Editorial

<abstract xmlns="http://www.w3.org/1999/xhtml">This article investigates the professional identity of dance teacher educators by looking at one specific educator. We show how the practice-based dance knowledge acquired through the act of dancing creates a foundation for teaching dance and dance teaching, as well as theoretical dance subjects, such as dance pedagogy. Through this research, it has become apparent that there has been a lack of educator education in dance teacher education in Norway, and therefore, dance teacher educators can be understood to be self-taught. We show how, by making conscious choices, dance teacher educators have the possibility to enter and pursue educator education; how, through these choices, one gains new experiences; and how meaning making and experience are closely connected with identity construction as an ongoing process. The article adopts a phenomenological research approach inspired by Max van Manen, and the materials were gathered through interviews, conversations and textual readings.</abstract>

Dance Teacher Educators’ Identity

<abstract xmlns="http://www.w3.org/1999/xhtml">In this article, Isto Turpeinen and Ralph Buck reflect on reasons why dance remains relatively inaccessible for boys. They note that constructions of dance and masculinity are relatively narrow. They note that while these meanings are evolving, within the classroom context, the words ‘dance’ and ‘boy’ continue to raise many issues for teachers. In the following, Isto and Ralph draw upon their own teaching experience and speak to practices that might make a difference.Boys do dance, but who cares if they don’t? Within education contexts and within society, males have ample opportunities for success, achievement and fulfilment. It seems that many boys who want to dance can, and those boys who want to play ice hockey and rugby can. Do boys need to dance? This article reflects on Turpeinen’s (2015) research on teaching boys in Finland and a key finding that draws attention to the power of dance in fostering and expressing love, most importantly the expression of love between fathers and sons.As professional male dance educators, both Isto and Ralph have taught boys and girls for over 30 years in Finland and New Zealand. This article takes the view that dance does matter for boys and girls, in various ways.</abstract>

Dance Matters for Boys and Fathers

<abstract xmlns="http://www.w3.org/1999/xhtml">In a casual conversation over a cup of coffee, Icelandic choreographers Steinunn Ketilsdóttir and Sveinbjörg Þórhallsdóttir look back and contemplate their choreographic collaborations, Belinda and Goddess (2011), Ride (2014) and #PRIVATEPUSSY (2015). In a discussion and debate, they attempt to define their collaboration, reminiscing and reflecting on their processes. They look back and discuss the challenges they faced and the development of ideas and working methods that took place throughout their time working together.</abstract>

Coffee and Choreography – Considering collaboration in conversation

<abstract xmlns="http://www.w3.org/1999/xhtml">This article concerns the first part of my final research project at the Danish National School of Performing Arts for a postgraduate diploma in Danseformidling/Dance Partnership undertaken in the first term of 2016. It is an inquiry into the relationship between artistic and pedagogical practices in the context of dance education, initially aiming at their integration by looking for a common denominator.Proposing a loop structure as a methodological and practical framework, I reflect on the research inquiry <italic>‘How can artistic and pedagogical practices integrate in the context of dance education?’</italic>To conclude, the notion of <italic>participation</italic> in art and pedagogy is addressed as one of the entries to the possible imbrication of the practices. It is proposed that underlining the participatory aspect of artistic and pedagogical practices would carry questions on the modes of production and spectatorship in the former and the taken-for-granted roles and methods in the latter. I am proposing that pedagogical formats with a strong emphasis on shared meaning making are helpful towards the integration for which I am aiming.</abstract>

From Two to One – An Exploration into the Integration of Artistic and Pedagogical Practices.

The child and I

Performing the Archive. A Report on the IFTR-Conference «Presenting the Theatrical Past» (Stockholm 2016)

Laban/Bartenieff Movement Studies for Dance Professionals

AHEAD OF PRINT

Volume 14 (2023): Issue 2 (December 2023)

Volume 14 (2023): Issue 1 (June 2023)

Volume 13 (2022): Issue 2 (December 2022)

Volume 13 (2022): Issue 1 (June 2022)

Volume 12 (2021): Issue 2 (December 2021)

Volume 12 (2021): Issue 1 (June 2021)

Volume 11 (2020): Issue 2 (December 2020)

Volume 11 (2020): Issue 1 (June 2020)

Volume 10 (2019): Issue 1-2 (December 2019)

Volume 9 (2018): Issue 2 (December 2018)

Volume 9 (2018): Issue 1 (June 2018)

Volume 8 (2017): Issue 2 (December 2017)

Volume 8 (2017): Issue 1 (June 2017)

Volume 7 (2016): Issue 2 (December 2016)

Volume 7 (2016): Issue 1 (June 2016)

Volume 6 (2015): Issue 2 (December 2015)

Volume 6 (2015): Issue 1 (June 2015)

Volume 5 (2014): Issue 2 (December 2014)

Volume 5 (2014): Issue 1 (June 2014)

Volume 4 (2013): Issue 2 (December 2013)

Volume 4 (2013): Issue 1 (June 2013)

Volume 3 (2012): Issue 2 (December 2012)

Volume 3 (2012): Issue 1 (June 2012)

Volume 2 (2011): Issue 1 (December 2011)

Volume 1 (2010): Issue 1 (December 2010)

Nordic Journal of Dance

 Nordic Journal of Dance – practice, education and research was established in 2010 within a network called DENN: Dance in Education Nordic Network  The goals and values of DENN are:  “Bringing together expertise across borders, sharing ideas about pedagogical strategies and concrete methods, promoting exchange in dance teacher training across the Nordic countries, promoting dialogue, opening doors and collaborating.”  The DENN network aimed at establishing a Nordic Journal of dance practice, research, containing both peer reviewed research articles, and practice related articles from the field of dance in education in general, in a Nordic context. Nordic Journal of Dance is thus a Nordic collaboration between researchers within dance, dance history, pedagogy, artistic research and more, connected to relevant institutions in all the Nordic countries. These researchers are all represented in the editorial board.  The purpose of the journal is to: Develop the quality of dance practice, education and research in the Nordic context. Exchanging experiences and knowledges in the doing, learning and teaching of dance/movement. Strengthening the Nordic perspective on movement, dance and education. Giving researchers a place to present their work and increasing the quality of publications within dance research.  Nordic Journal of Dance represents one of very few opportunities for researchers to publish their work. It is the only journal focusing on dance research in a Nordic context. Our impression is that it has a substantial impact. NOFOD – Nordic Forum for Dance Research is also a collaborator, having two representatives in the editorial board.  Archiving  Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.  Plagiarism Policy  The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. 