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Dance and Organisation is the first comprehensive work to integrate dance theory and methods into the study of management, which have developed an interest in the arts and the humanities. Dance represents dynamics and change and puts the moving body at the centre, which has been ignored and oppressed by traditional management theory. ‘Being’ a leader however also means to ‘move’ like one, and critical lessons can be learned from ballerinas and modern dancers. Leadership is a dialogue, as in the work of musicians, conductors and DJs who manage groups without words. Movement in organisational space, in a museum or a techno club can be understood as a choreography and site-specific performance. Movement also is practically used for leadership and employee development workshops and can be deployed as an organisational research method. By taking a firm interdisciplinary stance in dance studies and organisational research to explore management topics, reflecting on practitioner accounts and research projects, the book seeks to make an innovative contribution to our understanding of the moving body, generating new insights on teamwork, leadership, gender in management, organisational space, training and research methods. It comprises an important contribution to the organizational behaviour and critical management studies disciplines, and looks to push the boundaries of the academic literature.
Dance and Organisation is the first comprehensive work to integrate dance theory and methods into the study of management, which have developed an interest in the arts and the humanities. Dance represents dynamics and change and puts the moving body at the centre, which has been ignored and oppressed by traditional management theory. ‘Being’ a leader however also means to ‘move’ like one, and critical lessons can be learned from ballerinas and modern dancers. Leadership is a dialogue, as in the work of musicians, conductors and DJs who manage groups without words. Movement in organisational space, in a museum or a techno club can be understood as a choreography and site-specific performance. Movement also is practically used for leadership and employee development workshops and can be deployed as an organisational research method. By taking a firm interdisciplinary stance in dance studies and organisational research to explore management topics, reflecting on practitioner accounts and research projects, the book seeks to make an innovative contribution to our understanding of the moving body, generating new insights on teamwork, leadership, gender in management, organisational space, training and research methods. It comprises an important contribution to the organizational behaviour and critical management studies disciplines, and looks to push the boundaries of the academic literature.
Dance and Organization is the first comprehensive work to integrate dance theory and methods to the study of management. It adds a missing piece to a canon of scholarly books in the area of art and management that have applied arts analogies to the business world, referring for example, to "organizations as theatre", "organizations as jazz", and "leadership as an art".
Maureen O'Hara and Graham Leicester explore the competencies - the ways of being, doing, knowing and organising - that can help us navigate in complex and powerful times. They argue that these competencies are innate and within reach of all of us - given the right setting, plenty of practice and some gentle guidance. But they are seldom seen because they are routinely undervalued in today's culture. That must change, the authors insist, and this book is intended to begin that change.The book is based on the authors' extensive research and their practical experience observing the qualities demonstrated by some of today's most successful cultural, political and business leaders. They write of 'persons of tomorrow' that they have witnessed:"e;We find that people who are thriving in the contemporary world, who give us the sense of having it all together and being able to act effectively and with good spirit in challenging circumstances, have some identifiable characteristics in common... They are the people already among us who inhabit the complex and messy problems of the 21st century in a more expansive way than their colleagues. They do not reduce such problems to the scale of the tools available to them, or hide behind those tools when they know they are partial and inadequate. They are less concerned with 'doing the right thing' according to standard procedure than they are with really doing the right thing in the moment, in specific cases, with the individuals involved at the time. In a disciplined yet engaging way they are always pushing boundaries, including their own. They dance at the edge."e;
