International Conference On Dance Education, Call for Paper, 2018

CALL FOR PAPERS

DEADLINE FOR ABSTRACT SUBMISSION: 15th FEBRUARY 2018-CLOSED

Conference Schedule:

2nd August: Registration, Opening Ceremony & Book Launch, Keynote Speech, Paper Sessions & Afternoon Showcase

3rd August: Paper Sessions, Lec-Dem Session & Afternoon Showcase

4th August: Paper Sessions, Round-Table, Closing Ceremony

Local arrangements information will be sent in a separate email to all registered participants.

Registration Fee is waived for all accepted speakers/presenters

THEME: Spirit of Creativity in Dance Education

The Spirit of Creativity in Dance Education emphasizes on “how children learn” rather than “what children learn,” developing their attitudes and aptitude for expressing themselves, taking interest in their surroundings, analyzing problems, proposing constructive solutions, and actively participating in societies through dance education.

Within these contexts, Spirit of Creativity in Dance Education embraces the ability to transcend traditional ideas, rules, patterns, relationships or the like to create meaningful new ideas, forms, methods, interpretations, in dance education through original, progressive, or imaginative need for creativity in the teaching, learning and/or performing of dance in educational settings.

Papers to be presented in the 2nd ICONDE will be guided by a set of questions, such as;

Spirit is an ephemeral term. What is meant by the term “spirit” of education to be incorporated into an education setting i.e. How can the spirit of creativity and/or creativity be rationalized in the teaching of dance? And in dance performance?
What is meant by “the Spirit of Creativity?” How can this term be defined in dance education?
What is dance education? Why is dance education important? What are the many facets that the field of dance education possesses?
How is creativity employed in the broad field of dance education? How do creativity and dance connect in relation to educational goals of a culture, community, or school?
Who is the target group for dance education? How can these various groups experience the spirit of creativity?
Can creativity be taught? If so, how does the process take place? Who determines if creativity has been learned or experienced? How do various cultural groups view the spirit of creativity in dance or dance education?
How does the Spirit of Creativity open up the field of dance education for inclusivity such as: the disabled--blind, deaf, wheel-chair bound, other disabilities; the elderly, those with diseases such as autism, Parkinson’s, cystic fibrosis, muscular dystrophy, and other disabilities?
How does the spirit of creativity in dance education affect various age groups, such as preschool, kindergarten, primary and secondary school age students, college and university students, and adults in local communities?
How does the Spirit of Creativity influence scholars who are researching and writing?How does the Spirit of Creativity influence dance critics and the field of criticism in dance?
Dance therapy is an educational form of dance. How does the spirit of creativity provide new ways of learning for participants?
Dance science includes the study of physiology, kinesiology, nutrition, fitness, injury prevention and other facets. How can/does the spirit of creativity further understanding and the practice of these aspects of dance education?
How can the history of some aspect of dance be presented in a creative way?

The above-mentioned questions will be raised in the conference’s four Subtopics i.e.,

SUBTOPIC 1: Creativity in Teaching and Learning

SUBTOPIC 2: Curriculum & Assessment

SUBTOPIC 3: New Research in Dance Education

SUBTOPIC 4: Dance Education for Preschool and K-12

Points of reference for each subtopics are as follows;

SUBTOPIC 1: Creativity in teaching and learning

1. How do teachers?

a) Engage, empower and advance their own and student’s creativity?

b) Design lessons that triggers and develop creativity competence?

c) Advocate, analyze, and advance creativity in Dance Education?

d) Employ integrated approach in dance teaching?

e) Devise student-centered collaborative effort in Dance, Dance-Making and Dance Appreciation?

f) Investigate creativity amongst dancer and non-dancer?

g) Re-strategize teaching in response to the EDUCATION 4.0?

h) Provide directions to consider the idea of creativity in dance education.

i) Encourage and develop the creativity of dance students

j) Generate, test and share creative strategies as dance educators.

2. How do students?

a) Communicate expressivity, sensitivity and receptivity?

b) Behave and adapt with the creative and innovative learning experience/culture, considering the impact of globalization and new contexts?

c) Motivate themselves throughout the creative process?

d) Develop mind-body competence for learning and for life?

SUBTOPIC 2: Curriculum & Assessment

a) Moving with the curriculum design: How do students respond to the needs of creativity and innovation? How can creativity and innovation amongst student be cultivated through the curriculum devised?

b) What are the tools in assessing creativity? What are the rubric(s) and/or double-layered rubrics designed by teachers?

c) What kinds of assessment approaches support students in developing their creativity skills?

d) Re-defining objectivity and subjectivity in dance assessment: How can assessment support the development of creativity competencies?

e) Tools of Creativity in Dance Education; what are the tools? What approach?

