Literature
This international study investigated
the experiences and attitudes of teaching artists whose work is rooted in
theatre, dance, and closely-related disciplines. Based on survey data from
teaching artists working in Australia, New Zealand, Southeast Asia, United
Kingdom, and the United States (n=172), the paper illuminates participants'
perspectives on preparation, practice and professional identity. Emergent
themes include: (1) teaching artist training and preparation, (2) work contexts
and populations served, and (3) work challenges and obstacles. Following
discussion of key survey findings, three case studies based in higher education
settings in the USA, UK and Southeast Asia are presented. Hagman's (2005)
framework for multiple fields of subjectivity at work in aesthetic experience
is employed to illustrate the ways in which the intrasubjective, the
intersubjective, and the metasubjective fields of subjectivity inform each
teaching artist's practice and professional identity. The paper concludes with
an analysis of themes in light of current discussions on reflective practice
and implications for teaching artist "praxis".
- Volume 14 Number 6: Rouhiainen, L., Hämäläinen, S. Emotions and feelings in a collaborative dance-making process.
This paper looks into the significance emotions and feelings can have in a collaborative dance-making process. This is done by introducing a narrative based on a dance pedagogy student's writings. They contain observations of her experiences on being the facilitating choreographer in a dance-making process involving a cross-artistic group of students in the performing arts. The narrative we constructed highlights especially the emotional challenges and insights that the student wrote about. In discussing the narrative, we underline that creating collaboratively can be an emotionally and personally deeply meaningful process - involving the construction of subjectivities, relationships, ideas and outcomes. Emotions play an important part in social communication but they likewise have a part to play in making aesthetic and artistic judgments. As a conclusion, we argue that emotional literacy plays an important part in artistic collaboration as does understanding the diverse roles one assumes and relates to the other artistic collaborators with. Owing to the open-ended nature of artistic work, in collaboration, understanding the significance of enacted emotions entails a process of learning, as well.
The skills required for a choreographer could be related to their emotions etc.
Interview with Lloyd Newson
Lloyd Newson of DV8 Physical Theatre charts some of the many
considerations that form a background to his work.
Career Night: Dancers who have
transitioned
Dancers describe their transition and new
careers in physical therapy, graphic design, pilates, and real estate.
Hear from transitioned dancers and a Keynote Speaker about
how the organization can help all dancers of all genres inside and outside of
the dance field.
Stepping Into Hope and Change NYC 2011: Creating choices and
connections for your future Less >
Introduction to Career Transition For Dancer's signature
methodology. Identify your present situation and your long-term goals by
developing choices and action plans. This video is part of Stepping Into Hope
and Change NYC 2011, a free career development conference for dancers held
all-day Thursday, April 7, 2011.
Actor Strengths
Laura E Taylor has begun to develop a programme for
performers to enable them to have career longevity.
An actor’s work environment poses unique challenges that can
drain personal resilience. Positive psychology research supports the
development of resilience and the use of character strengths to bolster
psychological resources that increase well-being in the face of adversity. This
paper explores the history, mechanisms, and development of research on
resilience and character strengths and their relationship to research on the
lives of professional actors. I propose that developing character strengths and
resilience creates potential pathways to cultivate well-being in actors and
enables perseverance on the path to long-term career success.
Interview with Sylvie Guillem
An interview with Sylvie Guillem, who at 47 still continues
to perform at sell out theatres.
Advice for Dancers. Emotional Counsel and Practical Strategies
Linda H. Hamilton, Ph.D.
In this original and unprecedented book, Dance Magazine's
famed Linda Hamilton offers dancers of all ages, types, and levels of skill the
same kind of advice and understanding they have come to trust from her popular
monthly column.
"The advice and information in this book should be
considered the "gold standard" for anyone involved in the dance
world. Linda Hamilton covers all the necessaary elements in a dancer's life,
and all dancers can benefit from the practical strategies she recommends to
reduce excessive stress, whether it is mental or physical." - Marika
Molnar, PT, director of West Side Dance Physical Therapy
The Person Behind The Mask. A Guide to Performing Arts
Psychology
Linda H. Hamilton, Ph.D.
A ground-breaking book that takes the reader on a vivid
journey into the performer's private world, where personal insecurity often
wages an unsuccessful battle against the stresses of the profession.
"This is a marvelous book, in many many ways, and a
great pleasure to read. Dr. Linda Hamilton's "first career" began
with dance lessons at the age of eight, leading to the prestigious New York City
Ballet. [...][S]he began her "second career" at Adelphi's clinical
psychology program. She has specialized in clinical work with performing
artists, while publishing numerous research papers, as well as a monthly advice
column for Dance Magazine. These diverse threads are all beautifully woven
together in The Person Behind the Mask." - Division 10 Newsletter,
American Psychological Association
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