Creating the Online Body: Educating Dance/Movement Therapists Using a Hybrid Low-Residency Model

Aesthetic presence: The role of the arts in the education of creative arts therapists in the classroom and online

“…Only six publications to date are known to have explored teaching CATs online (Beardall et al, 2016;Blanc, 2018;LaGasse & Hickle, 2015;Pilgrim et al, 2020;Sajnani et al, 2019;Vega & Keith, 2012). Vega and Keith (2012) focused their research on the scope of online learning in music therapy courses and conducted the first in-depth study in the US.…”

“…No qualitative or quantitative measures examined the role of music or aesthetics in perceptions of community or learning. Beardall et al (2016) outlined the development of a comprehensive hybrid low-residency training program for dance/movement therapists. The authors described their attempts to develop an "embodied online presence," as a way for students and faculty to create and sustain a kinesthetic and affective presence online.…”

“…Agency also is relevant to the often-ignored conative domain (Reeves, 2006), which emphasizes the development of a learner's self-regulation. Beardall et al (2016) and Blanc (2018) called for the inclusion of embodied presence to emphasize the importance of kinesthetic and affective engagement, especially in the training of dance movement therapists. Finally, recently published best practices for online education depart from spheres of presence but point instead to the importance of relevant and authentic content, a variety of multimedia sources including audio, video, and text, opportunities for individual and collaborative expression in projects, multiple approaches to reflection including writing, podcast, and videos, and explicit connections between learning objectives and content (Kumar, Martin, Budhrani, & Ritzhaupt, 2019).…”

“…Another faculty member at the same university, Angelica Pinna-Perez, held monthly gatherings to enable on-campus and low residency students to form community and interact. These 'Create on the 8th' sessions involved live streaming from a maker space in which on campus students were engaged in making art, writing, singing, and reading their own poetry while other students participated from their respective locations (Beardall et al, 2016). We suggest that course design and instructors that experiment with ways in which the arts and multi-sensory technologies might offer new possibilities for engaging learners.…”

La Tecnología Y La Educación en Danza: Una Revisión Bibliográfica en Wos (2011-2021)

“…Esto queda reforzado por el hecho de que los estudiantes tienen una opinión positiva sobre el aprendizaje de la danza por retroalimentación a través de la visualización del vídeo (Hsia, et al, 2016) y la tecnología móvil (Hsia & Hwang, 2020). También se utiliza el vídeo como forma de aprendizaje del movimiento online (Beardall, et al, 2016) introduciendo la notación Laban y herramientas multimedia (labankido) y mostrando una mejora superior en el rendimiento de la danza que los que aprenden de manera tradicional (Dania, et al, 2017). El vídeo también es utilizado en el modelo Flipped Classroom (Ma & Guo, 2019).…”