Becky Dyer // Teacher
2017.03.02
I am sorry, I couldn't figure out how to submit a proposal. I have copy-pasted it here and will email it. Thanks you. (becky.dyer@asu.edu)

- Becky Dyer, Diona Peltics, Tiffany Rollins, Stacy Welker, Halley Willcox

- PHONE NUMBER: 1 (480) 710-0003

- EMAIL: Becky.Dyer@asu.edu

- SHORT BIOGRAPHY (400-500 characters) – relevant to the proposal, Symposium theme

The presenters are dance teaching artist practitioners and scholars from Arizona State University, USA. They have extensive experience teaching in diverse contexts including, preschool through secondary education, higher education, and adult and community environments. Their dance teaching practices span the areas of somatics, ballet, postmodern contemporary, jazz, hip hop, social dance and Pilates instruction. Becky Dyer (Ph.D., MFA), a professor of dance pedagogy and somatics, will be co-presenting with ASU MFA candidates who teach within the dance program.

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- TITLE OF THE ACTIVITY:
WORKSHOP: Equitable Pedagogical Strategies that Support Diverse Learning in Dance Education

- DETAILED CONTENT DESCRIPTION (max. 2000 characters):

Presenters of this workshop will lead participants through experiences reflective of learning frameworks they collaboratively investigated and developed that address how individuals with varying learning backgrounds, abilities and psychological needs might be served through pedagogical strategies that foster equitable and nurturing student-centered learning exchanges. The dance learning frameworks to be shared arise from social somatic development theories investigated through lenses of child and adult development, as well as current educational research and discourse. Each presenter brings a unique perspective to the pedagogical action research study from their long-term teaching inquiries across a wide range of populations and ages (i.e., private dance sector, institutional settings, social dance arenas, and continuing professional education). Their diverse experience has created a rich source for critical dialogue, collaboration and knowledge.

At the heart of the presenters’ collaborative pedagogical work is a shared motivation to foster more inclusive, holistic and nurturing teaching/learning exchanges in classrooms throughout diverse sectors of the dance and movement studies field. Teaching strategies investigated and developed for this framework aim to foster individual and social capacities in relationship to social, emotional, cognitive and physical development domains. Somatic-developmental oriented pedagogical approaches have particularly been shaped by the ideas of Judith Kestenberg, Wilhelm Reich and Carl Jung, as well as theories of embodied cognition and theory of mind.

The workshop will begin with a brief presentation of the theoretical and practical underpinnings shaping the collaboratively developed pedagogical framework. Following the overview, the presenters will share examples from their teaching practices that demonstrate the emergence and application of these ideas. Participants will then divide into groups, facilitated by the presenters, to discuss and develop pedagogical strategies that promoting holistic, nurturing, equitable and diverse learning within the participants’ specific teaching contexts. The session will conclude with each group sharing the results of their discussions and/or explorations.


- SUMMARY OF CONTENT DESCRIPTION AND MOTIVATION (max 400- 500 characters; for publishing)

Presenters will lead participants through experiences reflective of learning frameworks they collaboratively investigated and developed that address how individuals with varying learning backgrounds, abilities and psychological needs might be served through pedagogical strategies that foster equitable and nurturing student-centered learning exchanges. The dance learning frameworks to be shared arise from social somatic development theories investigated through lenses of child and adult development, as well as current educational research and discourse.

- SHORT BIOGRAPHY (max 60 words for publishing (if co-taught all in all max 60 words)
The presenters are dance teaching artist practitioners and scholars from Arizona State University, USA. They have extensive experience teaching in diverse contexts including, preschool through secondary education, higher education, and adult and community environments. Their dance teaching practices span the areas of somatics, ballet, postmodern contemporary, jazz, hip hop, social dance and Pilates instruction.


- GENERAL INTERESTS, CODE/KEY WORDS
dance pedagogy, teaching strategies, higher education, adult learning, child development, equity, inclusion, student-centered, learning frameworks, action research, collaboration, somatics
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- Participating requirements (for whom is this workshop for?)

The workshop will be oriented towards dance teachers working with children through adults who are interested in implementing more equitable pedagogical strategies into their teaching that can support diverse learners.

- TIME REQUIREMENTS (how much time do you need for sharing?)
We would like 2 hours for the workshop but will take 90 minutes if that is not possible.

- SPACE REQUIREMENTS (what kind of space do you require for your sharing? studio size etc)
A studio or space which will allow for movement. If seating around the perimeter were available that would be ideal, but not necessary.

