STUDY PROGRAMS 10. MEDNARODNA ZNANSTVENA KONFERENCA ALMA MATER EUROPAEA ACCREDITED AT AMEU ECM THE 10th ANNUAL CONFERENCE OF EUROPE’S SCIENCES AND ARTS LEADERS AND SCHOLARS UNDERGRADUATE GRADUATE DOCTORAL STUDIES STUDIES STUDIES SOCIAL SOCIAL SOCIAL GERONTOLOGY GERONTOLOGY GERONTOLOGY HUMANITIES HUMANITIES HUMANITIES STRATEGIC MANAGEMENT PROJECT MANAGEMENT COMMUNICATION MANAGEMENT EUROPEAN PROJECT BUSINESS STUDIES MANAGEMENT INNOVATIVE MANAGEMENT IN TOURISM PHYSIOTHERAPY HEALTH SCIENCES PHYSIOTHERAPY Nursing, Public Health, Physiotherapy, Integrative Health Sciences, NURSING Autism ARCHIVAL STUDIES ARCHIVAL SCIENCES AND RECORD ARCHIVAL SCIENCES MANAGEMENT ZBORNIK RECENZIRANIH ZNANSTVENIH IN STROKOVNIH PRISPEVKOV ZA PODROČJE PLESA ENVIRONMENTAL STUDIES PROCEEDINGS BOOK WITH PEER REVIEW ON SCIENTIFIC AND PROFESSIONAL CONTRIBUTIONS ON DANCE DANCE, CHOREOGRAPHY DANCE STUDIES ZA ČLOVEKA GRE 2022: ETIČNI IZZIVI DIGITALNE TRANSFORMACIJE IT’S ABOUT PEOPLE 2022: EMBRACING DIGITAL TRANSFORMATION, FOR A SUSTAINABLE AND ETHICAL FUTURE WEB AND INFORMATION WEB SCIENCE APPLIED ARTIFICIAL TECHNOLOGIES AND TECHNOLOGY INTELLIGENCE MARIBOR, 11 - 18 MARCH, 2022 in the accreditation process 10. JUBILEJNA ZNANSTVENA KONFERENCA ALMA MATER EUROPAEA Za človeka gre 2022: Etični izzivi digitalne transformacije / Zbornik recenziranih znanstvenih in strokovnih prispevkov za področje plesa THE 10th ANNUAL CONFERENCE OF EUROPE’S SCIENCES AND ARTS LEADERS AND SCHOLARS It’s About People: Embracing Digital Transformation, For a Sustainable and Ethical Future / Proceedings book with peer review on scientific and professional contributions on dance Častni odbor / Honorary Committee: Borut Pahor, President of the Republic of Slovenia; Ludvik Toplak, President of Alma Mater Europaea - ECM, Felix Unger, Honorary President of the European Academy of Sciences and Arts Salzburg; Klaus Mainzer, President of the European Academy of Sciences and Arts Salzburg; Ivo Šlaus, Honorary President of the World Academy of Sciences and Arts; Jan Wörner, President, Acatech – Deutsche Akade-mie der Technikwissenschaften; Brian Norton, Secretary for Policy and International, Royal Irish Academy; Mindy Chen-Wishart, Dean, University of Oxford, Faculty of Law; Dubravka Šuica, Vice-President for Democracy and Demography, European Commission; Maroš Šefčovič, Vice-President for Interinstitutional Relations and Foresight, European Commission; Peter Štih, President of the Slovenian Academy of Sciences and Arts; Franci Demšar, Director of the Slovenian Quality Assurance Agency for Higher Education; Znanstveni in programski odbor / Scientific and Programme Committee: Klaus Mainzer (president), Živa Arko, David Bogataj, Jana Goriup, Patricija Goubar, Tatjana Horvat, Edvard Jakšič, Peter Pavel Klasinc, Tomaž Klojčnik, Tine Kovačič, Sebastjan Kristovič, Jelka Melik, Matej Mertik, Daria Mustić, Polonca Pangrčič, Mladen Radujković, Peter Seljak, Zdenka Semlič Rajh, Slaviša Stanišić, Luka Martin Tomažič, Jurij Toplak, Ludvik Toplak, Barbara Toplak Perovič, Nataša Vidnar, Klavdija Zorec, Alma Mater Europaea – ECM; Barbara Gornik, Luka Trebežnik, Alma Mater Europaea – ISH; Rosana Hribar, Svebor Sečak; Alma Mater Europaea – Dance Academy; Kathrina Farrugia-Kriel, Michelle Groves, Royal Academy of Dance, London; Jan Linkens, Royal Conservatoire, The Hague; Michael Pinto-Duschinsky, British Scholar and Former Bill of Rights Commissioner; Boldizsár Szentgáli-Tóth, Center of Social Sciences, Institute for Legal Studies; Mariam Zaidi, Euractiv; Jerry Goldfeder, Fordham University; David Schultz, Ham-line University; Darja Piciga, Ministry of the Environment and Spatial Planning; Nadja Furlan Štante, Science and Research Centre Koper; Karla Pinter, Supervisory Board Vice-President, Telekom Slovenije, Director General of the Internal Market Directorate, Ministry