive experience of delivering the secondary guided by play, as well as collaboration with children, dance curriculum and quality assurance of assessment. within the context of artistic research. Furthermore, the Previously, Lee worked as Director of Dance for a selective study aims to investigate how the post-humanist and new Performing Arts Academy for students aged 14-19 years, materialist theories could influence her practices as a with an aptitude for Dance, and worked in the private dance pedagogue. dance sector. 89 d a C i - D a nce and the Child International Conference 2024 Davis Ashley SK Fernandes Carla Delaware Institute for the Arts in Education & Pieces of a Universidade Nova de Lisboa, FCSH, Portugal Dream, Inc, United States Carla Fernandes is currently Principal Investigator and Ashley SK Davis is a dancer, choreographer, actor, Professor at Universidade Nova de Lisboa, FCSH, where teaching artist, and artivist who finds great joy in she is Head of the ‘BlackBox – Arts&Cognition Lab’, encouraging individuals to discover their inner artist. funded by the European Research Council, since 2014. Ashley is the Executive & Artistic Director of Pieces of a She directs the Performance & Cognition group at ICNOVA Dream, Inc., a Delaware (USA)-based dance company that since 2021. She has been designing and leading explores socially meaningful and culturally relevant topics. interdisciplinary research projects funded by the EU for POAD Academy of Dance, the company’s training arm, over 12 years. At present her research focus is the provides instruction to students ages two through adult. As intersection of Dance Data, Cognition, and Multimodal Artistic Director for Delaware Institute for the Arts in Communication, particularly concerning the analysis of Education, Ashley trains teaching artists and classroom bodily behavior in creative and collaborative settings. teachers to incorporate arts integrated practices for students. Fisher - Stitt Norma Sue York University , Canada Devan Saranya Norma Sue Fisher-Stitt is a graduate of Canada’s National University of Cape Town, South Africa Bal et School and a former dancer with the National Bal et Saranya Devan holds a Masters in Bharathanatyam from of Canada. She is a Full Professor in the Department of the University of Madras and a master’s in dance from the Dance at York University in Toronto, where she has taught University of Cape Town (UCT). Born and raised in Durban, in the studio as well as theory courses in dance education South Africa, Saranya Devan is recognized for her and dance history. Dr. Fisher-Stitt is the author of The versatility in drama, dance performance and Bal et Class: A History of Canada’s National Bal et School choreography. Devan is a guest lecturer in theatre and 1959-2009 and she has presented papers at numerous dance at UCT. She is currently registered for a PhD in international conferences. She co-chaired the 2022 daCi Dance at UCT that looks into the obliteration of Indian virtual conference and sits on the daCi Executive performing arts and culture through the Classical Indian Committee. Dance form of Bharathanatyam in South Africa as result of political disparity. Flavia Grace Ibanda University of Kisubi, Uganda Dória Rui Grace, a seasoned dance educator and facilitator brings INOVENTOS/MUSA, Portugal nearly two decades of global experience in empowering In-pulsar Project manager, Founder of Musa - Artistic and children, youth, and adults. A performer, trainer, and Social Intervention Association and member of the choreographer, she co-founded Okulamba Dance Theater direction board. Founder and developer of INOVENTOS - Company, known for its cross-cultural productions. As private company for events managing. Has been involved Creative Artistic Director of House of Talent East Africa, in social and community projects in the community, for Grace leads a cultural consultancy and dance troupe vulnerable groups. performing worldwide. Grace oversees operations for the non-profit Tap Uganda, Inc., fostering exchanges between Dugar Robertina children in Uganda and the United States. She's on track OŠ Trnovo, Karunova 14a, Ljubljana, Slovenia to graduate as a Certified Movement Analyst (CMA) in Robertina Dugar is a teacher of mathematics and computer December 2023 while pursuing an MA in Dance Education. science at Trnovo Primary School in Ljubljana. Since the beginning of her professional development, she has been Flinn-Culver Nicole (Nicki) involved in various educational projects introducing digital daCi USA, United States content, which is an important aspect of education in the Nicki Flinn is an Associate Professor of Dance at Hope 21st century. Through her activity in various projects and Col ege. She specializes in and advocates for dance participation in various training courses, she is constantly pedagogy, curriculum development, arts integration, striving to improve her own knowledge and gain valuable assessment, and dance for all ages. She developed a K- experience, which she then passes on to other 12 dance program and taught for 15 years. Nicole directs professionals and students. StrikeTime Dance Theatre and is a board member for several organizations including daCi USA, SHAPE Färlin-Månsson Sophia Michigan, and Michigan Dance Council. Nicole was a Stockholm University of Arts, Sweden leading member in the dance portion of Michigan’s Arts Bio: Sophia Färlin-Månsson is an Assistant Professor Education Instruction and Assessment Project. She in Dance for Children and Youth at Stockholm presents national and international y and her publications University of the Arts. Beside working at the University include articles in JODE, daCi USA publications, and Sophia Färlin-Månsson works with the pedagogical SHAPE Michigan Journal. method Dance a book, which is a method that combines creative dance with childrenś language Frichtel Monica learning. She has also held lectures and workshops in University of Delaware, United States Finland, Czech Republic, Hong Kong and Colombia. Dr. Monica J. Cameron Frichtel graduated with a BA in Dance and a minor in Spanish from the University of 90 d a C i - D a nce and the Child International Conference 2024 California, Irvine. She earned an EdM (dual emphasis in 2012 at Music School of Slavka Osterca Ljutomer and is culture and education) and a PhD in dance from Temple currently completing her postgraduate studies in the field University, where she was awarded the Promising Dance of Dance Pedagogy at Alma Mater Europaea. Educator and Emerging Scholar Awards. Her dissertation research investigated student engagement through critical Geršak Gregor and phenomenological pedagogical practices. She University of Ljubljana Faculty of Electrical Engineering, continues to study teaching and learning in and through Slovenia dance, with a particular focus on social y-just practices. Dr. Gregor Geršak received his doctorate in electrical Frichtel is the treasurer and chair of the advocacy engineering from the University of Ljubljana in 2003. His committee for the Pennsylvania Dance Education research interests include measurement theory, precision Organization. measurement of magnetic flux density, pressure, thermometry and metrology of biomedical instrumentation. Gain Priya In recent years, he has been working in the field of University of Auckland, New Zealand physiological measurements, with a focus on devices for Priya Gain is a New Zealander with bicultural heritage, non-invasive blood pressure measurement, thermal identifying as Pākeha New Zealander and Gujerati Indian. imaging cameras in biomedicine and devices for Priya worked in primary schools as a classroom teacher psychophysiology. and music specialist. She currently works in initial teacher education at the School of Education, University of Geršak Vesna Wel ington, where she teaches music, dance, and drama University of Ljubljana, Faculty of Education, Slovenia education. She is an education facilitator for Orff New Vesna Geršak (PhD) is an assistant professor at the Faculty Zealand and recent board member of Music Education of Education, University of Ljubljana, where she teaches New Zealand. Priya is a doctoral candidate at the creative movement and dance in early childhood, primary University of Auckland School of Māori and Indigenous school teacher education and special education. Her Education. Her research includes ongoing engagement pedagogical and scientific work includes embodied with Māori led arts education initiatives. approaches to learning and teaching, dance pedagogy and the integration of the arts in the learning process. She has Gehres Adriana published numerous scholarly articles and books in this University of Pernambuco, Brazil field. She is currently developing a model for col aboration Adriana de Faria Gehres, currently Professor at University between students, teachers and artists in arts and cultural of Pernambuco (Brazil) and Researcher at INET- education projects and is Chair Elect of Dance and the MD/Portugal and GESEF-UPE/Brazil. Doctoral Degree in Child International. Human Kinetics/Dance at University of Lisbon and Postdoctoral Studies at University of São Paulo, Giguere Miriam professional experience as Independent Producer and Drexel University, United States Public Administration in Dance Field. Several articles and Miriam Giguere holds a BA in psychology and an MS in books published about Dance, Dance Education and Education from the University of Pennsylvania and a PhD Dance and Complex Systems. in dance from Temple University. Dr. Giguere is a full professor of dance and the Department Head for Genzić Ana Performing Arts at Drexel University. She is the founding Art school Franjo Lučić, Velika Gorica, Croatia President of the Pennsylvania Dance Education Ana Genzić is a classical bal et teacher, pedagogue and Organization and the associate editor of the journal Dance most of al an enthusiast when it comes to new Education in Practice. She is author of the textbook, pedagogical approaches to teaching classical bal et. In her Beginning Modern Dance, as wel as numerous book work she combines knowledge of contemporary dance chapters including in Ethical Dilemmas in Dance techniques, classical bal et education and knowledge from Education: Case Studies on Humanizing Dance Pedagogy, the field of dance science. For the past sixteen years she and Milestones of Dance in the USA. is employed at the Art school Franjo Lučić in Croatia, during which time her students won numerous awards at Godler Anita state and international competitions, she wrote and Primary School Trnovo, Ljubljana, Slovenia presented a few papers about pedagogy and methodology Anita Godler is a teacher at Trnovo primary school in and overcome her fear of public speaking. Ljubljana. She has been teaching for 21 years. During this time, she has attended various training courses on creative Germ Ana movement. Over the past ten years, she has regularly Bal et teacher in Slovenia, Slovenia integrated creative movement methods into all areas of Bal et and dance teacher Ana Germ was educated in the teaching. As a teacher, she is involved in various projects field of classical bal et at the Maribor Conservatory of at national and international level. She has presented her Music and Bal et. She continued her studies in the field of examples of good teaching practice at various training modern and contemporary dance at the Music and Arts courses. She believes that students use all their senses University of the City of Vienna (Ba of Arts, 2011). Her and skil s in different ways while learning through dance, professional dance experiences reach from collaborations painting, music, practical work, experiments, etc. with SNG Maribor bal et ensemble to independent contemporary projects. She started her teaching career in 91 d a C i - D a nce and the Child International Conference 2024 Gough Sarah Harris Jillian Blue Moose Dance Company, United Kingdom Temple University Department of Dance, United States Sarah delivers on the Blue Moose Dance education An Associate Professor of Dance at Temple University, programme and is a co-lead Artist on the Paul Hamlyn Jil ian Harris researches both new models and platforms Foundation-funded Arts-Based Learning Project ‘from for dance-based collaborations. Her most recent project, HEAD to TOE'. Sarah gained a BA (Hons) degree in Dance Mud: Bodies of History, is an interactive dance experience in 2004; graduating from York St. John College UK & State accessed at www.mudbodies.com. Previously she University of New York: Potsdam, USA. Sarah specialises produced and co-choreographed Red Earth Calling, a in contemporary and creative dance and in writing and short dance film that won numerous awards, including delivering creative curriculum for primary settings. She Best Narrative Short at the Maui Film Festival. She has had works passionately to deliver high quality and engaging a distinguished performance career, touring nationally and dance with organisations including Ludus Dance, The internationally, performing with the Metropolitan Opera Lowry Centre for Advanced Training and The Royal Ballet and collaborating with notable artists like composer Ola School. Gjeilo. Currently, she is developing new works for both stage and screen. Gower Kimberly DC Public Schools, United States Heerden van Marelize Kimberly Gower, from the Washington, DC metro area Nelson Mandela University, South Africa graduated from James Madison University (BA, Dance) in Dr Marelize van Heerden lectures Dance education, Music 2006 and New York University (MA, Dance Education) in education and Philosophy of Education at the Faculty of 2011. She has been teaching dance for 15 years in Education, Nelson Mandela University, South Africa. She schools in NYC, LA and DC. In addition, she has taught holds a Master’s Degree in Music and a Doctorate in overseas utilizing research she has done with dance and Education. Her doctorate regarded the potential of dance trauma, working with refugees in Lebanon and the West education to promote social cohesion in South Africa. She Bank. Currently, she is the dance teacher DC Public also studied Cultural Sociology at Masaryk University in Schools. Kimberly is passionate about bringing access to Czech Republic for 18 months. Her research interests dance education for all and using dance as a tool for include creative dance, training teachers for the academic and socio-emotional growth. multicultural classroom, decolonisation, ideas of Self in relation to the Other, recognition of dignity, nation building Guarino Joy and peace education. daCi USA, United States Joy Guarino is the Director of Global Engagement and a Henley Matthew Professor of Dance at Buffalo State University. Joy Teachers College, Columbia University, United States coordinates experiences that bring creative curricula and Matthew Henley, PhD, is Arnhold Associate Professor of engaging opportunities to benefit faculty, staff, students, Dance Education at Teachers Col ege, Columbia and local, national, and international community University. He earned a PhD in Educational Psychology, organizations with the goal of forming meaningful Learning Sciences and Human Development from the collaborations. She presents and publishes on kinesthetic University of Washington, where he also earned his MFA in learning, global learning for all, service-learning, and civic- Dance, fol owing his BFA in Dance and BA in Religious engagement nationally and internationally. She impresses Studies from the University of Arizona. His research upon her students that a culture’s values are embodied in interests include embodied, embedded, extended, and its dance forms and guides them to embrace dance as a enactive approaches to cognition in dance; dance as a conduit to cultural humility and an empathetic global cultural technology for developing situated ways of being perspective. and thinking, kinetic research methods; and pedagogy of research methods. He co-edited Dance Research Hall Sarah Methodologies: Ethics, Orientations, and Practices. Blue Moose Dance Company, United Kingdom Sarah is Creative Director of Blue Moose Dance Company Ho Yui Ting Julianna with 14 years’ experience working in community and Hong Kong Academy for Performing Arts, Hong Kong education settings, leading and developing creative dance Lecturer in Dance Pedagogy at Hong Kong Academy for provision that inspires, chal enges and connects. Sarah’s Performing Arts (HKAPA) and an artistic director of Rice research interests lie in developing creative dance practice Journey Studio & Production, focusing on contemporary with young people's voice at the forefront of their creative dance production for young audiences. Graduated from journeys, predominantly in Primary School settings and in the University of Hong Kong with a master’s in education the field of Youth Dance, and currently as co-led Artist on (MEd) and a bachelor’s degree in Contemporary Dance the PHF funded Arts-Based Learning project ‘From Head and dance education from HKAPA. A former lecturer at the to Toe’. Sarah is also Co-Course Leader/Senior Lecturer Chinese University of Hong Kong and the Hong Kong for BA (Hons) Dance at the University of Central Metropolitan University focusing on dance curriculum Lancashire. design and early childhood education. Equipped with the qualification in International Orff Certificate and completion of Montessori Teacher Education Program. 92 d a C i - D a nce and the Child International Conference 2024 Horvat Rosana daCi-USA board as Membership Relations and creates Krško Music School, Slovenia monthly daCi-Delights. Rosana Horvat completed the Alvin Ailey American Dance Academy in NY. She choreographed ten ful -length dance Hultenius Petra performances and two children’s performances. She Stockholm School of the Arts, Sweden gained pedagogical and andragogical knowledge at Petra Hultenius Dance teacher educated at Faculty of Education in Ljubljana. She completed a two- Danshögskolan, Stockholm (1994) orientation year teacher training called STIK, organized by JSKD. For contemporary dance and childrenś dance. Master of Fine the last 23 years she has been teaching dancers of Arts in Choreography with Specialization in dance different ages and currently she is employed as a dance didactics at Stockholm University of the Arts, Stockholm teacher in a music school in Krško at the Department for (2019). Dance teacher at Stockholm School of the Arts (a Contemporary Dance. She lectured at the Academy for Municipal school of the Arts) for children and youth 6-22 Dance in Ljubljana and is the founder of a dance society years old – teaching childrenś dance, contemporary Imani. dance, and musical/dance theater. Educational leader preschool with focus on develop the dance in line with the Hrašćanec Petra curriculum. Since January 2022 in the position as Lead Academy of Dramatic Arts, dance department, ful time Business Developer of Dance at Stockholm School of the professor, Croatia Arts. Petra Hrašćanec, founder and artistic director of the organization 21:21. Dancer, choreographer, associate Iskra Petra professor at the Dance Department of the Academy of Primary School Trnovo, Ljubljana, Slovenia Dramatic Art in Zagreb. Petra Hrašćanec works in the field Petra Iskra is an experienced professor of defectology with of performing arts as a dancer, choreographer and more than 20 years of experience in the field of OPP pedagogue. From 2009 to 2020, she was the artistic education. Since 2001, she has been working as a DSP director of the Monoplay solo festival in Zadar. She teacher at the Trnovo Primary School in Ljubljana, where presented her work at renowned European dance festivals she is also actively involved in school and international and theater institutions. projects. In addition, she shares her wealth of experience in various seminars and workshops, where she passes on Huang LiChing her knowledge to both pupils and teachers. Her efforts are Music Fairy Studio, Taiwan focused on creating a professional y autonomous, Doctor of Education, National Taiwan Normal University supportive and inclusive environment that promotes the Founder and Music Director of Music Fairy Studio Music inclusion and development of each individual, whatever and dance therapist at Yilan Zhulin Nursing Home in their specific needs. Taiwan Scope of Expertise: Carl Orff Schulwerk, Creative Picture Book Music and Drama Creative Dance, African Janota Štirn Petra Drum Circle and Percussion, Music and Dance Therapy. Institute PETIDA, Slovenia Doctor of Education. Director of the PETIDA Institute. She Huang Wen Jen also works at the Faculty of Education and Philosophy at Tainan University of Technology, Taiwan the University of Maribor. For many years she has been Wen-Jen Huang is an Associate Professor in the researching in the field of moral education, the importance Department of Dance at Tainan University of Technology in of the inductive approach as a model for promoting Taiwan, specializing in contemporary dance technique, prosocial and moral development. Another special area of improvisation and choreography. She received her MFA in research is the importance of art in education and the Dance from New York University’s Tisch School of the Arts, search for and exploration of concepts that address the and a BA in Dance from Tainan University of Technology in field of inclusion. Taiwan. She is currently the artistic director of the Seed Dance Company. Jeler Mateja Osnovna šola Vransko - Tabor, Slovenia Mateja Jeler is a primary school teacher at Vransko-Tabor Huckins Chara Elementary School. In addition to her work in the University of Utah Tanner Dance, BTS Arts Learning classroom with students, she has a special mission in the Program, United States development and implementation of dance art. For several Chara Huckins is a master instructor, choreographer, and years, she has been teaching the elective subject of dance artist. She has over 25years of teaching experience and and dance extracurricular activities. Her professional path developing curricula for al ages and abilities. Chara has is shaped by regular education in the field of creative taught for several Universities across the U.S. She movement. In the last three years, she has also been currently teaches and choreographs for the University of involved in puppetry, movement, and therapeutic musical Utah Tanner Dance as wel as for the BTS Arts Learning instruments. She has successfully presented examples of Program where she inspires hundreds of students to learn, good practices in the field of dance art at several create, and perform through the art form of dance. Chara international conferences. was honored with the Sorenson Legacy Award for excellence in teaching dance education. She serves on 93 d a C i - D a nce and the Child International Conference 2024 Jones Brontë Dance Dissemination from University of Music and Dance The University of Auckland, New Zealand Cologne, Germany and Bachelor in Dance from Salzburg Bronte Jones is an emerging dance educator, researcher, Experimental Academy of Dance. and performer based in Aotearoa, New Zealand. She is currently a PhD candidate in Dance Studies at Waipapa Kaross Sabine Taumata Rau (The University of Auckland), exploring Early University of Education Freiburg, Germany Career Teachers’ meanings of Diversity, Inclusion, and Sabine Karoß (Dipl.