The Symposion was held on Sunday, October 25th 2015 at: 15.00-19.30 in Cluj-Napoca: http://ler.ubbcluj.ro/
Opening Speech : DDr. Oliver P. Graber, Austria
“Classical Ballet and the Human Brain”
Neuroplasticity and the basic cerebral processing of rhythm
The lecture presents scientific facts on the neuroanatomy of classical ballet and classical music and as a result, fills the gap between science and the arts. Neuroplasticity and the basic cerebral processing of rhythm, which is one of the most important links between ballet and music, are for instance discussed. Additionally to them, a short introduction to the history of this very specific field of research and its methods (functional imaging of the brain) will be given.
In addition, it covers the fields of music theory and human brain research
The lecturer is an internationally acclaimed composer, pianist and conductor. He is busy in the fields of music theory and human brain research (neuro-music theory). As a result of his achievements, he is at present the dramatic adviser of Vienna State Ballet and has taught at several universities.
John Bliekendaal, Nederlands
“Talent and promoting talent”
“Sometimes you cannot see the path before you start walking on it.”Paulo Coelho https://de.wikipedia.org/wiki/Paulo_Coelho
Who are the dance talents of our time and, what is more important, how can we identify them? Do they actually have anything in common? After that, what is it that makes them different from “normally” talented people? More and more attention is given to the phenomenon of promoting talent. Gradually, as conclusion, as borders between countries disappear, promoting talent is turning into a worldwide competition.
Above all, there are the development of physical awareness, learning to take own responsibility and being creative
But if everybody keeps on fishing for talents in the same pond, as a result, there will not be much offspring. Therefore, it is still enough talent that is just waiting to be discovered. Development of physical awareness, learning to take own responsibility, being creative and the stimulation of the young talented dancer to find an own identity during the years of their dance education is in my opinion crucial to be able to connect with the working field from nowadays.
Simona Noja, Austria/Romania
“Ballettakademie der Wiener Staatsoper: Tradition and Innovation”
Can changes for instance occur efficiently in a traditional dance institution? How to rethink and redefine the abilities graduates should have after eight years of dance education? Is it possible to transform in addition, space and time into best friends? In other words; there are a couple of ideas worth sharing.
Pedro Carneiro, Portugal
“An insight in the organizational aspects of this Portuguese state-funded dance school “
It integrates the dance training program with the academic high school education; in other words, its administrative structure, pedagogics, and the artistic initiatives of the recent years…
Theodore Constant , Canada/ USA
“A Comparative Analysis of the Ballet Schools in Asia, Europe and USA”, about different styles and ballet teaching programs and after that, their efficiency today around the world
Jed O’Grady Weiss, Australia
“Contemporary Dance Class – an essential tool for today’s classical dancer” Today’s ballet dancer must be flexible in body mind and technical ability.
Metamorphosis from a Butterfly to Stingray
Within one season a dancer has to harness however the metamorphosis from a butterfly to stingray. Due to the comparatively recent formation of modern techniques in addition to its expansive, malleable and undefined nature, the ballet dancer must be flexible. He learns and practice being mentally, physically and emotionally in a constant change. For instance, the practice finding comfort in making solutions, or stepping outside and beyond comfort zones which they are accustomed to.
In conclusion, the readiness for this challenge is provided by the contemporary class.
Rodica Istrate, Romania
,,The significance of evaluation in vocational-choreography schools”
One of the prerequisites for performance and progress in vocational and artistic education is the disciples’ (pupils’) awareness. It can be related for instance, to the importance of opportune, exigent and, above all, objective evaluation and self-assessment.
Aside from being faced with the audience’s subjective appreciation, the preparation of a professional artist must be above all sustained by transitioning through a set of stages clearly punctuated by trainers’ assessments.
Establishing an evaluation strategy
Establishing an evaluation strategy in choreographic pedagogy therefore equates with determining the timing, typology and means of assessment, as well as how to interpret and value the information obtained. Finally, depending on the conclusions, the pupils shall adjust their learning strategy and the trainers shall adapt their teaching methods.
