Movement Cognition and Dance Notation

Abstract

It can be stated that dance notation was proved to be an established tool for dance research and dance education in understanding and analyzing movement. This theorem is especially valid in cases where, the structure of dance is amorphous, the units of movement sequences differ from that of the accompanying music, the tempo of the dance is high. Dance notation is used rather isolated in the field of traditional dance in Hungary, mainly in dance research. In the light of the research introduced above it is highly recommended to introduce dance notation in research, education, aesthetics and criticism in the other genres of dance.

Action Research in Greek Traditional Dance: Implementation and Self-Reflection

“…However, what becomes clear is that, if the student participates and does not passively receive information/knowledge, then the possibility of better and more effective learning is much greater (Kassing & Jay, 2003) since the act of moving with the senses requires an advanced range of intellectual processes (Smith-Autard, 2002;Warburton, 2000). This view is reinforced by research which has shown that the holistic involvement of the body in a mutual process of knowledge transfer can lead to better and more substantial learning of the technique itself (Dils, 2007a;Green, 2007), by transferring the weight of the teaching process from a sterile mimetic learning of a technique to a substantial and in-depth knowledge and understanding of movement (Fügedi, 2003). Moreover, students' involvement in dance literacy practices, through the triptych of "participate", "create" and "observe" can improve the technique in a specific dance genre (Jusslin, 2019).…”