-Sportlehrerin), studied at the German Difference in the context of Secondary Schools in Sport University Cologne with a focus on "Elementarer Aotearoa. Bronte holds a Bachelor of Dance Studies Tanz". Since 1997 she has been working as a member of (Honours) and has received a Doctoral Scholarship from the academic staff at the Freiburg University of Education Waipapa Taumata Rau (The University of Auckland). (Department of Sports Science and Sports Education). She Bronte is also a Graduate Teaching Assistant in The trains physical education teachers for the primary and University of Auckland, where she teaches both secondary level in practice and theory. She continuously Undergraduate and Postgraduate Dance Education participates in relevant conferences, congresses, papers. continuing education and training to expand her knowledge and skil s. She is a long-standing member of Jurgec Ana Tina the German Society for Dance Research. When time University of Maribor, Faculty of Education, Slovenia permits, she publishes articles and books. Ana Tina Jurgec lectures in Dance Education Didactics at the University of Maribor's Faculty of Education. Formerly Kasjak Mojca a ballet ensemble member at the Slovenian National Professional independent artist and dance teacher, Theatre Maribor, she studied pedagogy and Slovenian Department of contemporary dance, Laško-Radeče language at the University's Faculty of Arts. With years of School of Music, Slovenia experience teaching ballet to children in music schools, Mojca Kasjak is a professional dance teacher, she now imparts this knowledge to her students. choreographer, dancer and artistic director of international Additional y, she's pursuing a PhD in Educational Sciences dance festival (The Platform of Contemporary Dance at the same university, specializing in preschool dance festival, Slovenia). She is the author of numerous projects, research. dance performances, creative movement workshops and professional seminars. In 2020, she received a state plaque Jurišić Nataša for her pedagogical work and artistic achievements, as wel Ana Maletić school of contemporary dance, Croatia as for her indispensable contribution to the shaping of Graduated the three-year study program at the Slovenian dance culture. She is also a national dance Experimental Salzburg Academy for Dance and obtaining selector at the Public Fund of the Republic of Slovenia for the professional title of BA choreographer and professional cultural activities. She is currently completing her master's dancer of contemporary dance. Since 2003. she is a degree in Arts Therapy. teacher of contemporary dance and rhythm in Ana Maletić school of contemporary dance in which she taught/is King Hetty teaching seven subjects through the system of primary and Institution, Country: Teachers College, Columbia secondary school programs. She is president of the expert University, United States council for dance at Croatian culture association, umbrella Hetty King, a native New Yorker, is a dancer, organization for amateur arts in Croatia, and also a selector choreographer, dance educator, and scholar. She danced for the national amateur Dance Festival. for, most notably, Ralph Lemon and David Dorfman and has worked as a dance educator in public and private Jurjevič Nuša institutions. A student of the late somatic movement University of Ljubljana, Faculty of Education, Slovenia pioneer Nancy Topf, Hetty completed Nancy’s Nuša Jurjevič is a researcher on the Faculty of Education posthumous manuscript – A Guide to a Somatic Movement (University of Ljubljana) and a freelance visual artist - Practice the Anatomy of Center, in 2022. A Doctoral illustrator. Her research field is integrating visual art and Candidate in Dance Education at Teachers Col ege, dance experience into the learning process. She is also Columbia University, her research interests are the interested in holistic artistic art experience and art based intersection of somatic and dance education in early research (ABR) in education. She is currently working on childhood. She is the PreK3-5 dance educator at PS 145. her PhD. Kipling - Brown Ann Kalafatić Maja Professor Emerita, Faculty of Education, University of Dance Scholar, dance maker, dance pedagogue, Slovenia Regina, Canada Maja Kalafatić (Slovenia/Serbia) is a dance maker and Ann Kipling Brown is Professor Emerita in dance education pedagogue who lives and works between Finland, Slovenia at the University of Regina in Canada. She has worked and Serbia. She is very much interested in the relation of extensively with children, youth and adults in teacher movement and music and trying out new possible formats preparation, creative/modern dance, composition, and of collaboration and performing. She wishes to distribute notation. Her philosophy focuses on incorporating dance outside of dance and theater context and share it movement in education for a complete understanding of with locality. Maja has a Masters of Dance performance self. Research, presentations, and publications focus on (The Theatre Academy Uniarts, Helsinki), Master of Arts in dance pedagogy and curriculum, the history and impact of 94 d a C i - D a nce and the Child International Conference 2024 early pioneers of creative/modern dance and the Experimental Academy of Dance) and she works as a guest organization “Dance and the Child International” (daCi), teacher on High school in Ljubljana (drama & theater and the role of dance in the child’ and adult’s lived world department). In 2016 she obtained a national reward for and learning and teaching of dance in intergenerational pedagogical and dramaturgical work in contemporary groups. dance – Ksenija Hribar. Urška Kljun Koren Sandra Slovenia Glasbena šola Celje, Slovenia Urška Kljun is passionate about art and dance. For the last Sandra Koren, based in Celje (Slovenia), attended Artistic ten years, she has been dancing mostly flamenco and High School for Contemporary Dance in Ljubljana, and tango, and she currently works as a kindergarten teacher later obtained MA in French language and History of Art. in the Šentvid Kindergaten in Ljubljana. For the last three Since 2008, she works as a dance pedagogue. Currently years, she has been cooperating and working with dance she is active in Music school Celje and Music school pedagogue and dance-movement therapist Neva Kralj. Laško-Radeče, where she teaches contemporary dance to Their aim in working together is to study and investigate a children between ages of 4 and 15. The broadness of her dance programme adapted for toddlers age 1–3 years formal education enables her to link different disciplines in focused on encouraging and developing toddlers’ motor, new, creative ways. social and communicative skil s through non-verbal communication and dance activities. Korošec Helena University of Ljubljana, Faculty of Education, Slovenia Knox Sarah Helena Korošec (PhD) is an assistant professor at the Dance Studies, The University of Auckland, New Zealand Faculty of Education, University of Ljubljana, Slovenia, Dr Sarah Knox is a Lecturer in Dance Studies at The where she teaches creative drama and puppetry in University of Auckland. Sarah is a former professional preschool, primary, and special education programmes. contemporary dancer. Her research explores Her educational and research work includes the role of choreographic collaboration within professional and puppets and drama in learning and teaching and in child educational contexts and most recently her Doctoral study and adolescent development. In recent years she has also investigated dance educators' experiences of teaching been involved in the use of therapeutic sounds with choreography in tertiary education. Outside the University individuals and in group work in different settings. She is a she regularly works as a teacher, adjudicator and mentor member of the international UNIMA commission "Puppets for young dancers, including making choreographic works in Education and Therapy" and a member of IDEA - with youth. Sarah is also the Co-Chair of the World Dance International Drama in Education Association. Alliance Asia Pacific Education and Training Network. Kosi Katja Koff Susan R Self-employed in culture, Slovenia NYU School of Culture, Education and Human She studied English and contemporary dance in Slovenia Development., United States and abroad. In addition to many years of translating in the Susan R. Koff, Clinical Professor, Dance Education field of contemporary performing and visual arts, she has Program, NYU/Steinhardt. Past positions: Louisiana State collaborated with numerous choreographers in the field of University; Teachers Col ege, Columbia University; contemporary dance and has created two original University of Denver; Pennsylvania State performances and one co-authored, co-developed a series University. Currently at NYU chair of TEC (Teacher of performative actions and gestures in public space. She Education Council) achieving 7-year accreditation for all has collaborated with numerous kindergartens, primary certification teacher education programs. Academic and and secondary schools in developing didactic approaches service activities are in the area of Dance Education, USA and new forms of integrating educational work with art. and internationally, including Keynote, RAD Australia; Side She is currently working on an interactive performance for event, UNESCO World Conference on Culture and Arts toddlers and parents. Education. Recently Chair of the Board daCi, Fulbright Scholarship recipient. Publications: Journal of Dance Koščak Tina Education, Research in Dance Education, Childhood Primary School Gradec, Slovenia Education. Book: Dance Education, A Tina Koščak, a culturologist, pedagogue and dancer, has Redefinition Methuen/Bloomsbury, London. been guiding children through various creative processes for many years. She is interested in somatic approaches Kopač Andreja (BMC, Embodiment in education - Susan Bauer), the Professional independent artist and teacher, SVŠGUGL, discipline Authentic Movement and dance improvisation. professor (Alma Mater Europaea), Slovenia She regularly attends diverse training and workshops, this Andreja Kopač is a publicist, editor, pedagogue, mentor year she attended Introduction to Creative Dance for Early and dramaturge. She is holding an M.A. in the Linguistics Childhood, conducted by NDEO. She participated in the of Speech and Theory of Social Communication at the ISH, performance Exit (2023) by contemporary dance pioneer Ljubljana Graduate School of the Humanities, and also a Deborah Hay. PhD of Sociology of Culture at the Faculty of Art at University of Ljubljana. Since January 2013 she is temporary a guest teacher on SEAD (Salzburg 95 d a C i - D a nce and the Child International Conference 2024 Kralj Neva her MFA in Dance Performance from Taipei National Slovenia University of the Arts, and BS in Physical Education from Neva Kralj is an experienced dance pedagogue and National Taiwan Sports University, with a major in choreographer, specialized in assistance through art, Contemporary Dance. She specializes in Chinese Opera working as a self-employed in the culture. She received her Martial Arts, Modern Dance, and has directed cross- MA in dance-movement therapy in Slovenia and holds a disciplinary performances through collaboration with WOS (Ways of Seeing, Suzi Tortora) certificate for working traditional Taiwanese art troupes, such as Jiutian Folk Art with children and families. Neva is currently a PhD student Troupe, and with musical by Yunlin Philharmonic Chamber at Faculty of Education in Ljubljana in the field of preschool Chorus and Taipei Philharmonic. Ling-Jui is not just a pedagogy. Her dissertation is focusing on toddlers' motor, dancer but also a performing artist and educator. social and communicative skil s through a dance program. Her work has been increasingly moving also in the direction Kušlan Kranjc Aleš of individual and group dance therapy for children and Ekvilb inštitut, Slovenia adults. Aleš Kranjc Kušlan is director of Ekvilib Institute, non-profit consultancy for HR and sustainable leadership. His basic Kranjčan Žigan education is philosophy and sociology with addition Self-employed in culture, Slovenia education in business administration and arts therapy. He Žigan has thus far directed several performances, is also Relationship and Jungian Coach, HR Consultant, choreographed over a dozen theatre, contemporary and leadership and team developer. In recent years he has urban dance performances, co-created and performed in been intensively practicing movement and somatic international productions as well as taught hip hop, processes, with an emphasis on contact improvisation, popping and contact improvisation. He has been dance improvisation and somatic practices and developed developing the idea of integral creativity with a focus on processes and workshops how to use movement/dance expanding, fusing and pushing the limits of the genres and improvisation in context of leadership and team styles he is working with. His latest work is a multigenre development. music album "Fusion Reactor" where he presented himself as a songwriter and singer. Lajić - Horvat Grozdana Zagrebačko kazalište mladih, Croatia Krešić - Vrkljan Normela She was born in Zagreb where she graduated from the Teacher, Croatia Faculty of Philosophy of the University of Zagreb with a Normela Krešić-Vrkljan is a dance educator, dance history degree in French language and literature, Information teacher and longtime former headmaster of the Ana sciences and Theatre studies. In 2015 attended Summer Maletic Contemporary Dance School. She graduated from institut program " Activating learning through the arts" at the School of Rhythm and Dance and graduated in the University of Texas at Austin, US, Since 2000. Comparative Literature and Art History at the University of employed in Zagreb Youth Theatre as Theater pedagogue; Zagreb. She initiated and attended international education Head of Drama studio department (Educational Movement Analysis and Somatic Practice in Zagreb. department of Zagreb Youth Theater) where she created, She actively participates at all levels of the educational and authored and staged more than 70 plays with children and performance vertical in dance art through initiatives, youth. Attended numerous workshops for directors, documents, workshops and EU projects: Empowering actors, theatre. Regularly conducts workshops for Dance1/2 and Beyond Front@: Bridging Periphery at the students, teachers and educators. moment (as a member of Croatian Institute for Movement and Dance). Laure Maruša University of Maribor, Faculty of education, Slovenia Kronsted Christian Maruša Laure holds master's degrees from the University Merrimack Col ege, United States of Ljubljana's Academy of Music and the University of Christian Kronsted is Assistant Professor of Practice in the Maribor's Faculty of Education, specializing in music and honors program at Merrimack College. He has a PhD. in instrumental pedagogy. She is pursuing a PhD in philosophy and cognitive science from the University of Educational Sciences at the University of Maribor, focusing Memphis. His research specializes in the philosophy of on music psychology and music didactics, particularly mind with an emphasis on embodied cognition and the child-centered approaches like Montessori and Suzuki philosophy of dance. He researches the cognition and approach. She works as a teaching assistant at the benefits of dance, artificial intel igence, agency, University of Maribor's Faculty of Education. emergence, and large crowd cognition. Dr. Kronsted is co- editor of Dance Philosophers Network, and co-artistic director for the artist col ective Stylin'Out Network. He is Leandro Cristina Rebelo from Copenhagen, Denmark and for nearly two decades, Education School - Polytechnic Institute of Coimbra. has been a competitive break dancer. INET-md | polo FMH, Portugal Degree in Dance and Ph.D. in Human Kinetics on Dance Ku LingJui specialty of Human Kinetics Faculty - University of Lisbon. Tainan University of Technology, Taiwan Dance Professor in the Education School - Polytechnic Ling-Jui Ku is an Assistant Professor in the Department of Institute of Coimbra at the different Undergraduate and Dance at Tainan University of Technology. She received master’s levels. Co Author of a Creative Dance Manual: an 96 d a C i - D a nce and the Child International Conference 2024 interdisciplinary approach in the Primary Education. promote creative thinking. At the university, he leads a Researcher at Institute of Ethnomusicology – Center for dance group and publishes art reviews in the newspaper studies in music and dance – INET-MD/polo FMH. Dance Dnevnik. teacher of the Aesthetic and Artistic Education Program (PEEA - Programa de Educação Estética e Artística). Lindqvist Anna Member of daCi (Dance and the Child International). Umeå University, Sweden Anna Lindqvist, PhD in Educational work, senior lecturer at Leben Mojca the Department of Applied Educational Science, Umeå Self-employed, Slovenia University, Sweden. Her research focuses on dance in Mojca Leben is an art-historian and a specialist in non- preschool and primary school. She combines research verbal communication through creative movement. She with the appointment as an Assistant/ Deputy Director at applies a multisensory and interactive approach in Umeå School of Education, Umeå University. She is a educating/learning through arts. Besides being a guest board member of The Swedish National Dance in Schools educator in various art & dance projects in schools and Institute and TEPE, Teacher Education Policy in Europe. kindergartens, she also col aborates with many Slovene She is a participating researcher in the project “STEAM in galleries/museums where dance and body expression are early childhood education: An opportunity to traverse brought into the exhibition space to connect visual arts gender norms connected to Arts and STEM?” (Research with creativity and experiential embodied learning. She Project Grant, The Swedish Research Council, 2023-2026). participated in many projects dealing with the role of art and dance in the educational process (amongst them the Lončar Aleksandra 2017-2022 SKUM national project). Slovenia Saša Lončar is a dance pedagogue and choreographer, Lebre Paula the founder, and artistic director of the Cultural Association Faculdade de Motricidade Humana, Portugal Qulenium in Kranj. She serves as the director of the Assistant Professor in Psychomotor Rehabilitation 1st and Kaleidoscope Festival in Kranj and Ljubljana and leads the 2nd cycle studies at Faculdade de Motricidade Humana- creative camp Mašun. Her mission is to foster dance Lisbon University. Integrated researcher Instituto de creativity among children and teenagers. She showcases Etnomusicologia - Centro de Estudos em Música e Dança her work at festivals both nationally and internationally. She (INET-md)-Dance studies. Participates in research projects has been honored with awards such as the Mete Vidmar and community outreach in the field of health promotion, Plaque, the Prešeren Plaque from the Municipality of Kranj, resilience, psychomotor intervention and assessment, and the Ksenija Hribar Award. dance and expressive therapies. Participation in International projects i(MARA-outcomes framework, Lorenza Linda movement assessment and reporting tool MARA; Central Queensland University, Australia Promehs- Promoting Mental Health at Schools; Story Dr Linda Lorenza researches arts education and applied Makers Project, Rescur – European resilience curriculum, arts. She is Head of the Bachelor of Theatre and teaches Rescur in Action, Be ready-Life skil s and career theatre, acting and drama. Her professional career spans development helping young people progress into success. arts industry management, education policy development, research and academia. Her interdisciplinary research is Leitão Ana predominantly associated with applied arts cutting across INET-md Institute of Ethnomusicology - Center for the social innovation and change, regionality, rehabilitation Study of Music and Dance, Faculty of Human Motricity and youth. She is Chief Investigator of the Emerging (FMH), Lisbon University, Portugal Priorities Program research, an examination of primary Ana Leitão is a dancer, choreographer, researcher, student, teacher and parent experiences of arts learning director, and project creator. She holds a postgraduate online during COVID-19 lockdown. degree in Community Dance from the ULisboa at FMH and is currently pursuing a doctorate, specialization in Dance Lundahl Vigil Teresia at the same institution. Ana's background includes training Fryshusets gymnasium, Sweden in Contemporary Dance at Porto's Professional School of Teresia holds a master in choreography with focus on Bal eteatro. She also holds a degree in mathematics and contemporary didactics from SKH, Stockholm University applied physics for Astronomy from the UPorto and a of the Arts (2021). Her primary work is dance teacher at master's in origin and evolution of life, UMinho. Fryshusets gymnasium, Stockholm since 22 years. The last two years she has been a senior teacher in the knowledge Lenard Vid field sexuality, consent and relations. Beside the teaching Professor, Slovenia she is a freelance dance artist, and she is constantly busy Vid Lenard completed studies in art history, sociology of creating new forms of expressions in different spaces and culture and preschool pedagogy. He has worked in contexts. She currently has a residence on the theme kindergartens for over ten years using dance activities and “Herbs, sexuality and some bal room dancing” at creative movement. Now he is employed at the faculty of Hägerstensåsens medborgarhus, Stockholm. pedagogy in Koper, where he teaches dance activities for preschool education and art history for students of visual arts and design. He enrolled in a PhD with the topic of an interdisciplinary approach in movement and dance to 97 d a C i - D a nce and the Child International Conference 2024 Mabingo Alfdaniels dance, and meditation stories accompanied by various Makerere University, Uganda sounds in her diverse programmes. She has also authored Alfdaniels Mabingo is a Ugandan dance researcher, the story of the picture book Sivko na potepu po Plečnikovi scholar, performer, educator, Afro-optimist and co- Ljubljani. She’s active in the education of new museum founder of AFRIKA SPEAKS. Born and raised in his guides, both in terms of content and in the field of ancestral vil age, Mbuukiro, on the shores of Lake Victoria didactics. in central Uganda, East Africa, he holds Ph.D. in Dance Studies from the University of Auckland. A recipient of the Marinič - Žunič Kleo prestigious Fulbright scholarship, Mabingo also holds an Primary school teacher, Slovenia MA in Dance Education from New York University, and an Kleo Marinič-Žunič currently employed as a second grade MA in Performing Arts and a BA in Dance degree, both primary teacher in Ljubljana. She went to university, where from Makerere University in Uganda. He has taught and she studied Primary Education at the Faculty of Education conducted research on dance worldwide. of University of Ljubljana. She has been dancing ballet at Bal et School Saša for most of her life and that is where the Manja Syazwani Aniyah interest in bal et grew each year more and more and there Universiti Pendidikan Sultan Idris, Malaysia she found the inspiration to include ballet in her master's An Early Childhood Teacher from the National Child thesis. In October of 2023 she got her master’s degree in Development Research Centre, Universiti Pendidikan researching how bal et is included in primary education Sultan Idris (UPSI), Tanjung Malim, Perak, Malaysia. She and how it affects student’s overall wellbeing. was actively involved in the development of early childhood education activities, an early childhood educator Marques Ana Silva who has been teaching and conducting research. Escola Superior de Dança and CESEM, Portugal Postgraduate in Digital Education, Lisbon School of Manley Mary-Elizabeth Education, Polytechnic Institute of Lisbon (2023); PhD in Professor Emerita and Senior Scholar, Dance Educational Sciences, specializing in Educational Department, School of the Arts, Media, Performance & Psychology, Universidade Nova de Lisboa (2016); Design, York University, Canada Specialist Degree in Dance, Polytechnics Institutes of Mary-Elizabeth Manley is professor emerita and senior Lisbon, Porto and Leiria (2014); Master in Artistic scholar in York University’s Department of Dance. Performance-Dance, Faculty of Human Motricity, Selected research appears in the Congress on Research in University of Lisbon (2007); Degree in Dance, Education Dance (CORD), Dance Education Around the World and in (1999), Escola Superior de Dança (Higher School of Dance and the Child: International (daCi) conference Dance), Polytechnic Institute of Lisbon; Professor with proceedings. She was the chief editor for daCi’s First 30 Escola Superior de Dança, since 2000; Member of Centre Years: Rich Returns and is author of "Roots and Wings: for the study of the sociology and aesthetics of music Virginia Tanner's Dance Life and Legacy" with Robert (CESEM), at Universidade NOVA de Lisboa. Bruce Bennett and Mary Ann Lee. Mary-Elizabeth directed ArtStart, an innovative children’s community dance and Martin Carmelina arts program at York University and a daCi member since Ontario Col ege of Teachers, Canada 1978. In the last three decades my professional, creative and pedagogical activities have mostly taken place in Mansbridge Anna educational contexts. My educational activities include Freelance, United States working with children, youth, educators and artists from Anna Mansbridge is original y from Australia and the UK diverse populations and communities, where I advocate and now resides in Seattle, Washington, USA. She holds a and model innovative pedagogical practices in dance First Class Honours Degree in Dance and Education from education. I have contributed in various capacities to the Bedford Col ege, UK, and an MFA in Choreography