Detta examensarbete ?r en litteratur?versikt. Litteraturstudiens syfte ?r att unders?ka hur forskningen beskriver dansl?rares ledarskapskompetens och dess betydelse f?r det pedagogiska arbetet med att fr?mja elevers kunskapsutveckling och motivation f?r att n? kunskapsm?len. Studien behandlar ocks? vilka pedagogiska metoder som l?rare kan anv?nda f?r att fr?mja elevers kunskapsutveckling och motivation samtidigt som l?raren s?kerst?ller att kunskapsm?len uppn?s.

Mainstream contemporary phenomenology understands the phenomenology of movement and dance through ?the lived body? of Merleau-Ponty. This paper rather suggests a phenomenology of movement and dance based on an understanding through ?the danced body? with ability to meta-feeling. It is here argued that we need to use a phenomenology of dance to understand the phenomenon of movement whatsoever.

Mainstream contemporary phenomenology understands the phenomenology of movement and dance through ?the lived body? of Merleau-Ponty. This paper rather suggests a phenomenology of movement and dance based on an understanding through ?the danced body? with ability to meta-feeling. It is here argued that we need to use a phenomenology of dance to understand the phenomenon of movement whatsoever.

The purpose of this work is to explore the artistic processes of an ensemble where a musician and one or more dancers play together, either by improvising or by interpreting music that is written for the ensemble. The main themes are about finding ways to work with written material and still keep the communication between the music and the dance alive. The author is also interested in finding ways of identifying himself in the medium of dance although he is a musician. The result of this work can be seen in this text and in the attached film material..

There is a common belief that the arts contain knowledge of creativity that can enrich the business world. Similarly, the arts are in need of additional support from the private sector and know-how of business practices. In short, there is a need for mutual understanding. With my background as a dancer paired with my studies at the Stockholm School of Economics I have taken the challenge of bringing the two worlds closer together. By changing a social system, like an organization, it is possible to get a better understanding of it.

AimThe purpose of this study was to examine the relationship between physical strain and recovery in dancers at The Ballet Academy in Stockholm, Sweden. Research questions used to guide the study were: How great is the dancers experience of physical strain? Do any of the dancers show mental or physical signs of overtraining syndrome?MethodPhysical strain was studied by letting the dancers fill out a booklet catloging their intensity during practice. Utilizing a questionnaire, data was gathered regarding preceding year. To give more nuance to the data gathered, The Profile of Mood States was used to detect possible mood disturbance.

AimThe purpose of this study has been to examine attitudes towards dance in a broad sense, among Swedish schoolchildren. The study has been done with three different questions in mind: What do pupils think and express about dance? Are there any differences in attitude towards dance between girls and boys? And how do the pupils relate to gender conceptions in connection to dance illustrations?MethodEight pupils 12 ? 14 years of age have been interviewed separately during physical education lessons. During parts of the interviews dance illustrations were used in order to encourage the pupils in their discussions, especially when asked to relate to dance and gender conceptions. The statements have been interpreted from a gender theoretical perspective.ResultsMy interview study shows that male pupils to a larger extent than female pupils inhabit hostile feelings towards dance as part of physical education lessons.

AimThe purpose of this study has been to examine attitudes towards dance in a broad sense, among Swedish schoolchildren. The study has been done with three different questions in mind: What do pupils think and express about dance? Are there any differences in attitude towards dance between girls and boys? And how do the pupils relate to gender conceptions in connection to dance illustrations?MethodEight pupils 12 ? 14 years of age have been interviewed separately during physical education lessons. During parts of the interviews dance illustrations were used in order to encourage the pupils in their discussions, especially when asked to relate to dance and gender conceptions. The statements have been interpreted from a gender theoretical perspective.ResultsMy interview study shows that male pupils to a larger extent than female pupils inhabit hostile feelings towards dance as part of physical education lessons.

AimThe purpose of this study has been to examine attitudes towards dance in a broad sense, among Swedish schoolchildren. The study has been done with three different questions in mind: What do pupils think and express about dance? Are there any differences in attitude towards dance between girls and boys? And how do the pupils relate to gender conceptions in connection to dance illustrations?MethodEight pupils 12 ? 14 years of age have been interviewed separately during physical education lessons. During parts of the interviews dance illustrations were used in order to encourage the pupils in their discussions, especially when asked to relate to dance and gender conceptions. The statements have been interpreted from a gender theoretical perspective.ResultsMy interview study shows that male pupils to a larger extent than female pupils inhabit hostile feelings towards dance as part of physical education lessons.

AimThe purpose of this study has been to examine attitudes towards dance in a broad sense, among Swedish schoolchildren. The study has been done with three different questions in mind: What do pupils think and express about dance? Are there any differences in attitude towards dance between girls and boys? And how do the pupils relate to gender conceptions in connection to dance illustrations?MethodEight pupils 12 ? 14 years of age have been interviewed separately during physical education lessons. During parts of the interviews dance illustrations were used in order to encourage the pupils in their discussions, especially when asked to relate to dance and gender conceptions. The statements have been interpreted from a gender theoretical perspective.ResultsMy interview study shows that male pupils to a larger extent than female pupils inhabit hostile feelings towards dance as part of physical education lessons.

There is respect for the history of dance and my aim is to find out how the history affects the dancing youth today. The design of the dance lesson is often of a traditional stereotypical manner, both didactic and methodic, and it rarely appears to be questioned. I have danced for almost 20 years and I am a part of this tradition of movements, music, language and way of ?being?. My ambition with this study is to go outside my own experience and offer insight and an overall picture of a, for the outsider, closed world.

This essay is an attempt to scrutinize dance improvisation in terms of Aristotle?s concept of the practical knowledge phronesis. By remembering and reflecting upon lessons and my own practical knowledge and experience as a teacher in the subject of dance improvisation, I want to examine the ability to improvise as the dance students´ phronesis. Awareness, spontaneity and intuition are vital elements for the comprehension of phronesis and even represented in the basis training in dance improvisation. During the contemplation I have used philosophical books and texts mainly about practical knowledge, intuition and reflection..

AbstractThis study examines the use of dance in the special education classes in high school. The purpose is to study the teachers? thoughts about dance within this school form. I want to see if they see any gains from having dance as a subject, and what might these be? Earlier research states that dance has a positive influence on mentally handicapped children and young people, and that it strengthens their general development.

Examensarbete lärarutbildningen 2010-06-16 Madelen Handell Svensson Vt 2010 Estetiskt lärande och SpecialpedagogikAbstractIndividualized is among the most important things for students. The teacher always has to provide for every pupil's needs, both special needs and challenge.Dance is a rhythmic exercise that often is carried out to musical. Dance uses human body as a medium and is movements, rhythm and expression of feelings. Dance is a combination of various feelings[1].Dance awakes feelings that are easier to describe in experiences than in words. The word dance is defined differently in different countries, it varies as well from time to time and from person to person[2].

This essay concerns dance as an exhibition object by examining the permanent exhibition at The Museum of Dance in Stockholm, Dansmuseet. Due to its dependence on the temporality and movement of the lived body, dance does not easily lend itself to being exhibited in a traditional exhibition display; and since the live dance performance itself is ostensibly absent at the exhibition display, other means of representation must be relied upon in order to evoke the exhibition visitors? experiences of time and movement as well as the feeling of dance. Starting from a phenomenological first-person perspective, as an exhibition visitor, I present three ways in which such experiences may come about. The cross-section of the experience evoked and the means that trigger them are intermedial, spatial, and performative taking their departure in the visitor?s pre-understanding of dance..