Dance and disability: the dancer, the viewer and the presumption of difference

Whatley, Sarah

doi:10.1080/14647890701272639

Cited by 40 publications

(38 citation statements)

References 1 publication

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“…12 Unlike their able-bodied peers who could freely enroll in local dance classes of their choosing, dance students with disabilities were more like "invitees" into the dance community, forced to wait until the next mixed-ability workshop was offered in their community. 3 Even with the passing of the Americans with Disabilities Act in the early 1990s and the ensuing removal of the architectural obstacles once limiting access, a dance student who has a disability finding their way into a traditional technique class would quickly discover that the existing paradigms of dance training-its values and vocabulary-did not include all bodies.…”

Section: Formation Of the Danceability Projectmentioning

confidence: 99%

A Detailed Analysis of DanceAbility's Contribution to Mixed-Abilities Dance

Herman

Chatfield

2010

Journal of Dance Education

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In the 1960s a visible shift in the ideology of contemporary dancers and choreographers took place. A desire for a dance language that rejected the need for the classical dancerly body paved the way for dance that was open to a more diverse population of participants. DanceAbility emerged in that late 1980s as a method of making dance accessible to all people. Between 1996 and 2008 the annual teacher training course produced 265 teachers certified in the DanceAbility method. This study sought to assess the involvement of certified DanceAbility teachers in the field of mixed-abilities dance. Demographic and other relative information pertaining to the teaching and choreography of certified DanceAbility teachers was obtained and analyzed. All certified teachers with contact information available (N = 207) were sent a selfreport questionnaire. The 61 Certified DanceAbility Teachers who returned completed questionnaires were from 17 countries. Europeans were the largest percentage of respondents (46%) followed by Americans (23%). Since completing certification 75% percent of all respondents report teaching the DanceAbility Method, 62% have performed in mixed-abilities work, and 54% report choreographing mixed-abilities dances. The findings of this study suggest that certified DanceAbility teachers have had, and continue to have, an integral role in the global dissemination of the DanceAbility method and mixed-abilities dance.

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Section: Formation Of the Danceability Projectmentioning

confidence: 99%

A Detailed Analysis of DanceAbility's Contribution to Mixed-Abilities Dance

Herman

Chatfield

2010

Journal of Dance Education

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“…Her study indicated that youth without disabilities held positive images of dancers with physical disabilities and of collaborative dance between persons with physical disabilities and those without disabilities. Whatley (2007) conducted a study with an integrated group of young female dance students. Her study indicated that disability opened up new ways of interpreting the dancing body, for the dance students with disabilities as well as those without.…”

Section: Integrated Dancementioning

confidence: 99%

A dance revolution? Responding to dominant discourses in contemporary integrated dance

Irving

Giles

2011

Leisure/Loisir

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“…My use of the term 'integrated dance' does not attempt to disguise that the term 'disability' is deeply contested (Benjamin, 2002Cheesman, 2011aKuppers, 2006Kuppers, , 2014Whatley, 2007). It is not my intention to recap the tensions, binaries and complexities around language usage.…”

Section: The Contextmentioning

confidence: 99%

“…In fact, the term and concept was generally unknown" (Powles, 2007, p. 17). However, an increasing body of work in relation to dance has arisen around issues of equity of access, contesting dominant and/or conventional notions of what dance is and who can dance, and challenging notions of representation and embodiment (Albright, 1997;Benjamin, 2008;Dandeker, 2007;Kuppers, 2007Kuppers, , 2014; Sandahl & Auslander, 2005;Whatley 2007). Others have written about how to teach integrated dance in a variety of settings with useful information on the practicalities of teaching and specific content for a range of dance learning experiences (Cheesman, 2011a(Cheesman, , 2011bCone & Cone, 2011, Zitomer, 2013.…”

Section: Introductionmentioning

confidence: 99%

Issues and Challenges around the fostering of a productive respectful community ethos within an integrated/inclusive class context.

Cheesman

2017

DRA

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In teaching and facilitating dance in integrated community contexts, building a community among participants seems critically important. In this context, how are the differing needs of a class managed in order to foster a respectful productive learning environment? How is a sense of agency cultivated? What pedagogical issues arise in such a context? In this article, I attempt to interrogate these questions, recognising strategies, identifying and unpacking some of the negotiations, issues and challenges. My approach draws on the work of Chappell (2011), Kuppers (2007Kuppers ( , 2014, Shapiro (1998) andZitomer (2013). Theorising my personal practice from a dance teacher's 'self-narrative' point of view, interwoven with other viewpoints from dance and educational research, it can be argued that much is to be gained from reflection that empowers teachers and learners in integrated community contexts.

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Dance and disability: the dancer, the viewer and the presumption of difference

Cited by 40 publications

References 1 publication

A Detailed Analysis of DanceAbility's Contribution to Mixed-Abilities Dance

A Detailed Analysis of DanceAbility's Contribution to Mixed-Abilities Dance

A dance revolution? Responding to dominant discourses in contemporary integrated dance

Issues and Challenges around the fostering of a productive respectful community ethos within an integrated/inclusive class context.

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