and development of dance curriculum policy, guidelines and Performance from Mil s Col ege, California, USA. Anna has resources for Ontario teachers. I am the founder of Pulse a long history of teaching English Country Dancing. In 2000 Ontario Dance Conference that hosts a provincial she founded Seattle Early Dance, dedicated to recreating gathering for dance educators, youth, emerging and dances from the European Renaissance and Baroque established dance artists. My graduate work in 2020 periods. Anna has choreographed and directed Early focused on centralizing the body in research endeavors. Opera productions in Europe and the USA, has taught at a number of universities, and on prestigious early music Masnan Abdul Halim courses. Universiti Pendidikan Sultan Idris, Malaysia Abdul Halim bin Masnan (PhD) is the Assoc. Professor of Marinčič Ema Department of Early Childhood Education, Faculty of Museum and Gal eries of Ljubljana, Slovenia Human Development at Universiti Pendidikan Sultan Idris. Ema Marinčič is an art historian who has been working for He is an Adjunct Professor at UNITAR (2020 – 2024) and 15 years as a curator/educator at the Museum and visiting professor at UNNES, Semarang, Indonesia. He also Gal eries of Ljubljana. Her work entails the preparation of received an Erasmus grant in March 2022 for a 3 week interactive programmes for preschool and elementary teaching mobility program at Trnava University, Slovakia. school children as well as families. She includes costumed He specializes in Early Childhood Education and his tours, puppets and object theatre, creative movement and expertise in Pedagogy in Early Childhood Education made 98 d a C i - D a nce and the Child International Conference 2024 him to be a team member in conducting research projects recently returned to the primary classroom and was dance and advisory boards in Malaysia and oversea. facilitator in a Creatives in Schools project, funded by the Ministry of Education. She is a contributing author for Mattsson Torun dance in a series of resources being developed by Malmö University, Sweden Poutokomanawa, a bicultural arts education collective. Liz Torun Mattsson, PhD in Sport Sciences, associate was awarded a life time membership of DSANZ (Dance professor Sport Science in pedagogy at the Department of Subject Association New Zealand) for her contributions to Sport Sciences, Malmö University. She is also Vice dean dance education. She served on the Executive Committee for education at the Faculty of Education and Society, of daCi as Member at Large, responsible for the Malmö university, Sweden. Her research focuses on dance SpringBoard. in Physical Education (PE) and in Physical Education Teacher Education (PETE). She also investigates dance in Mijačević Ivan preschools and in School Age Educares. Her research also Dijaški dom Ivana Cankarja, Ljubljana, Slovenia focuses on gender perspectives, embodiment and Ivan Mijačević (1979, SFRY), a maker, performer and meaning making in educational settings. educator in the fields of music, performing and visual arts, holds an MA in dance dissemination from the Cologne McKain Sophia Academy of Music and Dance in Germany. He facilitated Edna Manley College of the Visual & Performing Arts - Terpsichorean Sonics at the Salzburg Experimental Junior Academy Dance, Jamaica Academy of Dance, Cologne Academy of Music and Sophia McKain has been teaching children dance for over Dance, School for New Dance Development Amsterdam, 10 years. She is a firm believer that dance is more than the Frankfurt University of Music and Performing Arts, National learning of steps and based on its myriads of benefits, Dance Academy Rome, Jerusalem Academy of Music and everyone should be allowed the experience of dance. She Dance, Zagreb Academy of Dramatic Art, Alma Mater holds a BFA in Performance and Choreography from the Europaea – ECM, Tanzfabrik Berlin, Yasmeen Godder Edna Manley College of the Visual & Performing Arts Studio and World DanceSport Federation, amongst others. (EMCVPA) and an MA in Dance Education from the University of North Carolina Greensboro (UNCG). Sophia is Moffett A.T. currently the Head of Department of Dance Education at Delaware Institute for Arts in Education, United States the EMCVPA. She is committed to dance education, A. T. Moffett has had a varied career as a dance teacher, research, performance, choreography. teaching artist and now Executive Director of the Delaware Institute for Arts in Education. She has degrees in dance McNeil Barbara and Public Policy and currently resides in Wilmington, DE University of Regina, Canada with her 11 year old twins and husband Ryan. Dr Barbara McNeil is an Associate Professor, in the Faculty of Education, University of Regina (Canada). She teaches Monteiro Elisabete in the areas of Arts Education and Language and Faculdade de Motricidade Humana - ULisboa (FMH- Literacies. She is committed to using arts-based ULisboa). INET-md | polo FMH, Portugal approaches to work collaboratively, compassionately, and Assistant Professor in Dance 1st and 3rd cycle studies at ethically with children and youth of underserved Faculdade de Motricidade Humana-Lisbon University. /marginalized communities in the interest of imagining and Researcher and Coordinator of the research group at creating better worlds for self and all planetary others. INET-MD/polo FMH, Institute of Ethnomusicology - Centre Overal , Barbara’s research orients toward justice, for studies in music and dance. Foreigner invited collective well-being, and the ‘not yet’ of our positive researcher col aborator at 'Núcleo de Estudos e Pesquisa potentialities as human beings. Arte em Movimento '(NEPAM - Brazil). Coordinator of PhD Dance Studies. Participation in International projects, Meiners Jeff namely Story Makers and in the implementation of MARA University of South Australia, Australia with the 2nd year dance students. Since 2007 working with Dr Jeff Meiners (EdD) is an adjunct lecturer and researcher some inclusive dance Projects (Portugal, Brazil). at the University of South Australia and current Chair of DanceAbility-Lisbon2017 Teacher Certification Course. dance and the Child international. He has worked widely in DaCi National representative. schools, with artists, education organizations, dance companies and international projects (Norway, Papua New Morgan Ilana Guinea, Portugal, Singapore, Switzerland, UK) to support Texas Woman's University, United States dance development. Jeff was Australia Council Dance Ilana Morgan, Associate Professor of Dance at Texas Board’s Community Representative (2002-7), 2009 Woman’s University, researches dance education as a Australian Dance Award winner for Outstanding Services catalyst for social justice within the context of incarcerated to Dance Education, and dance writer for the new and detained youth. Her focus centers on dance Australian curriculum’s Arts Shape paper. experiences and choreography as expressive and restorative practice. Her research delves into issues of Melchior Elizabeth confinement, freedom, governmental rehabilitation N/A, New Zealand approaches, juvenile justice, and the intersection of social Liz taught dance in initial teacher education programmes and emotional learning with dance. She has contributed to at Victoria University of Wellington for many years. She publications and peer-reviewed, dance education journals. 99 d a C i - D a nce and the Child International Conference 2024 In addition to her research, she instructs courses in dance Ashtanga Yoga teacher. Yvonne is recipient of 2022 Walter pedagogy and theory and serves as the coordinator for the Carsen Prize for Excel ence (Canada Council), Muriel MA and BA in Dance. Sherrin Award, Jacqueline Lemieux Prize, K.M. Hunter Artist Award, the New Pioneers Arts Award, Chalmers Arts Moura Margarida Fellowship and a Dora Mavor Moore Award for best Faculty of Human Kinetics, University of Lisbon, Portugal performance (ensemble) and in 2007, the Ontario Premier’s Margarida Moura, PhD in Human Kinetics – Dance Award for Excel ence in the Arts – New Talent. (Portuguese Traditional Dance), and Master in Educational Sciences. Teacher of Dance at Faculdade de Motricidade Nielsen Svendler Charlotte Humana – Universidade de Lisboa – FMH – Ulisboa University of Copenhagen, Denmark (Faculty of Human Kinetics - University of Lisbon) Portugal. Charlotte Svendler Nielsen, PhD, is Associate Professor in She is researcher (2003 to the present) in INET-md, Education, Program Director at the Department of Portugal, and an expert in Dance didactics and Nutrition, Exercise and Sports, and part of the research Expressions recognized by the Scientific-Pedagogic group “Embodiment, Learning and Social Change,” Council of Continuous Training (1998 to the present). She University of Copenhagen (DK). She is Co-Editor of the is responsible for studies in master's and doctoral degree Routledge book series “Dance, Young People and in Performance Art / Dance and Dance in Education. Change” (2015, 2018 and 2020). She was Executive Board member of Dance and the Child International from 2009- Mousavi Afrooz 2022, and from 2019 she has been Chair of the European PhD in sport psychology, Iran, Islamic Republic Network of Observatories in the Field of Arts and Cultural Afrooz Mousavi is a sport psychologist and also mental Education (ENO), from 2023 in official partnership with skil s coach of dancing performers. She studied general UNESCO. psychology and sport psychology at the University of Iran. She began dancing performance after finding a nice Nielsen - Okamura Erica dancing group cal ed Vashtan art group in Tehran. She is Independent Researcher, Australia proud to say that she is a first psychologist that have two Erica Nielsen Okamura holds a Master's of Fine Arts famous performance as ritual movements with Vashtan degree in Dance from Arizona State University and is the group in Niavaran artistic cultural complex. Additionly, she author of the reference book "Folk Dancing" (2011), part of worked with children and young performer as a mental the American Dance Floor Series by Bloomsbury skil s coach. She loves writing on her experiences with Publishing. Erica is an American expat in Australia and was performers. she is a university lecturer in psychology. the organiser of the 2023 Albury-Wodonga Dance Exchange, a multicultural workshop series featuring Mraz - Novak Tadeja diverse local community groups, with a lightly SDCO - Slovensko društvo Carla Orffa, Slovenia ethnochoreographic flavour. Her current research is Tadeja Mraz Novak dedicates her professional around the origins of the educational folk dance movement development to the Orff Schulwerk approach in music in the early 1900s for schools and playgrounds in Australia, education. In her professional work, she explores various the UK, and USA. forms of active teaching in the field of musical arts at the elementary school level. She is the author and co-author of Nkomo Reitumetse various educational materials for music from 1st to 5th Artist Retreat, South Africa grade and is a lecturer at seminars and workshops for Tumi Nkomo is a multidisciplinary dance artist with a elementary school teachers, preschool educators, and master’s degree in dance from the University of Cape music educators. The guiding principle of her work is that Town. She is currently serving as a teaching artist and co- learning takes place through movement and awareness of owner of an artist retreat in Hartbeespoort, South Africa. one's own body in communication with others. O'Brien Julianne Nesbit Marissa Chapman University, United States University of North Carolina at Charlotte, United States Julianne O’Brien has a background in dance as a Marissa Nesbit, PhD, MFA (she/her) is Assistant Professor performer, choreographer, and academic leader. She and Dance Education Coordinator at UNC Charlotte, holds a BA from Connecticut College, an MFA from the where she supports aspiring dance educators to craft Ohio State University and is a certified yoga instructor and rigorous and engaging learning experiences that immerse Laban/Bartenieff Movement Analyst. She is the Chair of their students in the creative process. Her research Dance at Chapman University, where she teaches modern projects investigate aspects of dance curriculum and technique, pedagogy, dance history, yoga, improvisation, pedagogy in K12 contexts. and dance education and outreach. For more than two decades she has worked with al ages and abilities, from Ng Yvonne underserved youth to nursing home residents to integrate www.princessproductions.ca, Canada movement into the school and institutional curriculum to Yvonne Ng| 黄 碧 琬 , is a choreographer, arts educator, improve quality of life and learning. artistic director of princess productions (since 1996): tiger princess dance projects (tpdp) and dance: made in Canada Festival. tpdp umbrellas Yvonne’s artistic activities. Yvonne is a certified Open Source Forms , C-I Training™, 100 d a C i - D a nce and the Child International Conference 2024 O'Brien Angela Juliette Performing Arts (2017). For the past 6 years I have worked Canadian International School of Hong Kong, Hong Kong with various choreographers, artists, institutions and Juliette has a PhD in Dance from the University of Hong fashion projects, such as Hol y Blakey, Benjamin Jonsson, Kong and a master’s in performance studies from the Maxine Doyle, Jose Agudo, Giannis Haroulis, Temper University of Manchester. A widely experienced dancer, Theatre, Royal Opera House, Issey Miyake, Roksanda, and teacher of dance, theatre and yoga, her work focuses Barbour and Another Magazine to name a few. Currently, I on examining how the body is engaged in different dance am part of an artistic research group at the Doctoral Forum forms as a way to understand dance phenomena, and ARTiculation in Graz. I choreographed a film Born of connect the dancer, body and form. She has published Violence, represented on Nowness. papers and presented at conferences of the WDA, ICTM, IMS and DaCI. Overby Young Lynnette daCi USA, United States O'Connor Sinead Lynnette Young Overby, Ph.D. is an Adjunct Professor at Open University, Ireland Teachers College, Columbia University and a Fellow in the Sinéad O’Connor (PhD, FHEA) – Based in Ireland. Arnhold Institute for Dance Education Research, Policy, Associate Lecturer (Open University) and consultant in and Leadership. She is also a founder of the Dance Minor, eco-creative dance, social and therapeutic horticulture and and the Community Engagement Initiative at the University sustainable trails (including walking practice) and of Delaware (Retired). She is author or editor of over 60 transdisciplinary methodologies. As a facilitator, she has publications including 14 books. Overby serves as artistic trained as an artist, Sufi-whirler and Kunda-dancer. Her director of the Sharing our Legacy Dance Theatre. In 2018 intervention work creates space for communities to re- she received the Lifetime Achievement Award from the imagine and re-engage in sustainable decision-making National Dance Education Organization and in 2021, she processes international y. Currently, she somatical y co- was appointed to serve on the National Council on creates with Festina Lente, as Head of Horticulture and the Humanities. Sustainability Services - a charity that helps people, especially children experiencing difficulties in life, to reach Panetta Alexandria their potential through the medium of plants. Learning Associate (Sydney Dance Company) / Academic lecturer (Australian College of Physical Education), Ogrinc Nina Australia Conservatory for Music and Bal et Ljubljana, Bal et Alexandria Panetta (Lexy) is a Sydney-based Col ege, Slovenia artist, choreographer and academic with a strong interest in Nina graduated in Professional Dance and Performance at dance performance, improvisation, writing and film. She is the University of Kent. She was a demi soloist in SNG the Learning Associate and Teaching Artist for the Sydney Opera and Bal et Ljubljana since 2005 to 2020. After 15 Dance Company and is an Academic at the Australian years, she ended her active dance career and started Col ege of Physical Education lecturing in Dance and teaching at the Conservatory for Music and Ballet Education. Her research contributes to the educational Ljubljana. She is also a lecturer at the Ballet College. During sphere in NSW and Australia and analyses the core of her dance career she obtained a Master's degree in improvisation, supporting the creative value and potential Kinesiology from the Faculty of Health Sciences, University of choreographic development through improvisational of Primorska. In her work she combines knowledge of skil s. kinesiology and dance, focusing on helping dancers prevent musculoskeletal injuries and support dance Parker - Wendt Linda performance. Arohanui Specialist School & Outreach Service, New Zealand Oleami Jelena Linda Parker-Wendt (she/they) (MCPA, B. Ed) currently Kulturno izobraževalno društvo Plesonoga, Slovenia serves as National Executive Representative for Inclusion Jelena Oleami (1976) has a Bachelor’s Degree in Cultural and Specialist Education for the Dance Subject studies. In the past 25 years she has been teaching youth Association of New Zealand. Linda is collaborating with in marginalized communities creative movement and Touch Compass Dance Trust as an ally, to forge a contemporary dance. Somatic movement, awareness, disability-led future, exploring disability aesthetics as a metaphor and ritual practice has been central to her work creative lens for art making and social action. She works that she is offering to the community in the form of as an Arts Enrichment educator in West Auckland and lives expressive art workshops, cacao circles, performances in Oratia in a rainforest, where their family run an ongoing and experiential events. She is currently a student and eco-art project, Whakahou Regener8.This complements ArtCorps scholar at Tamalpa Institute – Level 3, institute for her Splash Flying Dance program at Arohanui School & unique approach to movement, dance, and expressive arts Specialist Outreach Centre. therapy and education. Parkins Michelle (Chell) Orož Lea University of Wisconsin Madison, United States Dancer, teacher, choreographer, United Kingdom Chel Parkins (EdD) is the Arnold director of dance I am a London-based freelance contemporary dancer of education at the University of Wisconsin-Madison, where Slovenian and Serbian descent. I graduated from London she promotes equitable access to diverse dance education Studio Centre with a First Class BA Hons Degree in by credentialed dance teachers. Her ongoing research 101 d a C i - D a nce and the Child International Conference 2024 supports a call for culturally responsive-sustaining dance Pouwer Eva-Luca pedagogical practices responsive to students’ complex Amsterdam University of Applied Sciences, Netherlands cultural identities. Her documentary, WanderlustDance: Eva-Luca Pouwer is a lecturer and researcher at the Puerto Rico, invites audiences to look at the culture, Academy for Physical Education at the Amsterdam politics, and people of post-Maria Puerto Rico through University of Applied Sciences. In the past, Eva-Luca interviews set against footage of solo dancing at historical worked with people with intel ectual disabilities, children in sites across the archipelago. shelter locations, youth in Mexican suburbs, the elderly in care and nursing homes, and students in Amsterdam's Pastorek - Gripson Martha Maria (special) primary education. In 2015, Eva-Luca completed Halmstad University, Sweden her Bachelor's degree in Dance Education at ArtEZ Martha Pastorek Gripson, Ph.D. in Arts Education” is an University of the Arts. Fol owing her Bachelor's, she associated professor in aesthetics and innovation as well pursued a Master's in Arts & Society at Utrecht University. as the international advisor at the School of Education, Humanities and Social Sciences, Halmstad University. She Požek Monika works with teaching, supervising at the preschool teacher Asociación MeetShareDance, Spain education and primary teacher education. Her research Monika Požek, choreographer, teacher, inclusive dance focus on teaching and learning dance, gender, special specialist, and founder of the MeetShareDance education, and early childhood education. She is a former Association in Madrid. She has long experience leading dance teacher and principal. As a dance teacher she has artistic and educational projects that have to do with the worked in diverse educational contexts. She is a member performing arts, contemporary dance, different bodies, of the board for the Swedish Network for Aesthetic untrained dancers, and accessibility. Her field of work is Subjects in Teacher Education. constantly changing, intertwining sectors, and using video and poetry as another performing arts language. She Pavlicevic Jaime organizes international inclusive dance festival and KittedNZ, New Zealand choreograph works for her dance company MAD Kolektiv. Jaime Pavlicevic is a proactive governance leader. Serving Recipient of an ArtsLink Grant (San Francisco) in 2021 and as a gymnastics Club President and Chair for the past four a Fulbright Schumann Fellowship (Atlanta) in 2014. years, Jaime has been instrumental in championing gender equity in artistic sports. Her collaborations extend beyond Pribyl Jill the sport of gymnastics with a broadened scope to include University of Kisubi, Uganda dancing, through reaching local government and regional Jil Pribyl, a former Fulbright Scholar at Makerere sports organisations. Her drive to center participant University, devoted over a decade to teaching in the wel being is evident through initiatives like Making Space Department of Performing Arts and Film. She pioneered a for Gymnasts and Dancers. post-graduate certificate program at the University of Kisubi in Uganda and established a successful New York Pavlović Monika University study abroad program in its fifteenth year. She University of Ljubljana, Faculty of Health Sciences, earned a master’s degree in choreography from the Ljubljana, Slovenia and University of Primorska, Faculty of University of New Mexico and holds a Certified Movement Health Sciences, Izola, Slovenia Analyst (CMA) credential from the Laban/Barteniff Institute Monika graduated in Orthotics and Prosthetics at the of Movement Studies. She is pursuing a PhD at the Faculty of Health Sciences, University of Ljubljana, where University of Cape Town, furthering her contributions to she is currently working as an assistant lecturer. She holds academia and the arts. a Master’s degree in Kinesiology from the Faculty of Health Sciences, University of Primorska, on the topic of body Pucová Markéta asymmetries as one of the risk factors for musculoskeletal NIPOS ARTAMA, Czech Republic injuries in dancers. With a great passion for research in A dance teacher, performer and choreographer from sport, she is expanding her knowledge at a doctoral Czech Republic. She studied dance at the Academy of programme in kinesiology. Performing Arts in Bratislava (SK) and choreography at Dartington Col ege of Arts (UK). Her focus is on Perry Chancz contemporary dance art, instant composition Freckled Face Entertainment Inc., Canada (improvisation) and creative dance. She works for Laban Chancz Perry is an award-winning, multi-faceted producer, Atelier Bratislava, and NIPOS ARTAMA, an organization choreographer, triple-threat performer, and teacher. He representing non-professional artistic activities of adults, has spent more than 30 years in the entertainment industry children and youth. She has been involved in educational – on stage, screen and behind the scenes. Chancz is projects for dance teachers. She is co-author of the certified in Early Childhood Education from Saskatchewan methodology book Creative Dance (2016, Bratislava). She Polytech, has a BFA in Dance and a BA in Criminology from creates dance projects, interdisciplinary projects, site Simon Fraser University and was pursuing graduate specific and artistic community projects. studies at the University of Regina. He has served as an artist in residence in Regina Public Schools and as a sessional instructor at the University of Regina, as well as in several roles at the Globe Theatre and Dance Saskatchewan. 