| Research Abstract |
This study aims to see, using Laban's kineography, how deaf students and blind students catch the special quality of themes and express them in dynamics of movement.
Deaf students are from Junior High and High School of Tottori School for the Deaf, and brind students are from Jnior High School of Tottori School for the Blind.
First, dynamics and Other elements of dance performance "Fire Works" improvised by deaf student and blind student, are summarized below.
1) The deaf student expresses clearly what shesaw, but the dynamics tended to be Vison Drive (with little waight effort). - Body : limbs, hands, fingers, tolso/ Action : bending, streching, jumping, gesturing, travelling/ Space : sym metrical line, large kinesphere, in the door plane
2) The blind student's dance movements were Passion Drive and seemed as if they come directly from within their being (with little spase effort). - Body : limbs, upper arms, torso/ Action : traveling, jumping, bending, turning, falling, inclining, transf
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erring to hands/ Space : symmetrical and asymmetrical, curves, medium range kinesphere, in the-kinesphere, in the wheel plane
Second, the dynamics of dace mevments on the theme of Tottori Sand Dune, created and performed by a mixed group of deaf stydents, blind student and university sudents, are shown below.
1) Some elements of dynamics, non-existent in solo performances, were observed as they tried hard to express the image they had (the element of power in deaf students and the effort of space in blind students).
2) It seems they can collaborate in a dance performance because they share the effort of time and flow, observed in improvisational performances of both. The flow effort is said to have as its inherent effort of waight and space, as well as rhythm and the sense of oriented-ness, and it should be no surprise that they came, through practicing together, to share a dance performance.
Some of the reasons why handicapped people, regardless of the types, can share a dance performances could be as follows :
1) The Dynamics of a scene ican be created by all the performers.
2) The tension of a scenecan be, in an uninterrupted way, born by the performers of the next scene.
3) When the work is completed, the dancers can catch the dynamics of their piece and have a sense of unity through their performance as a group.
4) In a performance like this, the dancers can share their inner dynamics, though every one is different in th is aspect due to his or her particular background.
How the inner experience could systematically affect the outer movements remains a question. Less
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