of Economic Development and Technology of the Republic of Slovenia; Gorazd Andrejč, University of Groningen, Science and Research Centre Koper; Đorđe Gardašević, University of Zagreb; Mark Rush, Washington & Lee University; Šime Ivanjko, Emeritus Professor of Law, University of Maribor; Marko Pavliha, University of Ljubljana; Janez Cigler Kralj, Ministry of Labour, Family, Social Affairs and Equal Opportunities, Republic of Slovenia; Mark Boris Andrijanič, Ministry for Digital Transformation, Republic of Slovenia; Israel Doron, University of Haifa; Laurence Hewick, Global Family Business Institute, Canada; Esther-Mary D‘Arcy, European Region of the World Confederation for Physical Therapy; Metka Klevišar, Dom Sv. Jožef Celje; Rosette Farrugia-Bonello, International Institute on Ageing, United Nations – Malta; Stefan Luby, Slovak Academy of Sciences, Slovakia; András Sajó, Former European Court of Human Rights Judge and Vice-President, Central European University and Facebook Oversight Board Member; Baroness Ruth Deech, Member UK House of Lords, lead campaigner on Post-Holocaust issues concerning the UK and Poland; Organizacijski odbor / Organisational board: Jurij Toplak (president), Luka Martin Tomažič, Matjaž Likar, Petra Braček Kirbiš, Matej Mertik, Klavdija Zorec, Marko Bencak, Uroš Kugl, Katarina Pernat, Tine Kovačič, Mladen Herc, Jana Goriup, Peter Seljak, Sebastjan Kristovič, Edvard Jakšič, Slaviša Stanišić, David Bogataj, Peter Pavel Klasinc, Anja Hellmuth Kramberger, Lenart Škof, Barbara Toplak Perovič, Mladen Radujković, Svebor Sečak, Daniel Siter Uredil / Editor: Svebor Sečak Recenzent / Reviewer: Svebor Sečak Tehnično uredila / Technical editor: Urška Prelog Prelom / Pre-press preparation: Tjaša Pogorevc, s. p. Izdaja / Edition: 1. izdaja / 1st edition Kraj / Place: Maribor Založba / Publisher: AMEU – ECM, Alma Mater Press Za založbo / For the publisher: Ludvik Toplak Leto izdaje / Year of publishing: 2022 Dostopno na / Available at: http://press.almamater.si/index.php/amp CIP - Kataložni zapis o publikaciji Univerzitetna knjižnica Maribor 78.085:004(082)(0.034.2) 001(082)(0.034.2) 78.085(0.034.2) ZA človeka gre: etični izzivi digitalne transformacije (jubilejna konferenca) (10 ; 2022 ; Maribor) 10. jubilejna znanstvena konferenca Alma Mater Europaea Za človeka gre 2022: Etični izzivi digitalne transformacije [Elektronski vir] = The 10th Annual Conference of Europe's Sciences and Arts Leaders and Scholars, Alma Mater Europaea Annual Conference It's About People 2022: Embracing Digital Transformation for a Sustainable and Ethical Future : zbornik recenziranih in strokovnih prispevkov za področje plesa = proceedings book with peer review on scientific and professional contributions on dance / [uredil Svebor Sečak]. - 1. izd. - E-zbornik. - Maribor : AMEU - ECM, Alma Mater Press, 2022 Način dostopa (URL): http://press.almamter.si/index.php/amp ISBN 978-961-7183-06-1 COBISS.SI-ID 121878275 Avtorji prispevkov so odgovorni za vse trditve in podatke, ki jih navajajo v prispevku. / The authors of the articles are responsible for all claims and data they list in their article(s). 10. ZNANSTVENA KONFERENCA Z MEDNARODNO UDELEŽBO ZA ČLOVEKA GRE: ETIČNI IZZIVI DIGITALNE TRANSFORMACIJE THE 10th ANNUAL CONFERENCE OF EUROPE’S SCIENCES AND ARTS LEADERS AND SCHOLARS IT’S ABOUT PEOPLE: EMBRACING DIGITAL TRANSFORMATION, FOR A SUSTAINABLE AND ETHICAL FUTURE organized by Alma Mater Europaea - ECM & European Academy of Sciences and Arts under the auspices of the President of the Republic of Slovenia, Mr. Borut Pahor Zbornik recenziranih znanstvenih in strokovnih prispevkov za področje plesa / Proceedings book with peer review on scientific and professional contributions on dance Maribor, 11 - 18 March, 2022 KAZALO / TABLE OF CONTENTS P T R H O E 1 CE 0 E th DI A N N GS PREDGOVOR 7 N B UA OOK L