|Budget Amount *help
¥1,400,000 (Direct Cost : ¥1,400,000)
Fiscal Year 1990 : ¥400,000 (Direct Cost : ¥400,000)
Fiscal Year 1989 : ¥1,000,000 (Direct Cost : ¥1,000,000)
The objectives of this study are two-fold ; one is to investigate how improvisation is taken by the teachers who take charge of dance in junior high schools, and the other is to try to find the means to develop the faculty for improvisation itself and to encourage students to create dance through movement ideas, not ideas thoroughly based on everyday language.
With regard to the first objective, the result which was found through collected school syllabi was that improvisation is quite frequently employed in dance classes in junior high schools but without using the term "improvisation". The most characteristic aspect in the way improvisation is employed is that it is employed, especially in the introductory session for dance composition (choreography), in connection with the concepts based on everyday language. This reality, however, cannot totally be blamed because of the age of the students, and yet the teachers also have to admit it would nip the potential of other ways of discoveri
ng movements, other ways of creating dances.
Having had the result for the first objective, the experiments were carried out. The programs provided for the experiments, named "STEP 1, 2, 3" which are based on R. Laban's classification of movement, were mainly aimed to cultivate consciousness towards the body parts, ways of using dynamics and of manipulating space. Motif Writing, movement symbols originally devised by Laban, was the main ingredient in the program and it was very effective and well functioned to make students aware how to use their body parts, how differently they can use dynamics and can manipulate space.
However, throughout the experimental sessions most students as subjects kept having trouble with transition in movements, therefore flow was completely missed there. This also became quite obvious when they had a task to improvise without any restrictions ("free improvisation"). This problem was, needless to say, not to be ignored as it is the crux in terms of improvisation. For those who wish to utilize improvisation as a means to. for example, discover "new" movements for choreography without regard to narrative or movement-ideas-based have to jump the hurdle and master them. In other words, improvisation without good transition and flow is utterly worthless.
What the students as subjects lacked in order to have good transition and flow were as follows ; (1) they could not rely on their own kinesthetic perception, (2) speed in terms of judgment, (3) courage to let themselves out. But they all showed, throughout the experiments, enough potential to learn the factors outlined above ((1)-(3)). The researcher, therefore, wishes to ask here to be allowed to postpone to submit the report on the research as the researcher believes further research will definitely be needed and it will bring out further insights insights towards improvisation in dance in education. Less