102 d a C i - D a nce and the Child International Conference 2024 Rato Rita of Ursus Dancers collective, gathering young dancers in Faculty of Human Kinetics, University of Lisbon; Institute semi-professional field. As a choreographer and of Ethnomusicology - Music and Dance Studies Center - pedagogue, she collaborates with several formal dance INET-md., Portugal education institutions, as well as different dance studios, Rita Rato has a PhD in Human Kinetics/Dance from the festivals, companies and theatres in Slovenia and abroad. University of Lisbon. She is an invited auxiliar professor at She is currently a PhD candidate at the Faculty of the Faculty of Human Kinetics - UL, teaching Dance Education, University of Ljubljana, focusing on the Technique, Dance Laboratory and Somatic practices in the integration of contemporary dance principles into higher Department of Education, Social Sciences and education. Humanities. She is also a researcher at the Institute of Ethnomusicology - Music and Dance Studies Center - Russell - Smith Carolyn INET-md. Khulcha Theatre School of Dance, Jamaica Carolyn Russel -Smith is the founder and Artistic Director Richter Michelle of Khulcha Theatre School of Dance. As a dance educator, Regina Catholic Schools, Canada choreographer, consultant and adjudicator for the Jamaica Michel e Richter (MA), recipient of the Margaret Messer Festival of Arts annual competition. She is the Jamaica Arts Education scholarship in both 1998 and 2020, is a National representative for Dance and the Child passionate and experienced arts educator and grade 8 International (daCi), a member of the Jamaica Association teacher. She served as the arts education consultant for of Dance and Drama Educators (JADDE) and one of the her school division for five years, working with teachers pioneer teachers of the Caribbean Examination Council’s and students to actualize curriculum while modeling (CXC) Theatre Arts (dance) examination. Trained in dance various arts strategies. Recently, Michelle was diagnosed education at Jamaica School of Dance (The Edna Manley with breast cancer. She has used her love of bel y dance Col ege of the Visual and Performing to deal with her diagnosis and also formed a group for Arts), she also studied at the Laban Centre, Goldsmith other survivors to use dance as part of their healing. She Col ege, London. She has conducted dance workshops for intends to pursue doctoral studies in the near future. teachers in Grand Cayman and Cayman Brac. Her activities also include Conducted workshops and Ronkainen Annu presentations at various daCi conferences, contribution to Dance teacher, Finland two books ‘Creative Dance Around The World and Dance, Annu graduated Bachelor of Arts from Stockholm Access and Inclusion’. She is also a member of C.I.D. She University of Dance and Circus in 2010. Since then she has continues to be held in high regard for her perspectives on worked both as a teacher, dancer and choreographer both Dance and its positive influence on Young People. She has in Finland and Sweden. In 2016 she supplemented her received numerous awards in this field. studies with a master’s degree in dance pedagogy at the Theater Academy in Helsinki, Finland. Annu has Saearani Muhammad Fazli Taib experience in teaching various ages from beginners to Sultan Idris Education University, Malaysia skil ed movers and she has been working with several Associate Professor Dr. Muhammad Fazli Taib Bin community dance projects. Since 2012 her artistic work Saearani (Fazli), graduated summa cum laude from has been focused on the Swedish company called React Universitas Gadjah Mada, Indonesia with a Doctorate in Public Performances. React is specialized in creating Performing Arts and Visual Art Studies. The research was performances for public spaces. on dance education in the classical court dance heritage of Yogyakarta. He received his master’s degree (Drama & Rowlands Kerrin Theater) in creative movement education at Universiti University of South Australia, Australia Sains Malaysia, Penang in 2014, bachelor’s degree in Kerrin is a Lecturer in Arts Education at the University of creative arts with dance concentration at University South Australia, Education Futures where she works with Malaysia Sabah in 2007, and Diploma in Performing Arts pre-service teachers in arts education, dance and Creative (Acting) in 2004 at Universiti Teknologi Mara. His research Body-based Learning (CBL) across early childhood, focuses on dance education and dance heritage through primary and secondary education programs. Kerrin is non-formal education. involved in the development of teacher professional learning programs for the South Australian Department for Samuel Gerard M. Education and Carclew. Her PhD research investigates University of Cape Town, South Africa teacher experiences working with First Nations dance in Gerard is an Associate Professor: University of Cape Town the Australian Curriculum in South Australian primary and former Director of the School of Dance. His PhD schools. examined Contemporary Dance in South Africa and the nexus it offers for reimagining notions of Other and Body. Rupnik Urša Through post-colonial and phenomenological readings, he Freelancer, Slovenia continues to investigate subfields of Dance discourse such Urša Rupnik is a freelance dancer, choreographer and as ballet, children’s dance theatre, dance as social healing, pedagogue. She has collaborated with the majority of and performativity of the archive. He is Editor: South renowned Slovenian choreographers. Her work African Dance Journal, and Chair of Confluences a encompasses artistic creation, staging and performing, as biennial, international dance conference hosted by wel as teaching and mentoring. She is an artistic director 103 d a C i - D a nce and the Child International Conference 2024 UCT. He has several publications in Education, Disability, her PhD from the Taipei National University of the Arts, and Bal et and South African Dance Histories. M.Ed. in Dance from the Graduate Program of Dance Department of Taipei Physical Education Col ege. She is a Sap Saskia board member of the Taiwan Dance Research Society. Amsterdamse Hogeschool voor de Kunsten, Netherlands Shu-Lien has taught at the Cloud Gate Dance School for Dance teacher (Nel Roos Academy Amsterdam, 1987), young children before current position. She is a certified Educator (Vrije Universiteit Amsterdam, 1994). Teacher teacher for Progressing Bal et Technique, Master Stretch, and coach of students who are studying to become a Labanotation Elementary and LMA. Her teaching and dance teacher (Amsterdamse Hogeschool voor de research interests include Bal et, Creative Dance Kunsten, 1994 - now). Owner of a ballet school (2003 - Pedagogy etc. 2019). Dance journalist (Kunstzone. Dansdocent.nu). Researcher of dance education (Lectorate Amsterdamse Skalar Tina Hogeschool voor de Kunsten). Faculty of Chemistry and Chemical Technology University of Ljubljana, Slovenia Schmid Stefi Tina Skalar, Ph.D., is an assistant professor at the Faculty Independent dance entrepreneur, Germany of Chemistry and Chemical Technology. She is currently Stefi Schmid, CLMA (Certified Laban Movement Analyst), involved in teaching at the institution in the field of musical performer and anthroposophical special needs materials. Her research interests include are currently educator. One term is not enough to describe her: focused on the characterization of microplastics (she has Educator in dance education for children. A bit of Mary been a member of a project group cal ed Planterastics, Poppins, Pippi Longstocking and Ronja Robber's partner in the EU H2020 project Papil ons). In addition, she Daughter. A highlight when it comes to uniqueness in is working on the preparation and characterization of high- dance education for children. Opportunities instead of entropy materials using rare earth elements. Currently, she difficulties. What drives her most: the absolute is leading a student project studying the behavior and development of one's own potential. She developed a properties of phase change materials as composite in training program for adults in children's dance pedagogy building materials. with a holistic approach and unique methodology, which she has been offering for 10 years, currently at Lake Skarlovnik Sabina Constance, Germany. Čopova ulica 6, 3310 Žalec, Slovenia Sabina Skarlovnik lives in Žalec and is a primary school Schwenner Sabina teacher at Griže Primary School. She holds a master’s Plesni studio Intakt, Slovenia degree in Primary School Teacher Education from the As a dancer, Sabina Schwenner, col aborated with various University of Ljubljana, Faculty of Education. She has been authors in the field of performing arts. She worked as a teaching 3rd grade for four years and leading dance regional dance selector in cooperation with JSKD for ten classes for 3 different age groups of students for three years. She taught at KGBL, in the department of years. Every year they have at least three dance school contemporary dance. As a teacher, she regularly works at performances. She loves incorporating creative movement PS Intakt, Plesni Epicenter and Montessori Academy. She into her teaching and is also interested in other innovative also works as an external evaluator at the matriculation practices, especially teaching and learning with exam for the subject of contemporary dance at SVŠGUGL technology. in Ljubljana. She is a mentor to many award-winning choreographic miniatures, participated in award-winning Slattery Eilidh plays and short films, and received the certificate of Meta Royal Conservatoire of Scotland, United Kingdom Vidmar. Eilidh Slattery is a Lecturer in Arts Education at the Royal Conservatoire of Scotland. Eilidh original y trained as a Shen Yuxiao dancer and dance teacher working in studio setting, formal University of Auckland, New Zealand education and community contexts. Eilidh later qualified as Yuxiao Shen is a student at the University of Auckland, a primary school teacher and went on to hold positions of majoring in Dance Studies. She is in the third year of her classroom teacher, principal teacher, and acting PhD programme. Her current research topic is formal and headteacher, before moving into Teacher Education as a non-formal dance education in China. She has previously Lecturer on Initial Teacher Education programmes at the completed a Master’s degree in Dance Studies at Beijing University of Dundee. Eilidh has always continued to focus Dance Academy and another Master’s degree in on dance in primary education using her expertise to Community Dance at the University of Auckland. The support teachers, and this is now Eilidh's main focus as a research project, which she joined, includes “The Meaning researcher. of Chinese Classical Dance in World Coordinates and Multiple Methods”, “Frontier Research on Dance Body Snook Barbara Linguistics” and “Pedagogy of Korean Traditional Dance”. University of Auckland , New Zealand Dr. Barbara Snook is a Professional Teaching Fel ow and Shu - Lien Huang Professional Research Fel ow at the University of Tainan University of Technology, Taiwan Auckland. Barbara was the Caroline Plummer Fel ow in Shu-Lien is an Assistant Professor in the Department of Community Dance at the University of Otago in 2008. She Dance at Tainan University of Technology. She received is a successful author or dance textbooks widely used in 104 d a C i - D a nce and the Child International Conference 2024 Australia and New Zealand, the most recently being ‘Using the whole vertical of education. In the framework of the arts across the Curriculum: Integrated Lesson Plans’. research and development projects, she col aborates She was the recipient of an Osmotherly Award for services intensively with educational institutions across the entire toward the development of dance education in vertical, where theoretical developments in the above- Queensland Australia in 2007. Her teaching areas are in mentioned fields are systematical y monitored and Dance Education and Community Dance. E-mail researched in pedagogical practice. b.snook@auckland.ac.nz Tai JuanAnn Streuli Janine Department of Dance/Tainan University of Technology, Institution, Country: Royal Academy of Dance, United Taiwan Kingdom JuanAnn TAI (Ann Hayward) is a Professor of the Janine is the Dean of the Faculty of Education at the Royal Department of Dance at Tainan University of Technology in Academy of Dance (RAD). Her extensive academic career Taiwan. She holds a PhD in Dance Studies from the has seen her progress from Lecturer to Programme University of Surrey, an MA in Dance Education from NYU, Manager, Head of Learning and Teaching, and Dean. She and a BA in Dance from Hunter College, CUNY. She is has tutored a wide spectrum of content across a range of currently the national representative of daCi Taiwan and is undergraduate, postgraduate and professional also a board member of the Taiwan Dance Research programmes with specific focus on dance teacher Society. The major areas of her research and teaching education. As Dean, she supports the Director of include Dance Pedagogy, Dance History, Dance Education with the academic, administrative and strategic Composition, Creative Dance for Al and Cross-cultural development of the Faculty of Education. Prior to joining Dance Studies. the RAD, Janine had an extensive freelance career, teaching dance in private, community and state sector Tomazin Ajda education. Slovenian, Slovenia Ajda Tomazin graduated from the Academy of Fine Arts Sviderski Igor and Design in Ljubljana and received her MA in Plesni Studi Intakt, Slovenia Choreography and Performance from the University of Contemporary dancer, dance teacher, choreoghrapher Giessen in Germany. She works interdisciplinary as a and performer, exploring and researching areas of choreographer and designer. Since 2014, her artistic focus contemporary dance, dance improvisation, theatre and is on two target groups: dance performances for children performative arts since 1989. Cooperating with many and young people, as well as artistic - andragogical domestic and international artists, choreographers, processes with elder people, with a series of social dancers, directors and theoryticians as wel as taking part choreography study projects, and intergenerational in different national and international acclaimed dance and exchanges. She is the author of many projects and performative festivals. He was awarded several awards on performances, a creative collaborator in many creative the field of contemporary dance, performance and processes, as wel as a pedagogue. education. Achieved BA and MA degree in dance, choreography and pedagogy. Since 1995 he holds and Tovirac Nataša organises contemporary dance classes and creative dance PLESNI STUDI INTAKT (Dance Studio Intakt), SVŠGUGL, improvisation workshops at the begginer, advanced and Slovenia professional level. Currently living in Slovenia. Nataša Tovirac, an exceptional artist in contemporary dance, choreography, and dance pedagogy, stands as one Škorja Simona of the most prominent figures in the Slovenian Biodanza Rolando Toro System, Slovenia contemporary dance scene. As the artistic and program Simona Škorja started dancing in Goga's Erjavec Plesni director of INTAKT Dance Studio and co-founder of the Forum Studio in her early age. Since then, is active association of contemporary dance creators, she excels in participant in different somatic dance/movement practice, shaping the contemporary dance landscape. Her such as Chi Gong, Ficho Ballet, Body Mind Centering, 5 pedagogical and choreographic work encompasses Rhythm Method, AiQ Method, Contact Improvisation and collaborations with children, adolescents, and adults. Biodanza since 2004… Currently is finishing her Biodanza Works as ful -time dance teacher at SVŠGUGL - Artistic Studies in School of Biodanza in Slovenia. At the same Gymnasium for Contemporary Dance. As a yoga teacher time works as a professor assistant in Academy of Fine she imparts her rich understanding and experiences in Arts, Ljubljana University. dance field. Štirn Darja Trotta Allison Institute PETIDA, Slovenia Doctoral student at Teachers Col ege, Columbia Graduated in Pedagogy and History at the Faculty of Arts, University and a Faculty member of the Nightingale- University of Ljubljana. She is employed at the PETIDA Bamford School, United States Institute, where she researches and development Allison Trotta is the Associate Head of Upper School and a pedagogical and cultural-artistic practice and the Performing Arts faculty member at The Nightingale- promotion of creativity. She involves educators, artists and Bamford School, where she teaches and develops cultural institutions in her work. She has led several curriculum and programming. Trotta regularly development projects on education through or with art in choreographs at Nightingale for student concerts and 105 d a C i - D a nce and the Child International Conference 2024 mentors both student choreographers and Seniors Vlach Pam pursuing Independent Study Projects in dance. Trotta has Spence School, United States connected the Nightingale Dance Department to many Pam Vlach is a New York based dance educator and local arts institutions. She has worked closely with the curriculum design specialist. She is the founder of Tap educational directors of museums such as the Museum of Uganda, Inc., a non-profit organization using dance and Modern Art and the Metropolitan Museum of Art to movement to facilitate intercultural learning between facilitate regular class visits. children in New York and Uganda. Internationally, Pam has taught in Portugal, South Africa and Uganda. Pam holds Vermeulen Chante an MA in Dance Education from New York University and University of Cape Town, South Africa was recently recognized as a 2023 Recipient from Dance Chanté Vermeulen is studying Theatre and Performance Education Laboratory for her work facilitating creative Studies at the University of Cape Town. She majors in dance making and cooperative learning. Pam is a dance Applied Dance and Psychology. Her love for dance began specialist at the Spence School in New York City. at the age of seven when she began dance training at Jacqueline’s Academy of Dance. She is a performer and Vovk - Pezdir Ana creator who gets inspiration from breaking traditional Slovenia artistic boundaries between acting and dancing. Since a She is a retired choreographer and dance teacher. She is young age, Chanté has been ful y immersed in the arts and stil President and Artistic Director of the Harlequin uses her performances to create meaningful messages Association for the Art of Dance. She has received and narratives that speak to our humanity. numerous national and international awards for her work in dance over the past 49 years. She works mainly with young Vesović Eni dancers and children. She has also choreographed for a Teacher, Croatia theatre and a symphony orchestra. Eni Vesović started her dance education at the Ana Maletić Contemporary Dance School. After graduating psychology Wachowicz Fatima in Zagreb, she completed her dance education at the Federal University of Bahia, Brazil Academy of Contemporary Dance in Ljubljana. In addition Passionate dancer, researcher, and teacher. She to performing, after graduating from the Academy, she completed her Post-Doctorate at Western Sydney started working as a dance teacher and choreographer University – The MARCS Institute, Australia (CAPES and held classes and workshops in Slovenia and Croatia. scholarship/2015), where she developed experimental In addition to her own choreographic projects, she also research with methods from cognitive psychology to participates as a choreographer in drama performances. investigate the cognitive processes that act intensely Since 2020, she has been working as a teacher of during Viewpoints training. She has a Ph.D. in Performing contemporary dance and psychology at the Ana Maletić Arts from Federal University of Bahia – UFBA, works with Contemporary Dance School. Contact Improvisation and Viewpoints techniques, and investigates the cognitive processes of attention, Vidrih Alenka perception, and memory in dance. She is currently an Faculty of Education, University of Ljubljana, Slovenia Associate Professor at the School of Dance/UFBA and Alenka Vidrih is an assistant professor with the Faculty of leader of the research group ARTE: Dance, Cognition, and Education at the University of Ljubljana, Slovenia, where Creation. she completed her postgraduate study in Creative Arts Therapy. Currently, she is head of the Master Study of Wang Ruping Creative Arts Therapy and is a coordinator of ECARTE. She University of Taipei, Taiwan is also a lecturer of Performing Arts in Therapy and in WANG, Ruping is a native of Taiwan. She has been Education. For the last few years, she was part of the teaching ful -time at the Department of Dance, University National Research on Creativity and Gifted Education. In of Taipei since 2010. Wang received her MFA from the the 1990s, she established the drama performative model University of Utah Modern Dance Department and BFA AV (Ars Vitae: Art of Living). It is still used across Europe from the Taipei National University of the Arts. She had within a group-tuning. been a member of the José Limón Dance Company, the Metropolitan Opera Bal et, and the Mary Anthony Dance Vilane Lwandile Theatre... among others. Wang continues dancing, University of Cape Town, South Africa teaching, performing, and creating dance to comprehend Lwandile Vilane is currently in her 3rd year at the University this world. of Cape Town (UCT) pursuing a BA in Theatre and Dance Performance majoring in Applied Dance Pedagogy and Williams Liane Psychology. She is from the Kingdom of Eswatini formerly Le Wi Dance Jamaica, Jamaica known as Swaziland in Southern Africa. She has a keen Liane Wil iams began her professional journey in dance 13 interest in using dance to stimulate cognitive, emotional years ago, as a choreographer and dance educator. and physical development in children and has created a Currently, she is the resident choreographer for the “Groovy Moovers” early childhood movement program Jamaica Musical Theatre Company productions. From centered around using creative dance to enhance these 2014-2019, Wil iams taught modern dance technique at forms of development. She works as an Extra Curriculum Edna Manley College of the Visual & Performing Arts, dance facilitator at the UCT Educare centre. School of Dance Junior Department. Liane is the founder 106 d a C i - D a nce and the Child International Conference 2024 and modern dance teacher at Le Wi Dance Jamaica. Le Wi Yannitsos Sophia Dance Jamaica (LWDance JA) provides creative dance Freckled Face Entertainment Inc., Canada classes for young dancers ages 3-18 years, with focus on Sophia Yannitsos holds a Bachelor of Education and a modern dance technique. Master of Education in Curriculum and Instruction at the University of Regina. She spent 40 years as Arts Educator, Wilson Joni teaching students from Pre-Kindergarten to Post- University of Utah Children's Dance Theatre, United Secondary, and worked as an Arts Education Consultant States for Regina Catholic Schools before retiring. In her capacity, Joni Urry Wilson began dancing with Virginia Tanner and she built Art programming to support teachers and later received the Hayes scholarship in dance and her students in classrooms, encouraged professional artists to Honors Bachelor of Fine Arts degree from the University of work alongside teachers to bring diverse and genuine Utah. Ms. Wilson also has a terminal MFA in performance experiences to students, and provided opportunities for and choreography from Mil s College, California. Joni has students of varying abilities to engage in art, culture, and taught at several Universities and has performed performance. Sophia enjoys participating within her Greek throughout the United States, as wel as international y. heritage in her community. Currently, Joni is the Studio Director for the Virginia Tanner Creative Dance Program, which brings her teaching Zhou Ziyan opportunities that include al ages and abilities. Joni has The University of Auckland, New Zealand served on the daCi USA National board, UDEO board and Ziyan Zhou is a PhD candidate in Dance Studies at the daCi Utah chair. University of Auckland. She holds a master’s degree from the University of Edinburgh. Her research interests include Wilson Lisa dance education, creativity, creative dance, and teacher University of Cape Town, South Africa identity. Lisa Wilson is Senior lecturer and Head of dance in the Centre for Theatre, Dance and Performance Studies, Zhu Jia-wei University of Cape Town, South Africa. Her research Independent teaching artist, Australia interests are located in the fields of dance education, Jia-Wei is a movement artist & educator based in Sydney, dance pedagogy, dance teacher training and decolonial Australia. She has showcased her choreography and visual dance practices. She is the daCi national representative of art in Japan, New York and Australia (portfolio: South Africa. She is a creative artist whose research aims www.jwdanceproject.com). Jia-wei began her movement to meaningful y connect her professional identities and training while studying anthropology. After attaining social relationships as sister, mother, wife & human. She advanced vocational certification in ballet (Royal Academy has published multiple book chapters and journal articles of Dance), she trained at the renowned Martha Graham and serves as Editorial Board Member for several leading School of Contemporary Dance in New York (2015-17) and dance journals. Trinity Laban Conservatoire of Dance in London (2019). Concurrently, Jiawei has led inclusion projects in the state Wise Serenity education department. She is a strong advocate for dance University of Auckland, Dance Studies department, New in education. Zealand Serenity Wise is a PhD candidate in Dance Studies at Žižanović Senka University of Auckland. Her background spans dance and Assistant Professor, Croatia visual art, as a scholar/practitioner in community-based Dr. sc. Senka Žižanović is an assistant professor at the dance and a curator/educator in art and object-based Department of Pedagogy of the Faculty of Humanities and learning. Her current research explores social and Social Sciences in Osijek. The area of her scientific community dance practices, sustainability, and policy. research can be narrowed down to active learning, Serenity holds a Master of Community Dance degree from contemporary teaching strategies, multimodality, as wel University of Auckland, and a Master of Art History degree as creative dance and movement in teaching which is the from University of London (SOAS). focus of her work. She participated at many dance conventions and competitions and is continually updating her knowledge at dance seminars and workshops in Croatia and abroad. She is a member of daCi Croatia, the Croatian Pedagogical Society, and ATEE – Association for Teacher Education in Europe. 