C PREFACE 8 O W NFI PRISPEVKI /CONTRIBUTIONS 11 T E H R P EN E C Jasna Čižmek Tarbuk 13 E E O R R THE IMPACT OF DIGITAL TRANSFORMATION ON THE SURVIVAL OF MICRO-ENTREPRENEURIAL F E EV U ART ORGANIZATIONS IN THE TIME OF COVID-19 AND THE RECESSION IE R W O ON PE Johanna Rebecca Greiner 21 'S S SC FINDING INSPIRATION IN THE LIMITS OF DIGITAL LEARNING C IE IE N N T C Lidia Krisskaya 29 IFI ES A C GESTURE AS AN AUXILIARY TOOL IN TREATMENT OF CHILDREN WITH ASD A N N D A D Urša Rupnik, Vesna Geršak 34 P R R T UMETNIŠKA IZKUŠNJA V ŠTUDIJU BODOČIH VZGOJITELJIC PREDŠOLSKIH OTROK OFE S LE KOT POPOTNICA ZA OSEBNI IN POKLICNI RAZVOJ S A S D ION ER Tjaša Stepišnik Perdih, Ajda Špacapan 44 S A AL INTEROCEPCIJA PLESALCEV TER NJIHOVO ZAVEDANJE ČUSTEV IN TELESNIH OBČUTKOV C N ON D S T C Blaž Šumak, Vesna Geršak 51 R H I O BU L PLES V VRTCU – POMEMBEN DEJAVNIK PSIHOFIZIČNEGA RAZVOJA OTROKA A T R ION S I Uroš Zavodnik 59 T S 'S A ON FILMSKI REŽISER IN PLESALEC V PLESNEM FILMU B D O A U N T P CE EOPLE: EMBRACING D IGITAL TRANSFORMATION, FOR A S USTAINABLE A ND E THICAL FUTURE 5 P T R H PREDGOVOR O E 1 CE 0 E th DI A N N GS Na 10. letni konferenci Za človeka gre: Etični izzivi digitalne transformacije, ki je potekala na spletu N B UA od 11. do 18. marca 2022, je imela Alma Mater Europaea Akademija za ples svojo plesno sekcijo z OOK L CO naslovom Izkušnje preteklosti zaznamujejo našo prihodnost; potenciali plesa kot umetnosti, znanosti, W NFI izobraževanja in mediacije v obdobju po pandemiji. T E H R P EN Zadnji dve konferenci v letih 2021 in 2022 sta bili posvečeni digitalnim vplivom na našo družbo. ŽiviE C E E O R mo v postpostmoderni paradigmi s številnimi obrazi. Eden od njih je zaradi situacije s covidom-19 in R F E EV življenja v fizični izolaciji postal vse bolj aktualen. Dr. Alan Kirby ga je poimenoval digimodernizem: U IE R W O medtem ko smo v postmodernizmu brali, gledali in poslušali, v digimodernizmu klikamo, brskamo, ON PE'S S prenašamo in uporabljamo pametne telefone za snemanje. Zato smo našo plesno sekcijo posvetili SC CI plesu in plesnemu izobraževanju v digitalnem okolju. Naš namen je bil omogočiti akademski vpo-E IE N N T C gled v vse implikacije, ki jih ta nova paradigma postavlja, ter v vse možnosti in omejitve, ki jih je IFI ES A C novo obdobje prineslo plesni umetnosti. A N N D A D V prvem delu letošnje konference smo gostili ugledni slavnostni govornici s Kraljeve akademije za P R R T ples v Londonu, dr. Michelle Groves in dr. Kathrino Farrugia-Kriel. Po njunih predstavitvah smo na-OFE S LE daljevali s panelno razpravo, v kateri se nam je pridružil gostujoči govorec Jan Linkens s Kraljevega S A S D ION E konservatorija v Haagu. RS A AL Po panelni razpravi smo nadaljevali s predstavitvijo Revije za humanistične in družbene vede Mon-C N ON D S itor, XXIII/1. Zadnja izdaja, prva številka novega uredništva, je ponudila tematski sklop, posvečen T C R H I O sodobnemu plesu in videu ter spremembam, ki jih je digitalizacija prinesla v tradicionalno umet-BU LA T R nost. Štiri besedila, povezana s plesom, so avtorji predstavili na konferenci. Revija je na voljo v tiska-ION S IT ni obliki in na spletu na naši spletni strani in spletni strani AMEU pod naslovom AMEU PRESS. S 'S A ON B V tretjem in četrtem delu konference smo nadaljevali s predstavitvami prispevkov s temo plesa in D O A U digitalne dobe; plesne mediacije ter psiholoških in vzgojnih vidikov v plesu. N T P CE EO Poleg mene je bila moderatorka še Rosana Hribar, docentka in predstojnica Katedre za sodobni ples PLE naše Akademije za ples. : EMB V tem zborniku lahko najdete sedem recenziranih prispevkov, ki predstavljajo glavne oz. pomem-RA bne teme konference. Povzetke prispevkov preostalih sodelujočih v plesni sekciji pa lahko prebe-CING D rete v Zborniku povzetkov 10. konference, ki je na spletni strani AMEU. IGITAL TRANSFORMATION, FO