Never before has a greater variety of careers been available in dance—and never before has such comprehensive, expert guidance on those burgeoning careers been accessible in one book. Careers in Dance is a master guide that will help students navigate the expanding opportunities in dance and familiarize current professionals with potential career choices that best align with their pursuits and strengths. This highly practical text offers a wealth of information on career options in a variety of settings and with a variety of focuses, including commercial ventures, scholarly pursuits, administrative avenues, medical and scientific settings, and interdisciplinary opportunities. Readers are guided in discovering their deepest interests and learning how to translate their unique strengths into rich and fulfilling careers. In keeping with recent trends in higher education dance programs, Careers in Dance spotlights entrepreneurship and leadership opportunities for dancers, delving into an array of options and offering much-needed advice. The book covers some of the social and cultural influences that affect success in the field, and it explores various career opportunities: K-12 and postsecondary dance education Dance studios Performance, choreography, and production Dance research, analytical writing, and journalism Dance administration and advocacy Dance science, therapy, and medical and somatic practices Private competition companies Technical theater and related areas The text also helps readers understand the connections between dance and other disciplines. For example, it details the interdisciplinary opportunities involving technology, technical theater, and media. It also notes the possibilities for continued education in graduate school programs and suggests approaches to acclimating to life as a working professional. Careers in Dance offers two recurring elements throughout the book: Profiles of, and interviews with, esteemed professional dancers, revealing their real-world experiences and affording insights into different dance careers Reflection prompts that encourage self-reflection and prepare readers to seek career development and career advancement opportunities This text explores the opportunities dance students and professionals can pursue, helps them pinpoint their areas of interest and strengths, and equips them to create their unique paths to a fulfilling career in dance. In doing so, Careers in Dance provides the advice and strategies dancers need to actualize their own destinies in dance.
Since Peter Senge published his groundbreaking book The Fifth Discipline, he and his associates have frequently been asked by the business community: "How do we go beyond the first steps of corporate change? How do we sustain momentum?" They know that companies and organizations cannot thrive today without learning to adapt their attitudes and practices. But companies that establish change initiatives discover, after initial success, that even the most promising efforts to transform or revitalize organizations—despite interest, resources, and compelling business results—can fail to sustain themselves over time. That's because organizations have complex, well-developed immune systems, aimed at preserving the status quo. Now, drawing upon new theories about leadership and the long-term success of change initiatives, and based upon twenty-five years of experience building learning organizations, the authors of The Fifth Discipline Fieldbook show how to accelerate success and avoid the obstacles that can stall momentum. The Dance of Change, written for managers and executives at every level of an organization, reveals how business leaders can work together to anticipate the challenges that profound change will ultimately force the organization to face. Then, in a down-to-earth and compellingly clear format, readers will learn how to build the personal and organizational capabilities needed to meet those challenges. These challenges are not imposed from the outside; they are the product of assumptions and practices that people take for granted—an inherent, natural part of the processes of change. And they can stop innovation cold, unless managers at all levels learn to anticipate them and recognize the hidden rewards in each challenge, and the potential to spur further growth. Within the frequently encountered challenge of "Not Enough Time," for example—the lack of control over time available for innovation and learning initiatives—lies a valuable opportunity to reframe the way people organize their workplaces. This book identifies universal challenges that organizations ultimately find themselves confronting, including the challenge of "Fear and Anxiety"; the need to diffuse learning across organizational boundaries; the ways in which assumptions built in to corporate measurement systems can handcuff learning initiatives; and the almost unavoidable misunderstandings between "true believers" and nonbelievers in a company. Filled with individual and team exercises, in-depth accounts of sustaining learning initiatives by managers and leaders in the field, and well-tested practical advice, The Dance of Change provides an insider's perspective on implementing learning and change initiatives at such corporations as British Petroleum, Chrysler, Dupont, Ford, General Electric, Harley-Davidson, Hewlett-Packard, Mitsubishi Electric, Royal DutchShell, Shell Oil Company, Toyota, the United States Army, and Xerox. It offers crucial advice for line-level managers, executive leaders, internal networkers, educators, and others who are struggling to put change initiatives into practice.
