Implications

IP-t2.0 sees the students creativity as the first priority, and is a platform for students to develop their own methods to arrive at their own style, in a diverse scholarly community. In today’s increasingly eclectic contemporary dance field – drawing on global cultural forms – IP-t2 is an invitation for students to join in, bringing their own subcultural personal experiences to the table: charging students to build their standpoint epistemologies into their practice, theoretically, technically, and creatively in relation to those that are currently existing in artistic scholarly discourse.

1. INTERACTIVE PERFORMANCE: real-time interaction with mediated environments.

2. SUSTAINABILITY: dancers (formal and informal) can afford class (see future)

3. DIVERSITY: 2.0-style bottom-up access to and authorship of class content

The dance field and what it can give the community will be stronger if it trickles up, enabling diverse appeal and thus economic sustainability.

2001_save_the_last_dance_007 -affordability:  VICKi is online and free.

diverse appeal (mediated literacy): inclusion of diverse aesthetics

Kryder (1999) has suggested that as students’ use of computers at home and at school increases, they are becoming more “visually literate”, and are more collaborative.*

VICKi will be used with IP-t2.0 to focus on the skills of real-time interaction and adaptation in a changing, co-created mediated environment.

VICKi has 3 functions:
•    Interface for mixing media (audio, video, text, and lighting)
•    Kinetic instructor, for personalized pace and vocabulary
•    Choreographic Instructor that contains an interactive “phrase developer.”

VICKi has many implications:
For Dance:
•    Platform to build real-time interactive skills in dance and technology
•    Free software to help dancers train on their own
•    Compositional device for choreography
For Society:
•    Requested for use by teachers in public schools for creative projects
•  A way for diverse dance aesthetics to survive, thrive, and evolve within academe
•    Free software for anyone to use for media composition purposes

Public Education – implement VICKi in public schools to

1. Diversify Dance: increase the diversity of potential dance practitioners, and audiences
2. Facilitate Audience: facilitate interest and education through practice
3. Encourage Academic Inclusion: equality of dance to music and art in education

Movement Therapy

1. Promote Confidence
2. Promote Individual Expressiveness
3. Increase Group Sensitivity
4. Cultivate Self Awareness

Integrated… Interdisciplinary

1. Text: plays, poems, literature…etc.
2. Media: videos, images, educational media
3. Sound: live automated mixing

changing the shape of a block of wood traveling through water, changing its ability to do so”


Aesthetics
determine and reflect valued dance techniques.  Popularized aesthetics, consequently, can marginalize some expressions and explorations.  Interactive Technique re-privileges excluded expression and exploration while respecting and including popular aesthetics.

Creativity / Technique
Improvisation or choreography is classically considered the place for the creative role of the dance student.  This segregation of creativity and technique reinforces elitism in dance practices. 


“Status-Body”**
The writing of the body is not unlike the writing of critics on dance.  In the studio, the author as teacher shapes how the dancer as subject is viewed, and therefore prioritized.  Ascribing bodies in a hierarchical regime of aesthetics separates dance from its birthright: creative impulse.  Interactive Technique 2.0 seeks to extend what dance has, as its greatest strength, at its core: the democratized body.

*Guthrie, Rand W., and Anna Carlin. “Waking the Dead: Using interactive technology to engage
passive listeners in the classroom.” Tenth Americas Conference on Information Systems. New York, 2004. 1-8.

**”Status-Body” is a term I am inventing for status or hierarchy determined by size, shape, race, gender, ability, culture, history, or class. Evaluation in dance education should be based on the individual student’s growth and effort.

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