{"id":{"repo_id":"unsw","oai_identifier":"oai:unsworks.library.unsw.edu.au:1959.4/101101"},"canonical_url":"https://search.dev.ndltd.org/etd/unsw/oai:unsworks.library.unsw.edu.au:1959.4/101101","repository":{"repo_id":"unsw","name":"University of New South Wales","base_url":"https://unsworks.unsw.edu.au/oai/provider"},"display":{"title":"Enacting (Re)Actions: Affect Theory and Embodied Resonance in Improvisational Contemporary Dance and Compositional Pedagogy","abstract":"The values and expectations of the current educational approach to dance composition in secondary schools in New South Wales (NSW) are expressed through its curriculum. The NSW Dance syllabus currently restricts choreographic potential through the limiting requirements and measures articulated in its discourse. Close observation of the syllabus reveals that the conventional compositional prescriptives have little emphasis on improvisation as a choreographic device, so that frameworks for learning and assessment omit valued and applied contemporary choreographic practices. The resources and scholars inspiring the curriculum’s approach to compositional pedagogy negate the fundamental benefits that improvisation offers. In addition, although the literature referenced was written over twenty years ago it is still being employed as the educational framework for a discipline that is constantly evolving in contemporary practice. 'Enacting (Re)Actions: Affect Theory and Embodied Resonance in Improvisational Contemporary Dance and Compositional Pedagogy' delves into improvisational practice, analysing theoretical concepts in the field, including mind-body consciousness, embodiment, corporeal resonance and modes of instantaneous reception. Improvisation demonstrates the pairing of mind and body in continuous engagement and responsivity from actions to reactions, and results in creativity in dance choreography. Affect theory is shown to be valuable in analysing the core of improvisation; it supports observations on the creative value and potential of choreographic development through developing improvisational skills. A comprehensive theoretical understanding of improvisational practice through affect theory supports an understanding of how to utilise embodied resonance and consciousness as creative potential. This thesis supports the renovation of methods and approaches to choreographic pedagogy in dance curriculum both locally and elsewhere through the inclusion of improvisational pedagogy.","abstract_html":"The values and expectations of the current educational approach to dance composition in secondary schools in New South Wales (NSW) are expressed through its curriculum. The NSW Dance syllabus currently restricts choreographic potential through the limiting requirements and measures articulated in its discourse. Close observation of the syllabus reveals that the conventional compositional prescriptives have little emphasis on improvisation as a choreographic device, so that frameworks for learning and assessment omit valued and applied contemporary choreographic practices. The resources and scholars inspiring the curriculum’s approach to compositional pedagogy negate the fundamental benefits that improvisation offers. In addition, although the literature referenced was written over twenty years ago it is still being employed as the educational framework for a discipline that is constantly evolving in contemporary practice. 'Enacting (Re)Actions: Affect Theory and Embodied Resonance in Improvisational Contemporary Dance and Compositional Pedagogy' delves into improvisational practice, analysing theoretical concepts in the field, including mind-body consciousness, embodiment, corporeal resonance and modes of instantaneous reception. Improvisation demonstrates the pairing of mind and body in continuous engagement and responsivity from actions to reactions, and results in creativity in dance choreography. Affect theory is shown to be valuable in analysing the core of improvisation; it supports observations on the creative value and potential of choreographic development through developing improvisational skills. A comprehensive theoretical understanding of improvisational practice through affect theory supports an understanding of how to utilise embodied resonance and consciousness as creative potential. This thesis supports the renovation of methods and approaches to choreographic pedagogy in dance curriculum both locally and elsewhere through the inclusion of improvisational pedagogy.","abstract_has_math":false,"creators":["Panetta, Alexandria"],"institution":"UNSW, Sydney","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2022,"date_issued":"2022","date_published":"2022","updated_at":"2026-07-24T05:34:32Z","subjects":["Pedagogy","Dance Research","Compositional Practice","Creative Learning","Improvisation","Affect Theory","Reception","Embodied Resonance","Choreography","Dance Education","anzsrc-for: 360402 Dance and dance studies","anzsrc-for: 36 CREATIVE ARTS AND WRITING","anzsrc-for: 390101 Creative arts, media and communication curriculum and pedagogy"],"languages":["en"],"rights":["open access","CC BY 4.0","free_to_read"],"rights_urls":["https://purl.org/coar/access_right/c_abf2","https://creativecommons.org/licenses/by/4.0/"],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["https://doi.org/10.26190/unsworks/24808"],"render_values":[{"text":"https://doi.org/10.26190/unsworks/24808","href":"https://doi.org/10.26190/unsworks/24808","code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/1959.4/101101","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Panetta, Alexandria"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2022"]},{"key":"dc:publisher","label":"Institution","values":["UNSW, Sydney"]},{"key":"dc:type","label":"Dc Type","values":["master thesis","http://purl.org/coar/resource_type/c_bdcc"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Pedagogy","Dance Research","Compositional Practice","Creative Learning","Improvisation","Affect Theory","Reception","Embodied Resonance","Choreography","Dance Education","anzsrc-for: 360402 Dance and dance studies","anzsrc-for: 36 CREATIVE ARTS AND WRITING","anzsrc-for: 390101 Creative arts, media and communication curriculum and pedagogy"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["open access","https://purl.org/coar/access_right/c_abf2","CC BY 4.0","https://creativecommons.org/licenses/by/4.0/","free_to_read"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/1959.4/101101","https://unsworks.unsw.edu.au/bitstreams/2e73e5bf-295c-400b-a7cb-359424f57abe/download","https://doi.org/10.26190/unsworks/24808"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The values and expectations of the current educational approach to dance composition in secondary schools in New South Wales (NSW) are expressed through its curriculum. 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