107 d a C i - D a nce and the Child International Conference 2024 I – declare Dance and the Child international (daCi) Ljubljana Declaration 1. We the delegates and national representatives of Dance and the Child international (daCi), meeting in Ljubljana, 7 to12 July 2024, propose this Ljubljana Declaration as per the following statutes: 1.1 We recal the UNESCO Constitution affirming that the wide diffusion of culture, and the education of humanity for justice and liberty and peace are indispensable to the dignity of humanity. We also recall Article 27 of the Universal Declaration of Human Rights, asserting that “everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits.” 1.2 We note commitments made by the international community for culture and arts education, notably enshrined in relevant UNESCO international Conventions, Recommendations, Declarations and initiatives in the fields of education and of culture, as wel as the three World Conferences on Arts Education in Lisbon in 2006 in Seoul in 2010 and in Abu Dhabi in 2024 whose respective documents, the Road Map for Arts Education, the Seoul Agenda: Goals for the Development of Arts Education and the UNESCO Framework for Culture and Arts Education (CLT-ED/WCCAE2024/1) laid the foundations for addressing chal enges and articulating shared and evolving understandings of culture and education and fostering policy and dialogue. 1.3 We recognize that education systems must be strengthened and transformed by taking decisive steps in order to rethink the purpose, content and delivery of education to promote equity and inclusion, quality and relevance, as echoed in United Nations efforts, such as the Education 2030: Incheon Declaration and Framework for Action for the Implementation of Sustainable Development Goal (SDG) 4 and the Transforming Education Summit (2022). 1.4 We also recognize that culture and the arts are integral to the holistic and inclusive development, resilience, and overall well-being of individuals and societies. Culture is at the heart of what makes us human, and provides the foundation of our values, choices and relationships with one another and with nature, endowing us with critical thinking, a sense of identity, and the ability to respect and embrace otherness. We further recognize that the arts play a vital role in the flourishing of human imagination, creativity and self-expression, which nurtures exploration, curiosity, and expands the possibilities of creation, while opening up social and economic prospects for all learners, particularly in the cultural and creative industries. 1.5 We recal that on 10 July, 2015, the occasion of the Dance and the Child International conference, ‘Twist and Twin: Exploring Identities in Dance’, the daCi Executive Council, Congress participants, and with respect to the Danish National Commission for UNESCO 2014-2017 Strategy, adopted ‘The Copenhagen Declaration’ providing a dance agenda for young people and educators across the globe; that on 12 July 2018, the occasion of the World Joint Dance Congress between Dance and the Child International and the World Dance Al iance, ‘Panpapanpalya: Dance, Gathering Generations, Learning,’ the daCi and WDA Executive Councils, with Congress participants, youth delegates of the congress, and with respect to the Australian National Commission for UNESCO 2016-2020 Strategy adopted ‘The Adelaide Declaration’ providing strategies for accessible and inclusive dance education across the globe. 1.6 We endorse the UNESCO Framework for Culture and Arts Education grounded on a humanistic and empowering vision of culture and education, and we support the implementation of the Framework by its Member States and Associate Members, notably by providing operational guidance, as relevant; undertaking advocacy and facilitating policy dialogue, knowledge sharing and standard setting, as relevant; convening global, regional, national and civil society stakeholders for the implementation of the Framework; and monitoring progress towards the strategic goals. 1.7 Recognizing the shared responsibility of researchers, practitioners, learners, policy makers in arts education and education for sustainable development and the capacity of arts education to effect social and cultural change. 108 d a C i - D a nce and the Child International Conference 2024 2. Dance and the Child International (daCi): 2.1 Cal s upon dance and al educators to foster learners’ inclusion and equity in and through dance education in formal, informal and non-formal contexts; 2.2 Cal s upon dance and al educators to be guided by human rights, be responsive to global chal enges, and foster global and local citizenship; 2.3 Cal s for dance education curriculum and pedagogies that respect diverse cultures and a plurality of identities and cultural expressions; 2.4 Cal s for dance and al educators to promote intercultural and intergenerational dialogue for lifewide and lifelong learning; 2.5 Cal s upon dance educators and al educators to provide dynamic, creative, safe spaces and opportunities for al learners to engage in, about and through dance, developing skil s to shape resilient, just and sustainable futures; 2.6 Calls upon dance and all educators to promote interdisciplinarity through the integration of creative movement as a learning approach for teaching academic subjects; 2.7 Cal s upon dance and al educators to broaden concepts of dance learning environments and to develop partnerships with museums, gal eries, dance companies, and local community organizations; 2.8 Cal s upon dance and al educators to advocate for al learners to be taught by professional, competent, committed, and well supported teachers at all levels of education who are able to respond to diverse learning needs; 2.9 Calls upon dance and all educators to promote peer-to-peer learning. 2.10 Cal s upon dance and al educators to support the creative, ethical, and critical use of digital technologies that respects diversity and that enables participation; 2.11 Cal s for research that may empower teachers at al levels of education to better provide dance education and support evidence-based policy making, implementation and advocacy; 2.12 Declares its intention to actively promote the shared goals of arts education and education for sustainable development in cooperation with UNESCO. Proclaimed in Ljubljana, 12 July 2024, on the occasion of the Dance and the Child International Conference ‘I-body I-dance’ in consultation with the daCi Executive Council, Conference participants and with respect to the Slovenian National Commission for UNESCOś support for the UNESCO Framework for Culture and Arts Education. UNESCO and daCi In February 2024, daCi was represented at the UNESCO Abu Dhabi Conference on Culture and Arts Education by daCi Chair Jeff Meiners, former Chair Susan Koff and Malaysian National Representative Muhammad Fazli Taib Bin Saearani. Presentations were made with World Alliance for Arts Education colleagues to ensure dance for young people had a voice at this influential global event: https://www.waae.online/waae_wccae2024.html The event brought together Culture and Education Ministers from around the world and united relevant UN agencies, intergovernmental-organizations, and UNESCO partners in the field čof culture and education to share practices and innovative ideas, as well as strengthen a global alliance for culture and arts education. Jeff, Susan and Fazli met the Slovenian delegation which was led by Asta Vrečko the Minister for Culture. As a result of the conference, UNESCO Member States adopted the new UNESCO Framework on Culture and Arts Education.https://www.unesco.org/en/articles/unesco-member-states-adopt-global-framework-strengthen-culture-and-arts- education This guidance document provides a set of principles all stakeholders can follow for shaping and further institutionalizing culture and arts education. It outlines specific goals such education should pursue and concrete dimensions where synergetic links between culture and education should be fostered for the benefit of all learners. https://www.unesco.org/en/articles/what-you-need-know-about-culture-and-arts-education Following the UNESCO Abu Dhabi conference, daCi members have developed a draft daCi Ljubljana Declaration with a consultative process that wil include opportunities for feedback at the daCi Slovenia 2024 conference. The daCi Ljubljana Declaration wil provide a framework for dance education and inform daCi’s Strategic Plan for 2024-2027. The signing of the Ljubljana Declaration wil take place at a special UNESCO forum. In addition, we are delighted that “the Slovenian National Commission for UNESCO has accepted the honorary patronage of the 16th international conference "Dance and the Child International". The Slovenia conference provides us with an important opportunity to discuss daCi’s work with UNESCO as part of the Strategic Plan for 2024-2027. 109 d a C i - D a nce and the Child International Conference 2024 I – perform Young dancers’ performances Program 1 Monday, 8th of July 2024 at 6.30 pm 1. Music School Celje (Slovenia) FORMA VIVA Choreographer / Director of the performance: Sandra Koren Dancers: Zala Janc, Julija Godnik, Hana Kolar, Jona Lisac, Živa Leban, Ana Hladnik, Barbara Pešec, Iliana Dukadinoska Petrovska, Neža Jenko, Neža Klincov, Bina Rosa Peperko The idea of the choreography was to intertwine the field of dance with the field of visual arts, particularly with sculpture. The dancers started by embodying the forms of different sculptures, and then tried to revive their static poses by setting them in motion. In time, the movement material was upgraded with a dance story, which significantly enhanced the creation process. Through their participation in the project, the pupils developed their imagination, creativity and aesthetic sensibility, as wel as honing their collaborative and group creative skil s. The interdisciplinary nature of the project introduced them to new concepts in the field of visual arts and provided insights into the interconnectedness of various artistic disciplines. 2. Vantaa Dance Institute (Finland) BARKCREEPERS Choreographers / Directors of the performance: Laila Nousiainen and Anna-Maria Vairio Music author: Mickey Hart and Zakir Hussain Costumes: Laila Nousiainen and Anna-Maria Vairio Dancers: Veera Kankainen, Sonja Kähkönen, Iisa Talonen, Milja Holopainen, Viola Aalto, Nel a Luntinen, Manuela Mül er Hämäläinen Gama, Emilia Niemi, Anni Vainikka, Sofia Valento, Leo Ylä-Havanka, Frida Åstrand The performance is about curious imaginary characters who live inside the bark of a tree. Imagination and improvisation were an essential part of the work process, facilitating the search for the atmosphere and characters. The principle of inclusion was especial y evident in the teaching method, as the dancers’ own creative way was respected. 3. Wagana Aboriginal Dancers & Raven Spirit Dance (Australia & Canada) GARRABA WAYU Choreographers / Directors of the performance: Jo Clancy and Starr Muranko Sound designer: Jo Clancy Costumes: Bel a Stubbs and Charlotte Jackson Dancers and cocreators: Charlotte Jackson, Bel a Stubbs, Taylor Webb, Sami Alvarez 4. Pazaz Dance Studio (Barbados) THIS IS THE WAY Choreographer / Director of the performance: Geraldine Lynch Light designer: Shama Harding Costumes: Scheanny Taitt Dancers: Zaria Waithe, Amarissa Stoute, Jade Harris, Chelsie Chandler, Katelyn Jessamy, Abigail Alleyne, Cuzarah Batson, Shay-Li Hurley 5. Espoon Tanssiopisto (Finland) SINCERELY Choreographer / Director of the performance: Sanni Saarilahti Music author: Garth Stevenson: Flying Costumes: Sanni Saarilahti 110 d a C i - D a nce and the Child International Conference 2024 Dancers and cocreators: Eerika Ahonen, Ana Borg Hedley, Katalin Fülöp, Agustina Hernandez, Roosa Holopainen, El a Jauhiainen, Mimosa Levola, Hil a Lindberg, Amelie Logtmeijer, Sanni Malmivuo, Veera Martamo, Sanni Rönnqvist, Jonna Währn, Oona Ylä-Rautio Sincerely is a choreography about the inner world of young people written in letters. The letters provide a platform for the current thoughts and themes of the young dancers. What is going on right now? What is on the surface? Through letters, the dancers tel each other things about themselves and the world around them that they might not dare to say out loud. Who am I? What do I dream about? What do I fear? What do I regret? What do I rejoice in? What does my own world consist of and what does it look like? The dancers do not know which letter they wil receive and which revelations and tasks they wil read and execute. The choreography is a little different every time and forces both the dancers and the audience to be present and open to each other, sincerely. 6. Contemporary Dance Intensive Class/ Vantaa Dance Institute (Finland) THE WATER SPIRITS Choreographer / Director of the performance: Susanna Veijalainen-Sipilä Music author: Christophe Filippi Dancers: Matilda Himberg, Milja Holopainen, Veera Kankainen, Sonja Kähkönen, Vilma Nylander, Iisa Talonen The inspiration for this choreography comes from Finnish folk stories about water spirits, especially the character Vellamo. She was respected because her job was to create waves, which affects sailing weather. The beautiful Vel amo was said to have mermaid-like characteristics. 7. Kingdom Dancers (South Africa) RESCUE Choreographer / Director of the performance: Cathy Bradley Other cocreators: Rebecca Bennetts - co-choreographer Dancers: Rebecca Bennetts, Jessica Marais, Keira Knight, Jessie Beaton, Adalyn Walker, Gabriel a Campbel , Hannah Porter Are you in need of rescue today? Not from a superhero (although that sounds exciting). Everyone at some point in their lives has needed to be rescued, either literally or spiritually. We humans just aren’t made to handle issues on our own. We desperately need God’s rescue when we feel overwhelmed by life’s problems. Ask God to provide the peace that passes al understanding, even if He does not immediately remove the trouble. Cal out to Him as your rescuer and rest in His strong yet gentle embrace. 8. Northern Lights School Of Dance (NLSD) (Canada) I-PAINT Choreographer / Director of the performance: Julian Beairsto Costumes: Christina Buckle Dancers: Brooklyn Balmforth, Gwen El iott-Stamp, Vada Kireti, Emma Edwards, Sophie Stuart, Peighten Mah, Aurora Bagnel - Craig, Aila Massie, Ember Johnson, Laila Mason, Avery Woodford, Sabrina Hartland, Liza Wickham, Eloise Haselmayer, Stel a Skoke-Burns, Janel e Boucher, Iris Tremblay Program 2 Monday, 8th of July 2024 at 8 pm 1. Khulcha Theatre School of Dance (Jamaica) I BODY SPEAK Choreographer / Director of the performance: Keana Thomas Hailey, Carolyn Russel -Smith Music author: Afrobeat Praise By DJ Kelehi Costumes: Carolyn Russel -Smith Dancers and cocreators: Hailey Archibald, Gianna Archibald, Makayla Campbel , Keana Thomas, De'La-Rai Dwyer, Ethiopia McAnuff This is an abstract dance fusing elements of Jamaican dance forms with other forms. It is an expression of youthful energy. 2. Vantaa Dance Institute / Ballet intensive class (Finland) TIME ZONE Choreographer / Director of the performance: Leena Koskiahde and Marina Tirkkonen Music authors: Nathan Barr, Martin Phipps, Max Richter, Hans Zimmer 111 d a C i - D a nce and the Child International Conference 2024 Dancers: Aurora Aerts, Ester Eerola, Isabel a Ellison, Aino Hamina, Maisa Helo, Miranda Hoviniemi, Iisa Immonen, Cecilie Junkkari, Aada Kankaanpää, Kirika Karppinen, Saana Ki skinen, Helinä Kokko, Helmi na Kokko, Iris Kuokka, Camil a Kämpe, Enna Lehtinen, Iina Lehtinen, Varpu Nuortimo, Nel i Saarelainen Time Zone is a choreography that takes the audience to two worlds in which reality fades. The performance invites the viewer to dive deep into the interface between two different realities and raises the question of who we actual y are. Time Zone combines traditional and neoclassical bal et, creating a powerful and intense atmosphere. The group of 19 advanced bal et students create a fascinating combination of movement and emotion. 3. South Savo Dance Institute (Finland) IN THE MIDDLE OF ... Choreographer / Director of the performance: Annu Ronkainen Dancers: Silja Ahvenranta, Roosa Jääskeläinen, Siiri Kauppinen, Senja Naskali, Sofia Pesonen, Tilda Simula, Si ri Särkkä, Anna Hokkanen, Nella-Sofia Leskinen, Neea Parkkinen 4. ZKM – Učilište (Croatia) DRESSING ROOM Director of the performance: Marija Bitunjac, Grozdana Lajić Horvat Sound designer: Milorad Stranić Music author: Milorad Stranić Dancers: Fana Durlen, Roza Gašpić, Lina Šojat, Ivana Maurović, Ema Jonak, Mirej Đurović, Elena Čičak, Ema Sorić, Tora Balta, Lucija Oroz, Hana Stranić 5. Kajaani Dance (Finland) ALICES IN WONDERLAND Choreographer / Director of the performance: Heidi Naakka Music author: Andrea “Ethnic Female Vocal”, Rafael Krux “Prelude for Cel os”, Moriarty “Battle Demo” Costumes: Heidi Naakka Dancers: Irene Summanen, Seela Summanen, Ella Kela These three real y skil ed dancers and charming young women worked intensively with professional dancer and choreographer Heidi Naakka. From that, this miniature work was born, where life flows. 6. New Education for Contemporary Dance (Slovenia) SHOES SEEKING STRIPES Choreographer / Director of the performance: Rebeka Marinšek Počivavšek Music author: Sreča na vrvici - Dečo Žgur Dancer: Rebeka Marinšek Počivavšek 7. Youth Ballet of Saskatchewan (Canada) SAM STUDY #1 Choreographer / Director of the performance: Kathryn Ricketts / Michel e McMil an Music author: Michael Nyman Dancers and cocreators: Madeline Clincke, Anna Pepper, Amanda Rincker-Tarry, Kate Rincker-Tarry This piece was developed in collaboration with the dancers, inspired by both their personal experiences and the unconventional exploration of a typical overcoat. This process created movement that ranges from play to struggle, from the supportive to the insecure. 8. UT Viljandi Culture Academy (Estonia) IN PROCESS ... Choreographer / Director of the performance: Co-creation by students, masterclass mentor: Karl Saks Sound designer: Co-creation by students Music author: Co-creation by students Dancers and creators: Gretten Vaga, Kärt Kokkota, Elina Soosaar, Keiti Leon, Tuuli Torop, Ria Ranniku, Kristin Kalam The performance IN PROCESS grew out of an intensive masterclass in January 2024. The theme of the masterclass was improvisation inspired by the concept of the non-player character in video games. The performance creates a fictional world where the undergraduate dancers explore the feeling of being moved and led by someone controlling the situation. It consists of gestures based on the characters in this fictional world. 112 d a C i - D a nce and the Child International Conference 2024 Program 3 Tuesday, 9th of July 2024 at 6.30 pm 1. Tanner Dance (USA) DIVERGENT HARMONIC Choreographer / Director of the performance: Joni Wilson Sound designer: Tristan Moore Music author: Tristan Moore Costumes: Rachel Hayes Dancers: Gabriel e Hatton, Isla Homer, Charlotte Bean, Mabel Bean, Mil y Bean, Isla Wilking, Gracie Knubel, Isabel Madsen, Scarlett Snow, Madeleine Miller, Foss Goodwin, Annabel e Christensen, Chloe Toth, Emily Spencer, Fernando Ortiz, Kit Pearce, Margaret Pearce, Nel ie Pearce, Pippa-Wren Lee, Tabitha Lee, Frances Mandle-Paret, Haley Hemingway “Divergent Harmonic” explores the profound depths of inclusivity, imagination, individuality and col aboration. Performed by the University of Utah Children’s Dance Theatre, this piece celebrates the 75th anniversary of Tanner Dance and honours the philosophy of valuing each individual and their unique contribution to our human experience, while appreciating connection and unity with those around us. 2. Conservatory of Music and Ballet - Departement for contemporary dance (Slovenia) HOBGOBLINS - THE NAUGHTY ELVES Choreographer / Director of the performance: Jana Kovač Valdes Sound designer: Jana Kovač Valdes Music author: Putumayo Kids- La Mrmotteusse Costumes: Mojca Janželj Tomažič Dancers: Jonatan Piškur, Erazem Pogačnik, Jaro Zorc, Zahi Khan, Ruben Gombač, Urban Žagar, Voranc Žagar, Fedja Kandare, Mark Pirc, Indi Tej Accetto Korošec Hobgoblin myths and legends vary widely, with many folklore traditions having their own different versions, which can sometimes be a bit confusing. For example, in some legends, hobgoblins are seen as harmful, but in other traditions they are said to be very friendly. Scottish Hobgoblins are mischievous spirits of the home hearth. According to folklore, they belong to mischievous house elves. They love to hide keys, but they are happy to return them in exchange for a homemade piece of cake. 3. Dancin' Africa (Barbados) TRIBUTE TO THE SPIRITUAL BAPTIST Choreographer / Director of the performance: Keisha Amory-Lewis Music author: Devon Matthews and El a Andal Video Light designer: Keisha Amory-Lewis Costumes: Keisha Amory-Lewis/Jennifer Sealy Dancers: Jade Gooding, Trinity Al eyne, Chioma Hunte, Saran Chapman, Gabrielle Best, Saniyyah Lascel es-Shepherd, Zindzi Nyhathu, Saniya Graham, Dwanesha Yearwood 4. KUD Qulenium Ljubljana / Pionirski dom - Center za kulturo mladih (Slovenia) IN THE EMBRACE OF REFLECTION Choreographer / Director of the performance: Saša Lončar Music author: Kiasmos »Blurred« Costumes: Milanka Mavrin Dancers and cocreators: Mina Jelkić, Mila Vute I search for you in every possible way, through pores and mirrors, raindrops and an icy surface. When you approach me, I feel the energy flowing into me, but in the very next moment, you bounce off and reveal me stumbling, buried in darkness, loving with great happiness…you remind me that I am here… 5. Ana Maletić school of contemporary dance (Croatia) START ME Choreographer / Director of the performance: Katarina Đurđević Music author: D.Domitrović; Humoresque No. 1 in G minor Dancers: Lucija Fresl, Marta Barac, Maja Rajab, Nora Kadović, Ema Matijašević, Nina Trcin 113 d a C i - D a nce and the Child International Conference 2024 The choreography “Start Me” is about what moves us, how we move others and how others move us. We have always had a need to belong and be part of a collective. Through various experiences, we build our place within it. We acquire these experiences all of our lives through play, friendship, love... 6. La jeune troupe DansEncorps (Canada) I DANCE FOR CONFIDENCE Choreographer / Director of the performance: Chantal Cadieux Dancers: Emilie Hewitt, Ophélie Chiasson, Eve Clément, Christina Mamelona, Pénélope McIntyre, Léora Imbeault, Sophie Léger, Olivia Pedneault-Doucet 7. Cassidy Scoones (NZ/Aus) KAITIAKI Dancer & Choreographer: Cassidy Scoones Music: Russel Scoones Mentor: Clare Battersby Thanks to: Carol Brown, Phil ip Adams, Nicole Corea & Silke Grabinger for choreographic feedback. This piece is about growing up as a boy in a dance world and evolving through groups and communities. A teenager performs his life through dance; the stages of changing countries and schools and the struggles with everything that plays in his life. The choreography was made to show Cassidy’s first dance teacher, Clare Battersby, and the impact she can have on the lives of others, carrying them through thick and thin. In the soundtrack, young Cassidy talks about the “Kaitiaki of the sea”. Kaitiaki is a Māori word that means guardian of the sky, sea and land. When a person dances in a specific location, they become more connected to that location, which gives them a sense of care for that place. This care is woven in with the kaitiaki of that area. 8. Edna Manley College of the Visual & Performing Arts & Le Wi Dance (Jamaica) ONE LOVE Choreographer / Director of the performance: Sophia McKain & Liane Wil iams Sound designer: Sophia McKain & Liane Wil iams Music author: Bob Marley Light designer: Sophia McKain & Liane Wil iams Costumes: Sophia McKain & Liane Wil iams Dancers: Kenya Harvey, Els Rennals, Kailee Manmohan, Naomi Neil, Donyel e Mignott, Janae Deslandes, Janessa Iton, Zuri Sang-Prescott, Cassidy Cato, Amara McNaughton, Milah Bourne, Alex Baxter Program 4 Tuesday, 9th of July 2024 at 8 pm 1. Kaleidoscope Dance Company/Creative Dance Center (USA) "WE WILL SEE ..." Choreographer: Tshedzom Tingkye Director: Bronwen Houck Music author: Mica Levi, Alexandre Desplat, Salvia Plath Light designer: Peter Sommer Costumes: Tshedzom Tingkye/Anna Mansbridge Dancers: Hannah Barnes, Geneva Betnel, Alison Clary, Evelyn Cousins, Lucia DeWitt, Mycah Dossick, Zoë Fanaras, Madeline Feeman, Calder Houck, Kaija Houck, Sofia Koenig, Makayla Myers, Marlaina Polidori, Amelia Skuja-Larson, Elaine Speer, Rosalie Tucker, Viv Tynes, Stronner Vigdor, Ezra Zeichner This piece follows a group of people who start as one, split into two, and struggle to come back together. As the dancers spread, grab, shake, fal and suspend, two individuals attempt to unite again despite the barriers that are formed. Inspired by Dr. Seuss’s The Butter Battle Book, “We wil see...” reflects on how greed often results in division and inequality. 