Nicoleta Demian, Romania
“Reinventing Strategies for Today Dance Teaching”
How should dance be taught effectively is a question that all dance teachers is important to remember. Technique is important, and the effective teacher will infuse relevant technical suggestions in the lesson. But, however, this is not all about dance.
Having in mind above all, the objectives
When planning dance lessons one should have in mind the objectives that must contribute to the development of the students’ physical abilities as well as the ability to use dance as a vehicle for personal expression, of inventiveness, and to develop the desire to dance and to attend dance performance, to become a well-trained expressive dancers.
Dr. Oana Corfariu, Romania
” Healthy Nutrition for Dancers”
(in Romanian language)
Prezentarea de fata isi propune sa ne ajute sa intelegem de ce este important sa alegem o alimentatie sanatoasa si sa constientizam care sunt motivatiile noastre in a alege o alimentatie cat mai naturala.Prezentarea pune accentul si pe nevoile nutritionale specifice ale unui artist, ale unui dansator, in conformitate cu vocatia sa.
Vitamine si minerale
Ca parte practica, am ales sa prezint 7 alimente esentiale, pline de vitamine si minerale, care ne pot ajuta sa depasim starile de oboseala si sa debordam de energie si vitalitate pentru ca mesajul artistic sa poata fi transmis in mod plenar publicului.
Este important sa ne gandim si la hranirea sufletului, pentru ca aceasta este cea mai importanta hrana pentru un artist.
Luminita Toader, Romania
“The choreographer between Consumerism and Art”
The movement principle which is the basis of dance as a show is exploited by the choreographer through the body plenitude of the dancers, a principle of symbolization. As a result, the mind, body and soul fusion of the choreographer during the act of creation is then also put in motion in the physical and psychological body of the dancers who then empathize with the spectators.
Emotional relation with the characters
These spectators develop an emotional relation with the characters on stage throughout the show. Therefore, the connection between the ones who participate in the creative act usually transforms into a ritual meant to censure everyday life(…) In addition, the art reserves itself the right to be the only way to understand humanity once the curtain falls.
Alina Ciceo, Romania
“Is education killing creativity?”
How do we deal with children’s creativity? How can we lead children through education without killing their imagination? The extraordinary evidence of human creativity starts from childhood. The children have this extraordinary capacity for innovation. I believe all the children are talented and we fence their creativity. They enroll in an academic environment because they want to learn, but how do we develop their personalities? How do we discipline them and at the same time let them feel free to explore, not to be afraid to create?
Dr. Dindelegan Corina, Romania
“Trans-disciplinary activities : Literature – music- dance”
Between literature, science and arts there is a connection named today ”trans-disciplinary”. One can not teach literature taking out words from the general context of science and art evolution. Trans-disciplinary lessons that involves arts make the student to understand the link between arts and the reason for artistic culture a human being must have to be a real intellectual. We demonstrated this in November 2014 in an atypical theater play – ”In memoriam C-tin Brâncuși”
Anca Ardelean, Italy/Romania
Scuola di danza Anca Ardelean “Ballet School-Ballet Academy”
Liliana Tăbuș, Romania “The Art of Being a Teacher”
“To be a teacher is an art. To be a teacher is a choice, a commitment, a responsibility. A teacher succeeds when he gains and acts qualities as: constant maintenance of attitudes, compliance with certain psychological rules, the ability to get to the student’s heart, empathy, punctuality and the power to discover himself his own spiritual dimension.”
Dr. Oana Rebega, Romania
“Enhancing Talent Development: Mentoring and Dance Psychology”
Dance students need to learn and practice dance skills as well as psychological skills. One of the most important psychological sets of skills is related to managing strong and dysfunctional emotions. For instance, some strategies are used to effectively manage emotions. They involve for instance: rational thinking, imaging, focusing on personal strengths, being optimistic and being grateful.
Impact on students´talent development
Dedicated teachers and mentors have a great impact on students’ talent development because they provide first of all, a positive example in how to react towards emotions during the severe periods of distress. Also, they synthesize their experience and knowledge by actually being creative in selecting suited skills.
Translation English- Romanian : Oana Muresan