Prisrčen pozdrav, R A S izr. prof. dr. Svebor Sečak, dekan AMEU Akademije za ples USTAINABLE A ND E THICAL FUTURE 7 PREFACE CIJE A LESA MR ČJE PSFOO At the 10th Annual Conference of Europe's Sciences and Arts Leaders and Scholars It‘s About People: N R A D R O Embracing Digital Transformation for a Sustainable and Ethical Future that was held online between E T A P March 11 and 18, 2022, the Alma Mater Europaea Dance Academy had its own dance section titled LN V Z Recent experiences are shaping our future; potentials of dance as art, science, education, and mediation ITA KO IG in the post-pandemic period. I D ISPEVR The Conferences held in 2021 and 2022 were dedicated to digital influences on our society. We live ZZIVI I IH P in a post-postmodern paradigm with many faces. One of it has become an increasing issue due to NV the COVID-19 situation and life in physical isolation. It was named digimodernism by Dr Alan Kirby: TIČN KOO while in postmodernism we read, watched and listened, in digimodernism we click, surf, download E: ER TR and use smartphones for recording. That is why we dedicated our dance section to dance and dance A G N S EK education in a digital environment. Our intent was to provide an academic insight into all the impli-V IH I LO EN cations that this new paradigm put forward, as well as all the possibilities and limitations the new A Č STV era brought to dance art. NA O / Z N In the first part of this year‘s conference, we hosted two distinguished keynote speakers from the IH Z Royal Academy of Dance in London, Dr Michelle Groves, and Dr Kathrina Farrugia-Kriel. After their ELEŽB N D A presentations we continued with a panel discussion where we were joined by our guest speaker Mr. O U ZIR Jan Linkens from the Royal Conservatory in the Hague. NDO ECENR After the panel discussion we continued with the presentation of the Journal for the Humanities and AN IK RN Social Sciences Monitor XXIII/1. This latest edition, the first number under the new editorial board, ED RO offered a thematic block dedicated to contemporary dance and video and the changes that digitali-ZB sation has brought into the traditional arts. The four texts relating to dance were presented by their CA Z M EN authors at the Conference. The journal is available in hard copy and online on our website and on FER AMEU website under AMEU PRESS. NO In the third and fourth parts of the Conference we continued with the presentations of papers on A K the topic of dance and the digital era; dance mediation and psychological and educational aspects EN in dance. STVNAN Beside me, the moderator was also Rosana Hribar, assistant professor and head of the Contemporary Dance Department of our Dance Academy. 10. Z In this Proceedings book you can find seven peer-reviewed articles that represent some of the topics discussed at the Conference, while abstracts of papers of other participants of the dance section can be found in the Book of abstracts of the 10th Conference on the AMEU website. Yours sincerely, Dr Svebor Sečak, Associate Professor, Dean of the Alma Mater Europaea Dance Academy 8 PRISPEVKI / CONTRIBUTIONS THE IMPACT OF DIGITAL TRANSFORMATION P T R H O E 1 CE 0 ON THE SURVIVAL OF MICRO-ENTREPRENEURIAL E th DI A N N ART ORGANIZATIONS IN THE TIME OF COVID-19 GS N B UA OOK L C AND THE RECESSION O W NFITEHR Jasna Čižmek Tarbuk P EN E C E choreographer, spec. oec. project manager, contemporary dance teacher – counsellor, Art School E O R R F E Franje Lučića, Velika Gorica, Croatia EV UIERWO ONPE'S S ABSTRACT SC CIEIE Digital transformation is an inevitable and necessary process in almost all aspects of businesses. N N T C IFI E Therefore, artistic organizations as micro entrepreneurial entities engaged in art production are S A C A N also forced to undergo a process of digital transformation. Even mere designing