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Vol 7 (2021): Notation and Creative Practice: Special Issue

Notation supports analytical understanding of perceived movement by encouraging acquisitions of domain-specific knowledge. It generates exploration and creation of movement by providing a purpose and intention, stimulating and rewarding curiosity and exploration, providing opportunities for choice and discovery, and encouraging confidence and a willingness to take risks. It can promote self-competition by building motivation and developing self-management (metacognitive skills) that provide strategies for facilitating creative exploration. Creativity involves the act of idea generation, incubation, illumination, curiosity, intrinsic and extrinsic motivation, and the will to produce and share with others. Using notation integrates theory with practice, a lived synthesis, albeit a learning experience that refines theories and ideas as one acts them out in the real world in creative praxis. How does notation support the creative process? In this Special Issue, we share articles that reveal how people are interested in using notation to generate their approaches to creativity.


Vol 3, No 1 (2016)

This Special Issue on Pedagogy in Theory and Practice consists of a brief introductory article on pedagogical theory and practice of dance-based dance literacy using reflexivity, written by the lead editor, followed by three feature articles that focus on theoretical, philosophical, and epistemological perspectives of pedagogical practices within the realm of Laban Studies by Sherrie Barr and Livia Fuchs and János Fügedi.


Vol 4, No 1 (2018)

In this special issue of Voices of Notators: Approaches to Writing a Score, eight authors share their unique process of creating and implementing their approach to notating movement, and they describe how that process transforms them as researchers, analysts, dancers, choreographers, communicators, and teachers. These researchers discuss the need to capture, to form, to generate, and to communicate ideas using a written form of dance notation so that some past, present, or future experience can be better understood, directed, informed, and shared. They are organized roughly into themes motivated by relationships between them and their methodological similarities and differences. The papers are arranged to reveal four themes present among these authors. The themes are: (1) revisiting notation history to rethink the future understanding of notation, (2) focusing and developing notation so it can function to capture traditions of the movement form being embodied to support accurate learning, (3) working with technology to capture, document, analyze, and research movement; and (4) practitioner’s perspectives papers that examine approaches to notating scores to focus the tool of notation to maximize the teaching and learning experiences of the participants and, hence, those who use the resultant scores.

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