2. Carousel Dance Company (Canada) ILLUMINATIONS OF IDENTITY Choreographer / Director of the performance: Bea Benian Dancers: Avrya Churchil , Claire de Koning, Nikki Dion, Charlotte Gilson-Deer, Rachel Hil , Valerie Hil , Evangeline Hurd, Delaney Jespersen, Brooklyn Labreche, Theo McKinnon, Faye Mil er, Danica Pawagi, Tayla Pawagi, Clara Schiedel, Heidi Schmid, Addison Tauer, Samantha Teeter, Sydney Vuong Peeling back the layers of their own identity by focusing on culture/ethnicity, gender, values and interests, the dancers explore movement vocabulary to express their unique individuality. This exploration of their individual identities coalesces into a collective 114 d a C i - D a nce and the Child International Conference 2024 presentation. The dancers il uminate the stage using flashlights to represent their individual identity. They form a structured composition that represents all individuals undivided. 3. Vantaa Dance Institute / Educational theater Rikka (Finland) EVERYTHING IN ITS RIGHT PLACE Choreographer / Director of the performance: Sanni Giordani & Oskari Turpeinen Sound designer: collage by Sanni Giordani and Oskari Turpeinen Music author: Jiony, Vladimir Cosma Costumes: Niina Huovinen Scenography: Sanni Giordani & Oskari Turpeinen Dancers and cocreators: Hulda Limnel , Elsa Mal at, Emma Mikkonen, Jannalina Porkka, Milma Tammikorpi Everything in its right place is a playground for objects, beings and movement. It is based on the constant rearrangement and composition of oneself, others and various objects. The dancers play with the difference of being an independent subject and then placing themselves in the space as movable objects. 4. Umjetnička škola Franje Lučića (Croatia) HOT CONCCRETE UNDER THE STREET LIGHTS Choreographer / Director of the performance: Mia Zalukar and Danijela Renić Music author: Balans- Dežuje, Sam naprej Dancers: Tena Jurišić, Antea Cebin, Laura Horvat, Marta Gregurović, Dina Dudašek, Lana Prijić, Marta Tokić, Mihaela Cvetnić, Karla Ciprić, Sara Elizabeth Kovač Hot concrete under the streetlights is a choreography that explores the complexity of relationships between dancers and how that complexity can be created from the imagination of individuals. The dancers imagine their feelings on a rainy day that is unstoppable and has no end. They walk through the drabness of streetlights and never look back; they want to go forward, only forward. They want the support of a community that gives them strength, motivation, a sense of belonging, inclusion and joy. The choreography examines who we are as individuals, what we feel and how we can build a strong community that gives us the support and motivation to move forward and not look back. 5. Hope College Dance Department (USA) ANDAMENTO Choreographer / Director of the performance: Wil iam Crowley Music: "Istanbul Dream " by DJ Kambo Dancers: Sarra LaCour, Cal a Vandehaar-Johnsen, Kaleigh Estby, Makayla Henline, Jacqueline Rivera “Andamento” is a dance for five female dancers, inspired by mosaic artwork. The title, Andamento, is derived from a term used to describe the flow and movement of tesserae tiles within a mosaic. 6. New Education for Contemporary Dance (Slovenia) STUCKFEET-FEETSTUCK Choreographer / Director of the performance: Lana Tivadar Dancer: Lana Tivadar Stuckfeet-Feetstuck is a solo performance based on improvisation. In the piece, I play with the imagination of the moving body and the audiences’ perception of it, combined with exploring my curiosity about the space. I constantly question “being stuck” and try to find ways to move and discover more freedom within the limitations. 7. Ana Maletić school of contemporary dance (Croatia) WATCH, VIDI, VICI Choreographer / Director of the performance: Adrijana Barbarić Pevek Music author: P.I.Tchaikovsky; Valse sentimentale Dancers: Hanna Kocijančić, Larisa Radanec, Nathalie Nujster, Marta Barac Watch, vidi (look), vici is a poetic story about togetherness. It began where the previous one ended and continues its journey considering the past in order to make the present and the future possible. Its equation is sustainable only if it is exposed to continuous change. Along the way, we contribute to the growth of others by tirelessly engaging in personal growth. And so, the story continues somewhere where this one leaves off. 115 d a C i - D a nce and the Child International Conference 2024 I – colour dance Young dancers’ workshops These workshops are an opportunity for participating young dancers to explore a creative dance process within a community context, with their peers from all over the world, led by professional dance artists and dance teachers. IMAGINATION + INTELLIGENCE: I – ORANGE 1. Tina Valentan: I – ORANGE S (smal ) 2. Alicia Ocadiz: I – ORANGE M (medium) 3. Milan Tomašik: I – ORANGE L (large) Everyone has IMAGINATION and imagination is very important both in teaching dance and in creating and observing dance. Imagination is the ability to connect and combine images, stories, concepts and movements to obtain a different “reading” than how they were first perceived and received. Kinetic imagination inspires movement and kinetic empathy can lead the mind to imaginative realms. There is an innate INTELLIGENCE in our body-mind. With creative dance, we can improve interpersonal intel igence, that is, the ability to deal with the feelings of others, which is characterized by sociability and empathy. IMPROVISATION + INTERDISCIPLINARITY: I – GREEN 1. Ana Romih: I – GREEN s (smal ) 2. Vita Osojnik: I – GREEN M (medium) 3. Gregor Luštek: I – GREEN L (large) IMPROVISATION is a central component of contemporary dance, both as a way of creating movement and as a stage form. Dance improvisation is not only about creating new movements, but also about freeing the body from habitual patterns of movement. By emphasizing the instinctive, unpredictable and free movement that is the focus of improvisation, the dancer can explore authentic feelings and inspirations. INTERDISCIPLINARY practices integrate thinking and knowledge from two or more disciplines, giving rise to new insights through the connections. Interdisciplinarity removes boundaries between disciplines and supports the principle that knowledge is interconnected, providing horizontal and vertical integration of knowledge, content and skil s. INCLUSION + IDENTITY: I – BLUE 1. Mojca Kasjak: I – BLUE S (smal ) 2. Sabina Schwenner: I – BLUE M (medium) 3. Igor Sviderski: I – BLUE L (large) Creative dance is INCLUSIVE. It promotes participation opportunities for people of al abilities and has many benefits for psychomotor, cognitive, affective and social development. The inclusion of creative dance in the curriculum is multifaceted in terms of its value as art, as movement, as therapy and as a teaching approach. Creative dance has always been a reflection of IDENTITY and the culture of those who practice it. Creative dance builds bridges and embodies meaning; it has social value and serves as a means of intercultural communication. 116 d a C i - D a nce and the Child International Conference 2024 Tina Valentan; choreographer, dancer, performer, dance pedagogue Tina Valentan graduated from the School for New Dance Development in Amsterdam in 2007 and has been working as a freelance dancer ever since. Her solo and group works have been supported by different production houses. Tina often works as a choreographer in theatre and music productions. She gained a lot of teaching experience, and she teaches technique classes at the contemporary dance program of the Pre-school Education, Grammar and Art Grammar School in Ljubljana. In her work she is focusing on integrating the body and the mind, an approach which in relation to time and space al ows her to create material on the spot and al ows the work to reveal itself. Tina is recognized by the audiences and critics alike as a performer with a distinct artistic sensibility and presence. Alicia Ocadiz; choreographer, dancer, performer, dance pedagogue Alicia Ocadiz has a master's degree in dance and movement arts from the Universitat Catolica de San Antonio de Murcia in Spain. She graduated from the Escuela Nacional de Danza Clasica y Contemporanea in Mexico City. Among others, she studied at the Rotterdam Dance Academy (CODARTS) and the Beijing International Arts School in Beijing, China. During her career, she performed as a dancer, choreographer and circus artist on various stages, theaters and festivals in countries such as Mexico, the Netherlands, France, Germany, Slovenia, China, Panama, Costa Rica, Indonesia and Spain. In 2009, she received the Mexico City Young Artist Award, and in 2010, the Niewe Maan Award in Rotterdam. Since 2018, Alicija has been living in Slovenia, where she choreographed and danced some performances in the production of the Ljubljana Dance Theater. Milan Tomášik; dancer, choreographer, dance pedagogue Dancer, choreographer and pedagogue Milan Tomášik has been living and working in Slovenia since 2004. He studied dance at the J. L. Bel u Conservatory in Banska Bystrica and at the Academy of Performing Arts in Bratislava and in 2004 graduated from P.A.R.T.S. in Brussels. In 2001 he received the DanceWeb scholarship, granted by the ImpulsTanz Festival in Vienna. Also, one of the co-founders of the acclaimed dance company Les SlovaKs, Milan has co-created three of the company’s evening. In his choreographic practice and movement research, he explores the different modalities of movement and ‘where it comes from’. In 2014 he founded Milan Tomášik & Co and created three dance works. Besides his own company, Milan works as freelance choreographer and created several commissioned works for different companies, theatres and schools. An experienced dance teacher, Milan has taught contemporary dance in Slovenia and abroad. Ana Romih; dancer, choreographer, dance pedagogue Ana Romih is a choreographer, dance teacher, dancer and president of KUD Qulenium Ljubljana. She graduated from the SNDO dance academy in the Netherlands. In addition to dancing, she actively participates in the organization and performance of the Kalejdoskop festival in Kranj and Ljubljana, and also works as an independent creator (choreographer and dancer). As a dance teacher, throughout the year she trains 12 groups in the age groups of 7 - 50+ years. Dance miniatures in which she acts as a mentor at dance competitions in Slovenia receive gold medals. From 2019-2022, it is part of the European project Young theater on the move. In 2022-2024, it is part of the European project Performing arts for next generations (PANG). Vita Osojnik; dancer, choreographer, dance pedagogue Vita Osojnik is a freelance artist, dancer, choreographer, dance teacher, and street artist. She graduated from bal et at The Ljubljana Music and Bal et Conservatory and completed her studies in contemporary dance and choreography at the Salzburg Experimental Academy of Dance (SEAD). During her employment as a dance teacher at the Performing Arts Grammar School Ljubljana, she obtained her pedagogical studies and passed the professional examination for teachers. She works as a dance pedagogue and mentor in many dance schools and is a visiting professor at SEAD. In October 2015, she was invited as a choreographer and pedagogue to the Tisch School of Arts (Broadway, New York) for a residency and work with group of postgraduate students. She is the author of several dance performances. Currently Vita focuses on developing educational program for dancers, mentoring young artists as wel as constituting the artistic board in Dance Theatre Ljubljana. 117 d a C i - D a nce and the Child International Conference 2024 Gregor Luštek; choreographer, dancer, theatre practitioner, pedagogue Gregor Luštek studied at the Faculty of Sports in Ljubljana. He is trained in a variety of dance techniques, from classical bal et to contact improvisation. His artistic expression is based on soft and athletic movement, taking anatomical structure of the body as a basis for kinetic decision-making. Gregor works as a freelance dancer, choreographer and assistant director, occasional y also as an actor. He has worked with many acclaimed choreographers and dance artists at home and abroad as well as with a number of theatre directors. He has received many awards for his work. With over 20 years of teaching experience, Gregor has taught at countless seminars and workshops at home and international y. Since 2016, he has been working as a choreographer, pedagogue and professional associate with the Exodos Ljubljana in various international projects. In his work he is following the maxim: the body speaks, it needs to be listened to. Mojca Kasjak; dancer, choreographer, pedagogue, artistic director Mojca Kasjak graduated first from geography and sociology at the Maribor University and in 1997 finished a specialization course at the London Contemporary Dance School. In her years-long career she created many performances, organized numerous projects and received many dance-related awards. Her creative and production work goes often hand in hand with working with children and young people; as a mentor she choreographed numerous performances for and with children and the young. In 2017, she founded the Institute for Contemporary Dance Art, Creativity and Art of Living MOJA KREACIJA. The institute focuses on promoting contemporary dance art, conducting professional seminars, dance workshops and workshops for the art of living. With the help of the creative arts, it develops artistic creations, produces dance performances and realizes art projects and deals with therapeutic approaches in the field of art. Sabina Schwenner; dancer, dance pedagogue, choreographer Sabina Schwenner is a dancer, teacher and choreographer. As a dancer, she collaborated with various authors in the field of performing arts. From 2007 to 2015, she taught at the Ljubljana Conservatory of Music and Ballet, in the department of contemporary dance. As a choreographer, pedagogue and mentor to children aged 6-15, she regularly works at Dance Studio Intakt, Dance Epicenter and Montessori Academy. Since April 2016, she has also been working as an external evaluator at the matriculation exam for the subject of contemporary dance at SVŠGUGL in Ljubljana. She is the mentor of many award-winning choreographic miniatures, participated in award-winning performances and short films. In 2012 received the Meta Vidmar award for creative achievements in the field of contemporary dance. Since 2007, she has been self-employed in culture as a dancer, choreographer and teacher. Igor Sviderski; dancer, choreographer, dance pedagogue Igor Sviderski started dancing at the age of thirteen and later trained under numerous acclaimed dance artists and teachers at home and abroad. He has been a visible figure on the Slovenian contemporary dance and performance art scenes since 1989. In 1994 he graduated from the Bal et Academy in Stockholm and in 2012 from the Dance Academy in Ljubljana. Graduating with an MA from the art of movement at the Academy of Theatre, Radio, Film and Television, Igor was the first Slovenian dance pedagogue with the Master of Arts title. Besides creating his own work, he has worked with and performed for numerous national and international artists in the areas of dance, theatre and performance art. An experienced dance pedagogue, he has co-created the educational and artistic programs of numerous dance institutions and centers at home and abroad. He is the recipient of the ImpulsTanz Festival’s DanceWeb scholarship and two dance related awards. 118 d a C i - D a nce and the Child International Conference 2024 I – taste dance Dance Flavors are daily morning dance sessions that offer a taste of different movement approaches. Leon Marič Painted Move A movement class that leaves room for your own imagination through guided structured exercises. It is based on an il ustrative movement motif and a sense of light and weightless in movement. A safe space is created where the individual is responsible for his/her own actions towards him/herself and towards the attitude of others in the space. A constant feeling of fal ing body and mind, a feeling with control over every action performed. It consists of warm-up/improvisation and basic technical exercises performed in the context of different dance principles. Leon Marič is a dancer, performer and dance teacher who is active in the independent scene and collaborates with renowned dancers and choreographers. In his artistic practice, he is primarily concerned with creating, shaping and experiencing different communities within already established and consolidated structures. Snježana Premuš Meandering We wil meander through various principles such as breathing and stable and dynamic structures in the body and space. Where does the body end and space begin? Snježana Premuš graduated from the London Contemporary Dance School in 1998, after which she continued to expand her knowledge and skil s within various international choreographic and improvisation projects. In 2012, she completed a specialisation in Body Mind Centring, obtaining a certificate in embodied anatomy and yoga. Her artistic interests focus on the body and corporeal presence. In addition to her performance work, she has been involved in socially engaged projects and has worked regularly with young people and social y vulnerable groups. Branko Potočan Come to Move or You Will Regret It Through a sparkling, lively and dynamic game, both individually and in pairs, we wil play with the weight of the body in relation to the ground, objects and our partner. We wil get to know different approaches to situations that we have already been a part of without being aware of it. We wil face and get to know the already known and add it to the mosaic of experiences. Branko Potočan started his professional career as a dancer in 1986, when he joined Dance Theatre Ljubljana. Between 1990 and 1993, he worked in Brussels with the renowned choreographer Wim Vandekeybus and performed in Ultima Vez performances al around the world. In 1994, he founded the non-profit cultural organisation Vitkar and the physical theatre group Fourklor. He also works as a choreographer and movement advisor in theatre performances and runs workshops with young people (modern circus, physical theatre, aerial silk, hoop, rope, etc.). In his prolific creative career as a choreographer and director, he has conceived over 40 original performances from 1994 until today. Katarina Ferlin Shakti Dance® – Yoga of Dance Shakti dance® is the point where yoga and dance meet, where dance is transformed into yoga, bringing harmony between mind and body. This amazing gentle practice was created by Sara Avtar Oliver from the UK, who established eight particular phases that aim to deeply release your body and calm the mind, so we can spend a meditative moment at the end listening to the stil ness inside. During practice, we stimulate the flow of life force – prana shakti – within, with a combination of slowing down the movement to rhythmic movement with breath and mental focus. This animates our body, gives us a new perspective and awakens our creativity. Katarina Ferlin is a passionate Shakti dance teacher who has responded to the call of different dance styles throughout her life. She regularly teaches shakti dance classes and workshops in five different cities in Slovenia and feels more herself than ever before. Shakti dance has gently transformed her. It holds such power that one’s inner true self can no longer remain unheard. 119 d a C i - D a nce and the Child International Conference 2024 Helena Korošec A Sound Bath for Relaxation and Well-Being The sounds and vibrations of gongs, Himalayan bowls and other instruments have a beneficial effect on our bodies, thoughts and feelings. They invite us to relax, find inner peace and create balance. Harmonious sounds support us in harmony, renew our zest for life, stimulate creativity, help us to release blockages, let go and forgive what no longer serves us and open up possibilities for new paths and encounters. Lie down on the mat and let the sounds work their magic on you. For more than twenty years, Assist. Prof. Helena Korošec, PhD, has been creatively, pedagogical y and scientifically engaged with the performing arts and their impact on individual development and relationships in society, as wel as their role in the educational process. She is a certified practitioner of sound massage and sound communication with children and a certified sound therapist for individual and group sound art therapy. At the Faculty of Education of the University of Ljubljana, she is active in the field of puppetry and drama. Urška Centa Contemporary Flamenco The workshop is structured as a musical exploration of movement through rhythm. Through the pedagogue’s method, we wil initially meet the fundamental elements of flamenco through somatic and contemporary dance exercises, developing body awareness through isolations and anatomical movement research. We will continue with flamenco technical exercises, focusing on qualities such as control and responsiveness, clear initiation of movement, precision, direction and presence in the moment. The second part of the workshop wil focus on the musicality of movement and developing an ear for the surrounding soundscape. We wil learn techniques of body percussion and, through establishing rhythm, create the pulse of dance, energetic connection and receptiveness to the musical aspect of movement. In the final part of the workshop, we wil learn short rhythmic dance compositions, accompanied by great music. Through these, we wil explore weight transfer techniques and different types of “marcaje”, playing with them and developing our own expressive language, fluidity and ful er dance performance. We wil dance in sneakers or barefoot. Urška Centa is a dancer, choreographer, musician, songwriter and dance teacher whose creative starting point is the art of flamenco. Between 2014 and 2017, she trained at flamenco academies in Madrid. In 2021, she graduated in contemporary dance and choreography from the Academy of Dance at AMEU in Ljubljana. She creates a unique creative world, developing a performative language that blends flamenco and contemporary dance in pursuit of an intercultural vision. As one of the few Slovenian dance creators, she is also active in the field of music. She collaborates with prominent Slovenian and international artists and performs on significant stages both domestical y and internationally with various dance and music projects. She is the co-founder and artistic director of the multi-genre art institution NEST. Lea Onufrija Just take me dancing – Slovenian folklore dances We wil take you dancing... on a journey through history and different regions of Slovenia. We wil learn about the dance practice of the past, take a peek into the dance culture of the Slovenian regions, learn some of the most interesting Slovenian folk dances and, of course, have fun and spin. As you know, without love there is no dance, and those who love each other spin. Lea Onufrija is a graduate in English and Russian studies. She first encountered folklore activities at the Oton Župančič Sora Cultural and Artistic Society, where she joined the Young Children’s Folklore Group. During her schooling at Šentvid Grammar School, she was also involved in theatre, participating in the theatre group Curriculum Vitae. While studying at the Faculty of Arts of the University of Ljubljana, she joined the Ljubljana folklore group ŽKUD Tina Rožanc, where she was first active as a dancer and later as a member of the group’s board of directors, as head of public relations and as the leader of the group for beginners. Despite joining the folklore group ŽKUD Tina Rožanc, she remained active in her local society, the Oton Župančič Sora Cultural and Artistic Society, where she initially led the Young Children’s Folklore Group and later the Youth Folklore Group. Since 2020, she has served as the president of the society. Lea Onufrija continuously furthers her education at professional training programmes within the framework of the Republic of Slovenia Public Fund for Cultural Activities (JSKD). For several years, she has also been a professional assistant for meetings of children’s folklore groups organised by JSKD. 120 d a C i - D a nce and the Child International Conference 2024 I – shoot dance I – Shoot is a working space/studio for exploring video dance and leaving your own video message. The room is facilitated by the award-winning Slovenian dance film maker Matjaž Mrak, who says that he is a dancer while shooting and choreographer while editing. In the I-SHOOT studio, you can watch dance videos and create your own video by fol owing the simple instructions. Your creations will be part of the closing event. The idea is to shoot a short video in which you perform your dance and then at the end state: “I DANCE FOR CONFIDENCE!”