SUBTOPIC 3: New Research in Dance Education

a) New approaches or blended-approaches in researching dance as an art in education.

b) Dance Curriculum in Malaysia (Arts School/ University/ Schools/ Academy)

c) Future and Impact of Dance Education in Malaysia / Asia (Arts School/ University/ Schools/ Academy)

SUBTOPIC 4: Dance Education for Preschool and K-12 Student

a) What is the purpose and role of dance education in the school curricula for these age groups?

b) Who can teach dance, what type of training is needed, and what content should/could the curriculum include for dance activities in the preschool, primary, and/or secondary school?

c) Dance exists as a co-curricular activity or program in many schools. Who are the main beneficiaries of this type of dance program? How can more students participate in dance if they are not able to attend afterschool programs? How can a co-curricular dance program provide an avenue for extending dance into the core curriculum?

d) In what ways does dance education, especially in PreK through elementary years, teach young children about their own culture, customs, belief- and value-systems? Why are these important to shaping a child’s own intellectual, emotional, and social awareness of cultural norms?

e) In what ways does dance promote the physical development, emotional maturity, social awareness, and the cognitive development of children in PreK, primary, and secondary education?

Physical Development – How does education in dance promote greater range of motion, coordination, strength, and endurance in children PreK through elementary education? Why is it important?
Emotional Maturity – How does dance education promote sound psychological health, creativity, and maturity in children PreK—elementary education. Why is it important?
Social Awareness –How does dance promote communication skills, cooperation, creativity and creative thinking among peers and others they interact with in PreK through elementary education? Why are these important?
Cognitive Development – How does dance education promote a child’s ability to understand problems and seek solutions in PreK through elementary education? Why is this important?

f) What is the concept and practice of an age-appropriate and sequential dance curriculum for children PreK through elementary and secondary education? Why is it so important?

g) How does dance education, in PreK through elementary, help children develop physical and sensory experiences that help them learn about the world and their relationship with that world? Why is this important?

h) Why is it important to teach young children (PreK through elementary years) about the use of time, energy, and space in movement and its effect on one’s communication and body language skills? How can this dance experience be extended to secondary students?

i) Why is creativity so important to a child’s understanding of and ability to experience ideas, feelings, events and happenings, and images in new ways? Why is this important?

LANGUAGE

English is the official language of this conference.

THE PRESENTATION FORMATS

Proposals are invited in the following formats:

1. Individual paper, 20 minutes long and followed by 10 minutes for discussion; a 20-minute paper is about 8 or 9 type-written pages, double-spaced using 12-point font.

ABSTRACT SUBMISSION

Please submit an abstract for a paper presentation in the above-listed formats, along with a very short biographical note (100 words or less) about the presenter. The abstract should be a maximum of 300 words.

Please send your proposal by email. The text should be pasted in the body of the email and also sent as a Word file (.doc or .docx) or Rich Text Format (.RTF) attachment to your email. If you are unable to send your proposal by email, you may send a hard copy and an electronic version on a CD to the Chair of the Program Committee (email address noted below). Please label all communications clearly with your full electronic and postal contact details.

The Program Committee expects that proposals will address issues directly related to the theme and Subtopics stated above. All proposals must be submitted in English.

The Program Committee reserves the right to accept only those proposals that, in their opinion, fit best into the scheme of the Conference, and that can be scheduled within the time frame of the Conference.

If a proposal is accepted, the participant agrees to be available for scheduling of the presentation anytime during the three days of the conference.

With the acceptance of your proposal by the Program Committee and the presentation of your paper at the Conference, it is assumed and understood that your paper (in a revised and prepared version by you the author) will be included in the published Proceedings of the Conference.

POST-CONFERENCE BOOK PUBLICATION

A book publication based on the conference theme will be published within a period of twelve months after the conference. A post-conference call for publication will be announced to all conference presenters for each contributor to re-submit his or her manuscript for a blind-review process. The book will be published by Nusantara Performing Arts Research Center, Kuala Lumpur. in collaboration with The National Department for Culture and Arts, MOTAC.

Note: The 1st ICONDE post-conference book publication “Perspectives on Dance Education” published by Nusantara Performing Arts Research Center (NusParc) was launched on 23rd September 2017.

PLEASE SEND YOUR PROPOSALS BY 15th FEBRUARY 2018

Please note that when your emailed proposal has been received, you will receive an email acknowledgement within 4-5 days. If you do not receive an acknowledgement within this time, please contact the Chair of the Program Committee.

Proposals should be sent to: nusparc@gmail.com with copies to the Chair of the Program Committee listed below:

1) Prof Dr Mohd Anis Md Nor (Chair of the Program Committee).

Email: anisnor55@gmail.com

Mailing Address:

Nusantara Performing Arts Research Center

30A, First Floor, Jalan Datuk Sulaiman

Taman Tun Dr Ismail, 60000 Kuala Lumpur

Malaysia

All proposals will undergo peer review, and notification of the decision on proposals will be announced between 20th to 28th February 2018. If you have a deadline for funding applications towards travel, accommodation and so on, please notify the Program Committee of your deadline date when sending in your proposal.

Deadline for submission of Full Paper is 30th April 2018

SUBMISSION INFORMATION (please complete and copy this information onto the head of your Abstract proposal and Biographical note)

Name of submitter:
Institutional affiliation:
Mailing address:
Phone/Fax number:
Email address:
Choice of Subtopics
ABSTRACT (max 300 words)
Biographical Notes (max 100 words)
Technical equipment requests:

PC or Mac (for PowerPoint or other projection),
Audio requirements (specify)
Visual or spatial requirements (specify)
Other technical needs