National Dance Education Organization Ruth Lovell Murray Book Award UNCG | Susan W. Stinson Book Award for Dance Education An African American art form, jazz dance has an inaccurate historical narrative that often sets Euro-American aesthetics and values at the inception of the jazz dance genealogy. The roots were systemically erased and remain widely marginalized and untaught, and the devaluation of its Africanist origins and lineage has largely gone unchallenged. Decolonizing contemporary jazz dance practice, this book examines the state of jazz dance theory, pedagogy, and choreography in the twenty-first century, recovering and affirming the lifeblood of jazz in Africanist aesthetics and Black American culture. Rooted Jazz Dance brings together jazz dance scholars, practitioners, choreographers, and educators from across the United States and Canada with the goal of changing the course of practice in future generations. Contributors delve into the Africanist elements within jazz dance and discuss the role of Whiteness, including Eurocentric technique and ideology, in marginalizing African American vernacular dance, which has resulted in the prominence of Eurocentric jazz styles and the systemic erosion of the roots. These chapters offer strategies for teaching rooted jazz dance, examples for changing dance curricula, and artist perspectives on choreographing and performing jazz. Above all, they emphasize the importance of centering Africanist and African American principles, aesthetics, and values. Arguing that the history of jazz dance is closely tied to the history of racism in the United States, these essays challenge a century of misappropriation and lean into difficult conversations of reparations for jazz dance. This volume overcomes a major roadblock to racial justice in the dance field by amplifying the people and culture responsible for the jazz language. Contributors: LaTasha Barnes | Lindsay Guarino | Natasha Powell | Carlos R.A. Jones | Rubim de Toledo | Kim Fuller | Wendy Oliver | Joanne Baker | Karen Clemente | Vicki Adams Willis | Julie Kerr-Berry | Pat Taylor | Cory Bowles | Melanie George | Paula J Peters | Patricia Cohen | Brandi Coleman | Kimberley Cooper | Monique Marie Haley | Jamie Freeman Cormack | Adrienne Hawkins | Karen Hubbard | Lynnette Young Overby | Jessie Metcalf McCullough | E. Moncell Durden Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.
Within intellectual paradigms that privilege mind over matter, dance has long appeared as a marginal, derivative, or primitive art. Drawing support from theorists and artists who embrace matter as dynamic and agential, this book offers a visionary definition of dance that illuminates its constitutive work in the ongoing evolution of human persons. Why We Dance introduces a philosophy of bodily becoming that posits bodily movement as the source and telos of human life. Within this philosophy, dance appears as an activity that humans evolved to do as the enabling condition of their best bodily becoming. Weaving theoretical reflection with accounts of lived experience, this book positions dance as a catalyst in the development of human consciousness, compassion, ritual proclivity, and ecological adaptability. Aligning with trends in new materialism, affect theory, and feminist philosophy, as well as advances in dance and religious studies, this work reveals the vital role dance can play in reversing the trajectory of ecological self-destruction along which human civilization is racing.
Undergraduate Research in Dance: A Guide for Students supplies tools for scaffolding research skills, alongside examples of undergraduate research in dance scholarship. This second edition has been updated throughout for current students, with new chapters on mentoring and dance studies. Dance can be studied as an expressive embodied art form with physical, cognitive, and affective domains, and as an integral part of society, history, and vast areas of interdisciplinary content. To this end, the guidance provided by this book will equip future dance professionals with the means to move the field of dance forward. Chapters 1-9 guide students through the fundamentals of research methods, providing a foundation to help students get started in understanding research protocols and processes. A new chapter 10 provides guidelines for mentoring undergraduate students in dance. Chapters 11-21 detail forms of undergraduate research in a rich diversity of fields within dance that are taught in many collegiate dance programs including dance therapy, history, science, psychology, education, and technology, in addition to public scholarship, choreography, and interdisciplinary topics. A new chapter on Dance Studies has been added to this second edition. The book also includes annotated online resources, and many of its chapters are supported by examples of abstracts of capstone projects, senior theses, and conference presentations by undergraduate researchers across the United States and globally. Suitable for both professors and students, this book is an ideal reference book for dance studies as well as humanities and arts courses intersecting with dance.