. Matjaž Mrak founded Friendly Production in 2005. He is an awarded cinematographer with more than 20 years’ experience in TV and film industry. Matjaž is a member of the Slovenian Cinematographers’ Association ZFS and also the International Federation of Cinematographers IMAGO. He has worked with a lot of European broadcasters such as BBC, ARD (HR), Arte, EuroNews, Deutsche Wel e, Al Jazeera, Al Jazeera Balkans, Malta-TV, HRT (Croatia), Telma TV (North-Macedonia) and with national and international production companies such as Tailored Media (UK), Fineline Media (USA-Japan), INS (Belgium), Vertigo (Slovenia) and the audiovisual departments of EU commission and EU parliament. His work has taken him al over Europe, the Caucasus, the United States and in Africa. I – write dance I – Write is a working space/studio for thinking dance through words. It questions how to transform dance into words and invites you to express your dance through written text. The room is facilitated by Slovenian writer, critic and performing arts dramaturg Samo Oleami, who is also a performer and gamer. Letters flow from rest into a sentence when stirred by the reader. Through the sequence of sentences the meanings of words are interwoven into meanings. This is not the only way to knead verbal material. At the time of reading notched rhythmicity breaking rows of strung stitches can open up unplanned contacts between meaning and verbal materiality, which the reader co-creates. Samo Oleami is a writer and practitioner in the area of performing arts. His work as a writer and critic includes a wide spectrum of performance practices, from dramatic theatre, contemporary performing arts, performance art to col aborations with intermedia artists and critics and festivals of improvisation and street theatre. Adopting different roles – as a director, assistant, dramaturge, performer, media spokesperson, or occasional technician – has given him a comprehensive insight into the different aspects of the creative process and its group dynamic (especially in the area of “contemporary theatre” and a contemporary dance). 121 d a C i - D a nce and the Child International Conference 2024 I – dance for peace Jelena Oleami: I – DANCE FOR PEACE Planetary Dance – Inclusive/participatory dance performance 10 July at 19:00 Location: Ljubljana Castle Hill The Planetary Dance is a ritual of healing and community renewal, not a theatrical performance. It is based on a simple dance that anyone can do. It is an invitation to people al over the world to join in a dance for peace in their own communities and for peace with the Earth. It brings people of al ages and abilities together to “dance for a purpose”, much as people in traditional cultures have danced for a bountiful harvest, a successful hunt or a happy marriage. The Planetary Dance is a participatory dance conceived by Anna Halprin and her community in 1980. Participants are invited to run, walk or simply stand in a series of concentric circles, creating a moving mandala. The dance is simple, so people of different ages and abilities can participate. As participants move to the steady heartbeat of the drums, they become one collective body. Each step upon the Earth becomes a prayer for healing. Anna Halprin said, “When enough people are moving to a common beat and with a common purpose, an incredible force takes over – a force that can renew, inspire, teach, create and heal.” PLANETARY DANCE COURSE 1. Gathering and welcome. Explanation of the story of the Planetary Dance. Presentation of the theme, common intentions and description of the performance. 2. Warming up with breathing and connecting the rhythm of the group. 3. Artistic offerings - invited guest professional artists offer a performance as an offering, for example: a dance solo, a sung or played song, a story or poem. 4. Group dance performance. 5. Grounding and closing. Group breathing. Sharing. Leader of the Planetary Dance: Jelena Oleami Core Crew: Tina Valentan, Rea Vogrin, Luna Vogrin, Neža Jelinčič Drummers/Musicians: Jan Pirc, Žiga Miklavc Artistic Offerings Vocal: Rebeka Hren Dragolič Dancers: Katarina de Ventus Poet elder: Ana Korošec Production: Plesonoga Cultural and Educational Society Photographer: Branko Gosarič The dance ritual is led by Jelena Oleami - a dance teacher and choreographer who has been teaching dance for more than 25 years. She found her teaching roots in contemporary dance, where she encourages authentic movement. Contemporary dance is seasoned with the wisdom of Anna Halprin and with shamanic practices that open up subtler levels of perception and expression. 122 d a C i - D a nce and the Child International Conference 2024 I – spring The daCi SpringBoard is an initiative designed to bridge the gap between young people who participate in daCi conferences as dancers and adult daCi members who participate as presenters and facilitators. Dance graduates aged 18-25 with a special interest in dance education, have the opportunity to continue their involvement with daCi through the SpringBoard. Potential candidates from around the world are recommended by members of the daCi Executive Committee (EC). The first SpringBoard was formed in advance of the 2015 Copenhagen congress, with members from Denmark, the Netherlands and Australia. At the end of their 3-year term they shared their experiences with newly appointed members. On this year conference 6 young SpringBorders wil assist dance workshops for Young dancers as wel give their own workshops in the mornings as part of Dance Flavors. In these workshops, young dancers wil be working with the Springboard team to explore how their “I” for Identity relates to others. By using movement and spoken words in different ways through dancing and connecting with other daCi participants of al ages. These sessions wil provide a space to explore their own identity and of the groups in which they exist. Representing Canada - Dorothée Tölgyesi Dorothée Tölgyesi is a French-Canadian dancer from Whitehorse in the Yukon Territory. Fol owing her high school graduation, she spent a year training at the Belin Dance Institute in Germany to then commence her university education in Calgary, Alberta. She is currently in her fourth year at the University of Calgary Majoring in both dance and education. Dorothée is very passionate about dance and al the benefits it can bring to a community and to children in particular. When she is not away at school, Dorothée teaches at her home studio in Whitehorse the Northern Light School of dance. Through dance, she has had the opportunity to travel, learn and grow. She wishes to bring these same opportunities to others passionate about dance. Representing Canada - Ella Cumberland-Clark Ella has been dancing since the age of 3 with exposure to broad dance experience and many different dance styles, guest teachers and performance opportunities. Ella attended the 2018 daCi Conference in Adelaide, Australia and is currently working as rehearsal assistant for a daCi twinning project with groups from Canada and Barbados, ahead of our virtual conference in July. Ella has always embraced modern dance, the creative process, and improvisation. She has participated in improvisation workshops, dance projects based on the creative process and composition. Ella has created several pieces of her own choreography with great success and has volunteered with our younger students throughout high school, taking special interest in a Dance for Everybody program, which provides adapted dance programs to children, teens and adults with disabilities. El a has volunteered with the group and assisted with their annual performances. Representing Jamaica - Janae Gabrielle Elizabeth Deslandes Janae (2004) commenced her dance journey under Miss Monica McGowan's tutelage at the Junior Department of the Edna Manley Col ege of the Visual and Performing Arts (EMCVPA) at the age of three. In 2009 she was introduced to Dance and the Child International (daCi) by her aunt, who enrolled her in the conference hosted in Jamaica that year. This initiation marked the beginning of her active participation in daCi conferences worldwide, including those convened in Taiwan (2012), Denmark (2015), and Australia (2018). In 2022 and 2023 respectively, Janae had the privilege of joining the esteemed National Dance Theatre Company (NDTC) of Jamaica for the 60th and 61st seasons of dance. This experience provided invaluable insights into Jamaica's rich cultural heritage through its cultural music including songs, and dances. Janae is currently enrol ed and wil be moving into her Junior year at the State University of New York (SUNY) at Binghamton, Binghamton, New York majoring in Environmental Studies and Geography. 123 d a C i - D a nce and the Child International Conference 2024 Representing Jamaica - Geneille Williams My name is Dr. Geneil e K. Wil iams, and I am currently a junior resident in Obstetrics and Gynaecology at the University Hospital of the West Indies, Jamaica. Though I have not chosen a field in the creative arts, dance has always been my first love. I began dancing at the age of three in the Junior Department, School of Dance at the Edna Manley Col ege of the Visual and Performing Arts (EMCVPA) and continued until I graduated at age 18 years. During my time, I was able to participate in three daCi conferences as well as to play the role of spokesperson for the 2009 Conference which was held in my home country. Fol owing my work in the Junior Department, I became dance captain for my high school and went on to be producer and dance coordinator for a charity production done by my medical class while in third year. Currently, my lengthy working hours are spent treating patients; however, whenever an opportunity arises to go back to my first love, I am quick to say yes and return to the dance floor like I never left. Representing Slovenia - Patricija Crnkovič Patricija Crnkovič (1997, Slovenia) finished Conservatory for Music and Bal et Ljubljana and after got her Bachelor in Dance Degree from Codarts, Rotterdam. During her studies in Holland she was an intern in ICK Amsterdam and Isabelle Beernaert Dance Company. After graduating in 2020 she did various projects in Slovenia and Spain. As a choreographer she did shorter solo pieces, as well as a longer work FOR YOU together with Tjaša Bucik that was presented in VR Format. In 2017, she won 2nd prize in Eurovision Young Dancers. Patricija has been teaching regularly modern and jazz classes in Slovenia, as well as giving workshops and choreographing short solo works in Bratislava, Slovakia. Representing Slovenia - Brina Dokl Brina started to dance in her early childhood years. At first it was a hobby but with more and more interaction with movement and dance she became aware of what she could do with dancing. After starting to dance in her hometown dance organization Krokar, where she practiced ballet, contemporary, modern and hip hop for some time, as well as teaching kids dance in the same organization. Soon she became a student at Faculty of Ljubljana and found more and wider dance network. Brina took part in more and more dance classes, where she met teachers, pedagogues and expanded her movement vocabulary. She was part of Ursus dancers and took classes all around. Currently she is a student at Stockholm University of the Arts, just finishing her second year of Bachelor in dance performance. 124 d a C i - D a nce and the Child International Conference 2024 I – twin daCi International Initiatives Many daCi members around the world seek the opportunity to attend a daCi international conference in order to benefit from the shared expertise and rich experiences offered, resulting in exchanges and communication. Consequently, daCi has developed initiatives that enable its members to col aborate on projects, such as Twinning, Outreach and Across Borders Research. Twinning daCi Twinning Projects interweave the skil s and knowledge of dancers and/or dance educators from different cultures and places to create dialogue and new dance knowledge. The purpose of the Twinning initiative is to: - promote creative and choreographic explorations with children/youth among daCi members; - promote exchange across national and cultural borders; - support daCi members’ creative and choreographic explorations that further daCi aims; - facilitate understanding of cultural and worldview differences in creative and choreographic explorations; - build a cross-cultural knowledge base for children’s/youth dance. - In the current period, daCi International supports three twinning projects: - Everyday Life by the Carousel Dance Company, Canada, and the Pazaz Dance Studio and Dancin’ Africa from Barbados; - Garraba Wayu by the Wagana Aboriginal Dancers, Australia, and Raven Spirit Dance, Canada; - Our Earth, Our Space, Afrika Speaks by the Centre for Theatre, Dance and Performance Studies, University of Cape Town, South Africa, and the Department of Performing Arts and Film, Makerere University, Uganda. Partners exchange ideas and visions during the planning period in the leadup to the daCi conference and create a project together. The results wil be shared at the 2024 daCi conference in Slovenia. Outreach Project The Outreach programme is an initiative that enables one or more daCi members (host and applicant) to invite a dance teacher/educator (the invitee is also a daCi member) to visit them in their community or country to facilitate a dance teaching and learning residency. The experience should: - build awareness and visibility of dance for children and young people in your country; - increase daCi membership by creating an environment of inclusivity and visibility where non-daCi members may experience and benefit from the daCi network. - The purpose of the Outreach initiative is to promote: - access to a variety of authentic dance experiences for teachers and young people among daCi and non-daCi communities; - the exchange of dance ideas and teaching practices, while developing understanding across cultures; - col aboration between dance educators within the resident community with a view to increasing daCi membership. 125 d a C i - D a nce and the Child International Conference 2024 Currently, daCi International supports the Outreach project entitled daCi to the WI (West Indies) by Shama Harding from the Pazaz Dance Studio, Barbados, and Sophia McKain from the Edna Manley Col ege of the Visual and Performing Arts, Jamaica. Across Border Research Project The grant aims to support collaborative and innovative research ideas from dancers, teachers, scholars and researchers across the world that promote transcultural and transnational inquiries on children’s dance. The purpose of the research initiative is to: - promote research about children’s/youth dance among daCi members; - promote exchange across national and cultural borders; - support daCi members’ research that furthers daCi aims; - facilitate understanding of cultural and worldview differences in research methodology; - build a cross-cultural knowledge base for children’s/youth dance. Currently, daCi International supports the research project entitled Using Dance Education to Facilitate Inclusion, Belonging and Creativity for Young People in Post-War Communities in Northern Uganda by Alfdaniels Mabingo from Makerere University, Uganda. The provisional or final findings of the research project wil be presented during the 2024 daCi conference in Slovenia. Twinning Projects Everyday Life This twinning project supports daCi objectives by bringing together children and teens from different cultures to learn from each other and to create dance and art together. Through dialogue and movement, dancers wil delve into creative movement to explore the dance language of their identity. Throughout the process, students wil be asked to journal, reflect and connect as they learn about themselves, their dance partners, and their unique and diverse identities. Garraba Wayu In collaboration with four young dancers from Canada and Australia, the choreographers will explore the intersection of indigenous and contemporary dance choreography, performance and interrelated arts through the lens of an Aboriginal worldview. A contemporary indigenous choreography for young audiences wil be produced ready for presentation at the daCi 2024 conference. Our Earth, Our Space, Afrika Speaks This twinning project aims to bring together young people from two African universities to explore the important issue of climate change and its implications for South Africa, Uganda, the continent and the world. Students of dance pedagogy at each university wil research issues of climate change affecting their local communities. Through a planned series of critical exchanges across borders, localised reflection and engagement with climate change experts, the students wil devise creative workshops and a multidisciplinary dance performance that wil raise awareness among African children and young people regarding the issue of climate change as it affects their countries. Outreach Project daCi to the WI (West Indies) by Shama Harding, Pazaz Dance Studio, Barbados and Sophia McKain, Edna Manley College of Visual and Performing Arts, Jamaica. This initiative provides an opportunity for cultural exchange and learning about the similarities and uniqueness of the dance and cultural practices of two islands. We are learning about the role dance can play when it is included within the formal curriculum. Many of the Caribbean islands do not have a curriculum for dance, and this outreach programme creates arguments for advocacy. Research Project Using Dance Education to Facilitate Inclusion, Belonging and Creativity for Young People in Post-War Communities in Northern Uganda by Alfdaniels Mabingo. This research project wil examine how young people in the Kitgum district in Northern Uganda can leverage and use dance education to develop and strengthen inclusion, creativity and belonging in their communities in a post-armed conflict context. Taking the participatory action research design approach, dialogic, participatory and collaborative dance education workshops wil be co-developed by researchers and young people and implemented in their local communities. 126 d a C i - D a nce and the Child International Conference 2024 I – watch dance HUGH/OBJEM Anja Mejač, Liza Šimenc Dance intervention in public space Plesna intervencija v javnem prostoru Production/Produkcija: Skladišče 172 8 July/julij at/ob 10:30 Location/Lokacija: Republic Square/Trg Republike 9 July/julij at/ob 20:00 Location/Lokacija: Republic Square/Trg Republike 11 July/julij at/ob 20:30 Location/Lokacija: French Revolution Square/Trg Francoske revolucije Embrace is a dance and movement event by Anja Mejač and Liza Šimenc. This poetic action, performed in different times and spaces, emphasises the importance of stopping and listening. To sometimes forget the rhythms and systems that dictate our lives and to look at the authenticity, the aliveness that has been given to us and is so fragile in its vulnerability. The dancers arrange to meet. A look, a smile, a hug - the meeting point between a true greeting and everything that fol ows. They are interested in the idea of dance as a consequence, when it happens, as a result of sensual stimuli. Dance & Choreography/Ples in koreografija: Anja Mejač, Liza Šimenc Video: Črt Potočnik Music/Glasba: Luka Uršič Photography/Fotografija: Nina Pernat Communication/Komunikacija: Tea Pristolič 127 d a C i - D a nce and the Child International Conference 2024 THINGS THINGS/REČI REČI Jan Rozman and/in Julia Keren Turbahn Theatre play/Gledališka predstava Produkcija: Emanat Koprodukcija: Lutkovno gledališče Ljubljana 8 July/julij at/ob 19:00 Location/Lokacija: Puppet Theatre/Lutkovno gledališče For the age group 6+ Teaser: https://youtu.be/kkVVFRKzWx4 More about the idea (in Slovene): https://vimeo.com/609741466 What kind of things surround us? Can things real y say anything? Do all things have a shape? What is this thing!? Plastic objects are found almost everywhere today and it is almost impossible to imagine life without them. But the fact is that plastics cause huge problems in the environment, taking around 400 years to decompose. Many plastic items, such as water bottles and packaging, are designed to be used only once. If they are not recycled, they are left on our planet, blown around by the wind, then often blown into the oceans ... Did you know that around 8 mil ion tonnes of plastic end up in the oceans every year? In the performance REALLY REALLY REALLY, which is aimed at the youngest audiences, various plastic objects that are normal y around us in our everyday lives are also on stage, but the dancers Jan and Julia put them in a completely new context, which triggers new feelings and ideas in the audience. They also invite the audience to explore the mystery and curiosity of plastic objects, which, through the form of contemporary dance, confront the issue of ecology in an innovative and humorous way. Directors, Choreographers and Performers/Režiserja, koreografa in izvajalca: Jan Rozman, Julia Keren Turbahn Performer in German sign language/Izvajalec v nemškem znakovnem jeziku: Jan Kress Scenography/Scenografa: Dan Pikalo, Jan Rozman Light designer/Oblikovalka svetlobe: Annegret Schalke Sound designer/Oblikovalec zvoka: Andres Bucci/Future Legend Costume/Kostumografinja: Tanja Pađan/Kiss the Future Outside eye/Zunanje oko: Sanja Tropp Frühwald Dinge Dingen song author/Avtor glasbene kompozicije, besedila in vokala v pesmi Dinge dingen: Alexander Patzelt Translation and vocal in the Reči Reči song/Prevod in vokal v pesmi Reči reči: Manca Trampuš Illustration/Ilustracija: Matija Medved Expert advisory/Strokovno svetovanje: Gabi Dan Droste, Benjamin Zajc Executive producers/Izvršni producentki: Sabrina Železnik (Slovenija), Patricia Oldenhave, Alexander Schröder (Nemčija) 128 d a C i - D a nce and the Child International Conference 2024 AEROWAVES AT 25 A film by Enya Belak Producers/Producenti: Enya Belak, Dany Mitzman, Eva Posedel & Clàudia Brufau Bonet In association/v sodelovanju s: Springback Magazine & Springback Ringside Slovenian premiere/Slovenska premiera – 8 July at/ob 20:30 Location/Lokacija: Kino Dvor/Cinema Dvor More about the film and online tickets/Najava in vstopnice: https://www.kinodvor.org/en/film/25-let-aerowavesa/?projection_highlight=011426598 Trailer: https://vimeo.com/731529122 In 1996, John Ashford created Aerowaves, ushering in one of the most innovative dance networks in Europe. In many ways, this documentary is an homage to him and his legacy. Documentary is a backstage