- TECHNICAL REQUIREMENTS (what kind of technical support do you require? audio, beamer etc)
A projection system and screen if possible.

- OTHER R

Heike Kuhlmann // Teacher
2017.03.05
For me the same
- FULL NAME: Heike Kuhlmann
- PHONE NUMBER: +49- 17623499496
- EMAIL:heikekuhlmann@gmail.com
- SHORT BIOGRAPHY (400-500 characters) – relevant to the proposal, Symposium theme
Heike Kuhlmann, dancer, choreographer, SME/SMT, interesting in marrying somatics, performance and politics. She is part of the Global Water Dances Performance Kollektiv Berlin since its beginning in 2010. Since 2003 I am working in performance about political subjects. That is what moves me in my live and my body. The somatic research told me how much is stored inside of my body and how much I change when I move and express it. Still it is different to practice Authentic Movement as a format of self regulation and performance. In this times there is so much performance happening every minute of a day, that I feel it is courageous to be seen and to show yourself as vulnerable and feeling self. That is why I am interesting in creating a format, which is in a public place but which invites us, to be how we are and to try to feel ourselves and others and to be witnessed in that. It might be that we just become aware of the difficulty of that critical endeavor.
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- TITLE OF THE ACTIVITY: Feeling, dancing, living a collective body
- DETAILED CONTENT DESCRIPTION (max. 2000 characters):
Calling this a lecture into performing being human body. Based on the practice of Authentic Movement and the shared collective history of gathering in the streets to demonstrate collective opinions, we will gather on the public place in the city to talk and practice together. In this times we rather try to be rather special individuals than to be part of a boring or even stupid behaving collective.
In 1994 Janet Adler wrote an article about the collective body.
"Can we remember that our bodies are more similar than different?
Can we remember that the basic structures of our planet are repeated in the basic structures of our bodies?" ( p.193)
Interestingly she wrote that the experience of one being the other, supports the understanding of how much one can be afraid, hopeful, doubting, strong or vulnerable can be.
"Your know that I´m doing the very best I can and how deeply I need to be seen, embraced. If i am you, i know your fear, your hope, your doubt, your strength and vulnerabiltiy. I know you are doing the very best you can and that you desire to be loved as you are. Remembering that I am because you are....."( p.194)
Including the context, the broader perspective, as well as zooming into the details, is what dance can give. Including a mover and a witness is what Authentic Movement can give. As Janet Adler writes: " The ground of the discipline of Authentic Movement is the relationship between the moving self and the witnessing self." ( p.1994)
"The witness practices the art of seeing. Seeing clearly is not about knowing what the mover needs or must do. The witness does not `look at´ the mover but, instead, as she internalizes the mover, she attends to her own experiences of judgment, interpretation and projection in response to the mover as catalyst." ( p.194)
I am curious to include our inner witnessing as well as the exposure of our vulnerable selfs in public sites.
That means after a talk about this subject I will invite people to practice Authentic Movement in a collective public space, followed by a round of writing. These writing will be distribuited around the public place to be read by any people.

- SUMMARY OF CONTENT DESCRIPTION AND MOTIVATION (max 400- 500 characters; for publishing)
I would like to share and practice this form of public performative political action, because I am interested in developing new formats of being together as human beings.
That is why I would like to share some thoughts about the practice beforehand with a microphone and than go in to a practice of sharing Authentic Movement and collective writing afterwards. The papers will be spread around the public place in the end of the action.

- SHORT BIOGRAPHY (max 60 words for publishing (if co-taught all in all max 60 words)
Heike Kuhlmann, dancer, choreographer, SME/SMT, interesting in marrying somatics, performance and politics. She is part of the Global Water Dances Performance Kollektiv Berlin since its beginning in 2010. She practices Authentic Movement and COntact Improvisation for many years. Teaching dance in schools and other educational setting taught her about the necessity of coming back into our body in order to be able to feel and see other bodies.
- GENERAL INTERESTS, CODE/KEY WORDS
dance in public places, dances as political action, dances as expressions of human beings,
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- Participating requirements (for whom is this workshop for?)
dancers, choreographers, human beings
- TIME REQUIREMENTS (how much time do you need for sharing?) 120 h-150h
- SPACE REQUIREMENTS (what kind of space do you require for your sharing? studio size etc)
public place
- TECHNICAL REQUIREMENTS (what kind of technical support do you require? audio, beamer etc)
microphone
- OTHER REQUIREMENTS – comments.
papers and pens