look at the people and artists of the pioneering dance network Aerowaves, and their influence on contemporary dance across Europe since 1996.For the last 25 years, Aerowaves has been at the forefront of innovative contemporary dance in Europe through supporting the work of emerging creators, shaping the art form and connecting the continent's dance world in the process. This documentary dives into the rich history of Aerowaves, the artists they have identified and supported, and the many offshoots that have grown up around this game-changing organisation, including experiments in VR. The film contains archive footage of past festivals, in-depth interviews with the founders and artists, and beautiful y shot dance made specially for film. Director/Režija: Enya Belak Editor/Montaža: María Alonso Araujo Cinematographers/Snemalci: Ioanna Tsoucala, Nicola Galbusera, Blaž  Ocvirk & Igor Crnković Sound Designer/Zvok: Sebastian Dressel With the support &  participation of Aerowaves Partners & Artists Featuring/Nastopajo: John Ashford, Anna Arthur, Betsy Gregory, Yvona Kreuzmannová, Victoria Marangopoulou, Frosso Trousa, Iztok Kovač, Edvin Liverić, Roberto Casarotto, Liz King, Elisabetta Bisaro, Oonagh Duckworth, Sanjoy Roy, Ka Bradley, Donald Hutera, Beatrix Joyce, Patricia Apergi, Csaba Molnár, Igor Urzelai Hernando, Moreno Solinas, Christos Papadopoulos, Oona Doherty, Jesús Rubio Gamo, Pietro Marul o, Viktor Černický, Joy Alpuerto Ritter, Cécile Da Costa, Alexandros Stavropoulos and others Executive Producer/Izvršna produkcija: Aerowaves Co-funded by the European Union © Springback Production 2022 129 d a C i - D a nce and the Child International Conference 2024 RE/INVENTED/IZ/NAJDENA Urša Rupnik Dance performance/Plesna predstava Production: Studio za svobodni ples, society Co-production: Cankarjev dom, Plesni Teater Ljubljana, Plesni Epicenter 9 July/julij at/ob 20:30 Location/Lokacija: Cankarjev dom More about the performance and tickets: https://www.cd-cc.si/en/culture/theatre-and-dance/ursa-rupnik-reinventediznajdena Slovenska najava: https://www.cd-cc.si/kultura/gledalisce-in-ples/ursa-rupnik-iznajdena Promo video: https://youtu.be/jKYqWAGT_Po FB event: https://www.facebook.com/events/8257578187591046 Iz/najdena (Re/Invented) takes an in-depth look at a dance piece by Živa Kraigher, Bal ade No. 1 in G minor (1989), her last work marked by a highly intricate and stylized choreography. The Ballade’s dramaturgy is driven by an intense inner development with crescendos and diminuendos, the ups and downs that tellingly reveal traces of Živa Kraigher’s experience of the world and her turbulent lifestyle at that time. In addition to recontextualizing the dance-stylistic concept and thematic idea of the dance piece, the project also delves into the intimate stories revolving around this great artist and dedicated dance pedagogue. These stories continue to remain alive today; most notably through dance, when seeking to create a balance between Živa’s motto “And now once again for the sake of art!”, and the Bal ade’s concluding exclamation, the daring cry: “No! – Here I am, just the way I want to be!” (Kraigher, 2016, 325). Author and performer/Avtorica in plesalka: Urša Rupnik Dancers and co-creators/Plesalci/-ke in soustvarjalci/-ke: Luka Ostrež, Ursus Dancers (Katarina Bogataj, Dijana Džamastagić, Anja Firicki, Katja Kučina, Hana Murovec, Kaja Marion Ribnikar, Maja Maša Šömen, Ina Trefalt, Nika Zidar, Vesna Wolf) Original music/Avtorska glasba: David Kocmur, David Nik Lipovac, Patricija Škof Dramaturgy/Dramaturgija: Zala Mojca Jerman Kuželički Costumes/Kostumografija: Anka Rener Kremžar Light designer/Lučni oblikovalec: Uroš Gorjanc Photography/Fotografije: Marijo Županov 130 d a C i - D a nce and the Child International Conference 2024 ONE BODY IS NOT ENOUGH/ ENO SAMO TELO NI DOVOLJ Agostina D’ Alessandro, Kristyna Peldova, Milan Tomašik, Žigan Krajnčan, Kristijan Krajnčan Production: NEST Institute Co-production: Flota, Murska Sobota, Flota, Ljubljana 11 July/julij at/ob 21:00 12 July/julij at/ob 21:00 Location/Lokacija: Ljubljana City Museum/ Mestni muzej Ljubljana Teaser: https://vimeo.com/886084195 Web: https://platformanest.com/produkcija/eno- samo-telo-ni-dovolj/ The piece reflects on what defines us: first emerges the body and its gender, a gender identity that belongs to a family and is part of a social group that forms a culture and emanates from a particular country. In doing so, it attempts to grasp the notion of multitude of four collaborating dancers from four different countries: Slovenia, Slovakia, Czech Republic, and Argentina. These diverse origins provide a wide canvas for a radical exploration: What are our unique social gestures? Can we discern elements of our own identities in our movements? Is it possible to detect atavism in us? And what distinguishes us in our individual homelands? One body is not enough looks at the notion of identity to understand better the complexity of interpersonal relationships; and the resulting verbal and non-verbal communication, language, social adaptation, and individual behaviours that interact with the community. The physical postures of the family, the movements of the body that represents the homeland—everything that allows us to identify ourselves—is research material in this piece. In the context of today’s society, which is moving toward new conceptions of what constitutes our identity and defines who we are, this self-questioning seems necessary. Concept and direction/Koncept in režija: Agostina D’Alessandro Created with and performed by/Soustvarjalci in performerji: Milan Tomášik, Kristýna Peldová, Žigan Krajnčan, Agostina D’Alessandro in Kristijan Krajnčan Original music/Glasba: Kristijan Krajnčan Light design/Oblikovanje svetlobe: David Cvelbar Costumes/Kostumografija: Vesna Mirtelj Author of video and photography/Avtor videa in fotografije: August Adrian Braatz Director of photography in video/Direktor fotografije videa: Dejan Ulaga Graphic design/Grafično oblikovanje: Rok Marinšek Executive producer/Izvršna producentka: Urška Centa Producer/Producent: Goran Pakozdi 131 d a C i - D a nce and the Child International Conference 2024 I – rise The closing event of the I-body, I-dance conference wil be a celebration of and powerful testament to the growth and creativity we have witnessed and encouraged during the conference week. Under the guidance of excel ent dance teachers, the young dancers wil push the boundaries of their imaginations, challenge their intelligence, practise improvisation and research interdisciplinarity for a whole week. They wil witness the beauty of inclusion and the power of identity that shines through everybody. They will celebrate the diversity of our community, and the inclusive spirit wil create an encouraging environment where everyone can express their identity and contribute to the col ective experience. The results of this process wil be displayed under the title “I Rise”. These presentations wil be a tribute to the creative work, dedication and passion each of us has brought to the conference. In the words of poet Maya Angelou, “Still I rise”. We will conclude the conference by handing over to the host of the next daCi conference in 2027. Concept: Daniel Petković, Nina Meško Event leader/performer: Daniel Petković Dance mentors: Tina Valentan, Alicia Ocadiz, Milan Tomašik, Ana Romih, Vita Osojnik, Gregor Luštek, Mojca Kasjak, Sabina Schwenner, Igor Sviderski Lighting designer: Leon Curk Dramaturgical consulting: Andreja Kopač Performers: Almost 300 young dancers – participants of the conference from 15 countries, aged 8-24 years. 132 d a C i - D a nce and the Child International Conference 2024 I – inform Food & Drink at the Conference The conference schedule is tight and there are not many restaurants at the location of the conference activities. We have therefore arranged with the manager of the canteen at the Faculty of Education to keep the canteen open for the duration of the conference. For the young dancers at the Performing Arts Grammar School, an improvised stand wil be set up outside the dance studios, offering hot food, sandwiches and drinks. In order to make the food delivery process quick and efficient, we strongly recommend that you purchase food vouchers in advance. They wil be available for lunch and sandwiches. The canteen wil have a stand at the registration desk in Kino Šiška, where you can buy food vouchers for the days ahead. Vouchers wil also be available at the canteen cashier. Operating Hours: Coffee break in the Lunch available at the Food available at the Performing Faculty Hall Faculty of Education Arts Grammar School 8 July: 3:30 pm – 4:00 pm 8 July: 12:30 pm – 2:00 pm 8 July: 12:00 noon – 8:00 pm 9 July: 11:15 am – 11:45 am 9 July: 1:00 pm – 2:15 pm 9 July: 12:00 noon – 8:00 pm 11 July: 11:15 am – 11:45 am 11 July: 1:00 pm – 2:15 pm 11 July: 12:00 noon – 3:00 pm 12 July: 11:15 am – 11:45 am 12 July: 12:00 noon – 1:00 pm 12 July: 11:00 am – 2:00 pm Prices: lunch €9.20, sandwich €3.50 Important note Tap water is safe to drink. Ljubljana has very high-quality tap water available everywhere. How to get around It is a 45-minute walk from the city centre to the conference venues. We suggest using public transport instead of walking. Usual y people use buses, the bicycle rental system or taxis. The bus journey from the city centre to the conference venues takes about 25 minutes. Buses (LPP) The entire network of LPP lines covers a large part of the central Ljubljana area. The network of LPP lines covers about 93% of MOL's urban area, which means that 93% of Ljubljana's households are less than 500 metres from the nearest bus stop. daCi participants have the privilege of using the city bus lines free of charge with a conference ID card, which you should visibly carry with you and show to the inspector or driver upon request. NOTE: In Ljubljana, you can only enter the public bus through the front door. Al other doors are for exit only. ‘BicikeLJ’ bicycle sharing The BicikeLJ bicycle-sharing system enables you to hire bikes from self-service terminals located across the wider Ljubljana city centre. BicikeLJ bikes are particularly suitable for shorter trips of up to one hour, as hire is free if you return the hired bike to the nearest docking station within an hour. You then have to wait for five minutes before hiring a new bike. The use of the BicikeLJ system is practically free of charge. The only cost involved is the symbolic fee for compulsory online registration with the system, which is €1.00 for a week and €3.00 for a year. Registration must be completed in advance of hiring. 133 d a C i - D a nce and the Child International Conference 2024 Taxi It is easy to find a taxi in Ljubljana, although they can be more difficult to catch on Friday and Saturday nights and in the case of bad weather. Below is a list of some reliable Ljubljana taxi companies and some tips on how and where to get a safe and reliable taxi with a correct fare. City Taxi Taxi Metro Taxi Ljubljana Price: Starting fee: Price: Starting fee: Price: Starting fee: €1.96 + €1.09/km €1.96 + €1.09/km €2.00 + €1.50/km Phone numbers: Phone numbers: Phone numbers: +386 80 11 17 +386 80 11 90 +386 1 23 49 000 +386 1 511 23 14 +386 1 511 23 14 +386 31 23 40 00 +386 31 49 22 99 +386 41 24 02 00 E-mail: info@taxi-ljubljana.si E-mail: info@city-taxi.si E-mail: info@taximetro.si Calling a taxi is cheaper than hailing one on the street. Since you do not speak Slovenian, either try your luck with pronouncing the name of the street to the dispatcher or ask somebody to call a taxi for you. If you decide to hail a taxi on the street, make sure you choose one of the providers listed above or use a taxi company recommended by your Slovenian friends or hotel/hostel staff. Avoid taking taxis stationed at the main bus or train station or in front of hotels. Most of these taxi drivers operate independently, are not bound by any prices and rules, and will not hesitate to charge you much more than the standard fare. These taxi drivers can be identified by their car, which does not have any company names or logos displayed on the side doors. Recreation in Ljubljana If you manage to find some free time within the tight conference schedule, you can visit Tivoli Park, the Ljubljana Castle Hill or the Golovec Hill. All situated in the city centre, they represent the green lungs of Ljubljana. To cool down on hot summer days, you can visit one of Ljubljana’s open-air swimming pools at Kodeljevo, Kolezija or Štern. Kolezija Swimming Pool Laguna city beach Ljubljana Kodeljevo Swimming Pool +386 8 205 18 20 and Laguna sport center +386 70 543 873 kopalisce.kolezija@sport- +386 (0)1 589 01 36 kopalisce.kodeljevo@sport- ljubljana.si +386 (0)1 589 01 37 ljubljana.si Gunduličeva 7, laguna@gpl.si Ulica Carla Benza 11, 1000 Ljubljana Dunajska cesta 270, 1000 Ljubljana 1000 Ljubljana A Unique Historical Monument The Path of Remembrance and Comradeship is a 32.5 km recreational trail encircling Ljubljana that follows the route of the barbed wire perimeter that surrounded the city during the Second World War. Once a year, in May, the people of Ljubljana set out on a mass walk along that path to celebrate liberation day, marking the events of the Second World War. Simply follow the green and white signs with the marking ‘POT’ (path). The Ljubljana Vibe Ljubljana is a city that combines a rich historical heritage with a lively modern cultural scene, making it an enjoyable destination for a variety of interests. It is considered to be a safe city and you can walk around freely day and night. Foreigners prevail in the city centre, as Ljubljana has become a popular tourist destination. There is a long list of restaurants, bars, sweet shops, gift shops, etc. Everything is more or less boutique size and waiting to be discovered. Night life is most vibrant on Fridays. There are some clubs in the city centre. The most popular alternative party place is at Metelkova, a former Yugoslav Army barracks that has been transformed into numerous night clubs. Metelkova remains open until the morning. 134 d a C i - D a nce and the Child International Conference 2024 Other Ljubljana Tips Ljubljana Castle: Take a funicular ride or walk up to the Ljubljana Castle for panoramic views of the city. Explore the castle’s museum, its viewing tower and its historical rooms. Triple Bridge (Tromostovje): A unique bridge designed by the famous architect Jože Plečnik. Prešeren Square: Ljubljana’s central square, named after Slovenia’s greatest poet, France Prešeren. Town Hall (Mestna hiša): A historic building with a beautiful courtyard. Museums and Galleries National Museum of Slovenia: Discover the country’s history and cultural heritage. Museum of Illusions: A fun interactive museum with optical il usions and puzzles. Ljubljana City Museum: Learn about the history of Ljubljana from prehistoric times to the present. National Gallery of Slovenia: Home to a vast col ection of Slovenian art. Museum of Modern Art: Features contemporary art from Slovenia and the world. Enjoy the Local Market Central Market (Osrednja tržnica): Browse through fresh produce, local delicacies and handmade crafts. On Fridays, there is an Open Kitchen (Odprta Kuhna) with numerous chefs represented. Sightseeing Day Wednesday 10 July is a day off from the conference. You are free to organise this day as you wish, but to help you make your plans, we have established cooperation with the public agency Tourism Ljubljana and the excursion agency To Do in Slovenia, which wil provide you with some suggestions on what to do and where to go. The products of Tourism Ljubljana are mainly focused on Ljubljana and its surroundings. You can check their offer on the conference website. If something catches your eye, you can book the tour for yourself and your colleagues by clicking on the date on the calendar, which should be to the right of the description text. A minor inconvenience is that the calendar is in Slovenian, but if you click on 10 July and select the desired hour that appears, you can then switch back to English or another language. You wil see a smal frame to enter the promotional code and claim the discount for daCi conference participants. The code is DACI10. To Do in Slovenia offers day trips to the most popular Slovenian destinations. The Postojna Cave and Bled are highlighted on our website, but you can choose other destinations as well by checking the To Do in Slovenia website. Prices for day trips are published on our website. These trips are aimed at organised groups, but individuals can join as well. Please note that the trip can only take place if enough people have booked. Bookings can be made by e-mail to martin@todoinslovenia.com. Don’t let the expression “free day” fool you. Morning Flavours are stil available and a very special inclusive performance event is on the programme on the Castle Hill at 7.00 pm. DISCOUNT NOTE: Use the code DACI10 to book Tourism Ljubljana products or contact Martin Popit from TO DO IN SLOVENIA for day trips in Slovenia. Other important information Basic Emergency First Aid Infirmary (SNMP) The Ljubljana Basic Emergency First Aid Infirmary (SNMP) for adults is available 24/7 and is located in the Emergency Department of the Ljubljana University Medical Centre (in Slovenian: Univerzitetni klinični center Ljubljana). The entrance is from the Bohoričeva Street. The infirmary provides urgent medical treatment and assistance. For urgent medical assistance in life-threatening situations at home, in traffic accidents or in other situations, cal the free telephone number 112. For an urgent home visit when the patient’s condition suddenly deteriorates, call +386 1 522 84 08. Emergency first aid service for children and teenagers: +386 1 555 2222 Emergency dental medical treatment: +386 1 472 37 18 Police: Police Emergency Number 113, Anonymous phone number 080-1200 135 d a C i - D a nce and the Child International Conference 2024 Conference program in short/Povzetek predstavitve konference Mednarodna konferenca daCi, ki bo potekala v Ljubljani med 7. in 12. julijem 2024, bo raziskovala teme šestih »I-jev«, tj. improvizacije, inkluzije, imaginacije, identitete, inteligentnosti in interdisciplinarnosti, pod skupnim naslovom I – body, I – dance (jaz – telo, jaz – ples). Omenjene teme bodo raziskovalci, pedagogi, umetniki, odločevalci in mladi plesalci delili z udeleženci konference tako teoretično kot praktično s predstavitvami izsledkov, dobrih praks in plesnih predstav. Poleg plenarnih predavanj, okroglih miz, predstavitev prispevkov in posterjev se bo zvrstilo tudi mnogo raznolikih delavnic in večernih plesnih predstav mladih plesalcev iz tujine in Slovenije. Program konference se deli na dva dela: na program za raziskovalce, pedagoge in odločevalce ter program za mlade plesalce. Oba programa imata več stičnih vsebin. Posebnost konference daCi je namreč ta, da se na njej poleg predstavitve izsledkov na področju plesne pedagogike tudi neposredno odvija proces ustvarjanja mladih plesalcev skupaj z mentorji. Hkrati bodo potekala jutranja plesna srečanja, na katerih bodo udeleženci okusili različne gibalne pristope in pred pričetkom celodnevnega konferenčnega programa prebudili tako um kot telo. Ples bo sneman in o njem se bo pisalo v dveh delavnicah, ki bosta namenjeni izmenjevanju videovtisov in pisnih vtisov. Na konferenci bodo predstavljeni tudi raziskovalni in umetniški projekti, ki so nastajali med letom ob sodelovanju raziskovalcev, umetnikov in pedagogov iz različnih držav. V Ljubljani se bodo prvič srečali v živo in skupaj predstavili svoje izsledke in umetniške stvaritve. Konferenčne teme bodo predstavili plenarni govorci iz tujine in Slovenije, ki bodo zaokrožili vsebine celega tedna v štirih plenarnih predavanjih z različnimi temami: utelešenje upanja, prvoosebna umetniška izkušnja v sodobnih pedagoških pristopih, ustvarjalni gib kot jezik za učenje in pregled pristopov v izobraževanju, potrebe v umetnosti plesa ter časovnih in prostorskih okoljih, v katerih je ples stopal v komunikacijo s svojimi javnostmi na območju današnje Slovenije. Most med mladimi plesalci in odraslimi člani mednarodne organizacije bodo vzpostavljale »springborderke«, mlade plesne ustvarjalke iz Kanade, Jamajke in Slovenije, ki si šele utirajo svojo profesionalno pot na področju plesne umetnosti. V času konference bodo predstavljene smernice kulturno-umetnostne vzgoje, ki so letos nastale v okviru svetovne Unescove konference v Abu Dabiju. Podpisali bomo Ljubljansko daCi deklaracijo, s katero bomo potrdili, da daCi deluje v skladu z Unescovimi smernicami in da ima vsak otrok pravico do plesa. Ob konferenčnem programu se bodo predstavili tudi slovenski plesni ustvarjalci s svojimi umetniškimi projekti in predstavami, poleg tega pa bodo vsi udeleženci konference vabljeni k plesu za mir, ki bo potekal v zelenem okolju Ljubljanskega gradu. Ob zaključku konference bodo mladi predstavili proces enotedenskega ustvarjanja z mentorji, skupaj pa bomo predali štafeto kolegom iz Azije, ki bodo gostili 17. mednarodno konferenco. Konferenca »Otrok in ples« bo v Ljubljano na različne lokacije, od centra do Kardeljeve ploščadi, zvabila preko 650 udeležencev iz celega sveta in medgeneracijsko združila ustvarjalce in raziskovalce v skupnem cilju povezovanja znanosti in umetnosti. 136 d a C i - D a nce and the Child International Conference 2024 Credits Co-Chairs: Vesna Geršak, Nina Meško Executive Manager: Goran Pakozdi Scholars Program Editorial Team: Vesna Geršak, Helena Korošec, Susan R. Koff, Jeff Meiners, Norma Sue Fisher-Stitt, Urša Rupnik Young Dancers Program Editorial Team: Nina Meško, Andreja Kopač, Mojca Kasjak Conference Management Committee: Vesna Geršak, Nina Meško, Dejan Tešović, Kim Komljanec, Petra Pikalo, Nada Požar Matijašič Conference Organizing Committee: Website: Vesna Geršak, Nina Meško, Goran Pakozdi, Urška Matjaž Tomažič, Kontrastika d.o.o. Česnik, Helena Korošec, Urša Rupnik, Andreja Kopač, Publicitiy: Mojca Kasjak Urška Česnik, Zavod TiPovej! daCi Executive Committe: Graphic Design: Chair Jeff Meiners (Australia), Past chair Susan R. Koff Ajda Tomazin (USA), Chair Elect Vesna Geršak (Slovenia), Secretary Conference Program Design: Anna Mansbridge (USA), Treasurer/Membership Emma Nuša Jurjevič Walker (Canada), Research Officer Alfdaniels Mabingo Proofreading and Translation: (Uganda), MarComm Executive Mila Volpe (Canada), Nevil e Hal , Meta Česnik, Darija Skubic Members-At-Large Nicholeen Degrasse-Johnson Registration: (Jamaica), Mary-Elizabeth Manley (Canada), Norma Sue Antana PCO, d.o.o. Fisher-Stitt (Canada), Spring Board Head of Technical Services: Cassandra Giannone (Australia) Leon Curk daCi National Representatives: Technical Support: Jacqueline Cooper, Kerrin Rowlands (Australia), Alba Igor Repac, Robert Gracar Vieira (Brazil), Shama Harding (Barbados), Tanya Berg Legal Services: (Canada), Jasmina Zagrajski Vukelić (Croatia), Laura Marjan Stankov, Borut Smrekar Navndrup Black (Denmark), Laura Kvelstein (Estonia), Video Recording and Editing: Anna-Maria Vairio (Finland), Carolyn Russel -Smith Andrej Lamut, Urška Česnik, Matjaž Mrak (Jamaica), Ebbe Daigo (Japan), Muhammad Fazli Taib Photographer: Bin Saearani (Malaysia), Clare Battersby (New Zealand), Mirjam Lamut Elisabete Monteiro (Portugal), Nina Meško (Slovenia), Hostess Service Manager: Robin Haggar (Sweden), Daria Höhener (Switzerland), Urša Strehar Benčina Lisa Wilson (South Africa), Ann Tai, Ann Hayward (Taiwan), Janine Streuli (UK), Joy A Guarino (USA) Volunteers: Scholarships: Lana Baltič, Sara Janašković, Hana Obreza, Neža USA's Cooper-Newel Foundation Jelinčič, Zoja Krenker, Urša Lesar, Ajda Behrić Hacin, Uma Lila Živkovič, Nohemi Barriuso, Zala Ribič, Nicole Special thanks to: Speletic, Lana Kariž Meško Anja Mejač, Liza Šimenc, Jan Rozman, Julia Keren Students: Turbahn, Enya Belak, Urša Rupnik, Luka Ostrež, Ursus Neža Bojović, Nejc Dečman, Zara Čotar, Kaja Dečman, Dancers, Agostina D' Alessandro, Milan Tomašik, Kristyna Vid Geršak, Nace Korošec, Pia Patricia Barlič, Vito Strah, Peldova, Žigan Krajnčan, Kristijan Krajnčan, Nina Mavec Hana Murovec, Laura Rozman, Ines Dolenšek Krenker, Franci Cotman, David Kraševec, Primož Pirnovar, Ana Kavčnik Jamnik 137 d a C i - D a nce and the Child International Conference 2024 Year 2024 Published by Faculty of Education, University of Ljubljana, represented by dean Janez Vogrinc Republic of Slovenia Public Fund for Cultural Activities, represented by Damjan Damjanovič Edited by Vesna Geršak, Nina Meško, Helena Korošec, Goran Pakozdi, Nuša Jurjevič Available at (URL) https://www.pef.uni-lj.si/wp-content/uploads/2024/07/daci2024.pdf 1st digital edition Kataložni zapis o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani COBISS.SI-ID 200848643 ISBN 978-961-253-317-5 (Pedagoška fakulteta, PDF) 138