of a website or N D A D an application of digital Marketing has a consequence of better visibility of artistic work. Because P R R T OFE S L of their size, arts organizations are flexible, it is relatively easy to educate a small number of E S A people. Usage of digital applications for communication result in faster organizing and planning S D ION ER in organizations. By using the digital set, for example, organizations can greatly reduce the cost S A AL of scenography because it does not require any material and space for storage, no transportation C N ON D S costs and is adaptable for any space. Furthermore, the digital transformation makes it easier to T C R H print a booklet about the performance and archive video recordings and data. During the panI O BU LA demic, arts organizations which already implemented the digital transformation, moved to re-T R ION S IT mote teaching and online production faster and easier and kept offering cultural content online. S 'S A ON This paper presents the results of qualitative research of experience in digital transformation of B D O eleven micro art organization related to dance. It showed that a small number of organizations A U N T P C had failed to adapt and still rely on old ways of functioning while the majority experienced direct E EOP relationship in application of digital technology and material success. It also revealed that art LE: E organizations are a good foundation for women entering the world of digital transformation, MB because leaders are mostly females who managed to learn digital skills and educate through RAC internet. Therefore, art can serve as a catalyst for easier acceptance of digital transformation. ING D Key words: art organization, digital transformation, micro entrepreneurial entities, dance, IGI women in business. TAL TRANSFORMATION, FOR A S USTAINABLE A ND E THICAL FUTURE 13 1 INTRODUCTION CIJE Digital transformation is one of the main priorities of the European Union. The European Parliament A LESA M (2019) adopted a report on shaping Europe‘s digital future, calling on the Commission to further R ČJE P address the challenges of the digital transition, to exploit the opportunities of the digital single SFO O N R A D market, to improve the use of artificial intelligence and support digital innovation and skills. DigR O E T A P ital transformation implies the integration of digital technologies in companies and the impact of LN V Z technologies on society. Advances in media have changed the ways in which we interact, commu-ITA KO nicate, teach, and learn. Various types of digital applications assist in all aspects of business, from IGI D ISPEV accounting services, graphic design, video and music editing to interactive multimedia and digital R ZZIV scenography. Dance teachers and artists are recognizing the digital explosion through increased I I IH PN connectivity in all aspects of the profession, artmaking, instruction, and performance (Perish 2016). V TIČN KO Organizations that implemented digital transformation find them very helpful especially in times O E: ER TR of economic slowdown. Small firms experienced disproportionate job losses during the recession A G N S after the financial crisis in 2008, especially women-owned firms. This is likely to be repeated in the EKV IH I post-COVID-19 recession (Brookings 2020). This pandemic shows the importance of digital skills in LO EN work and interaction. But Covid-19 shows us that 42% of citizens do not have basic digital compe-A Č STVN tences. This problem urged a need to increase digital competences. In this paper we discuss expe-A O / Z N riences of eight micro women-owned dance art companies and how digital transformation helped IH Z them organize businesses in the time of the pandemic. We assumed that the pandemic accelerated ELEŽB N D A digital transformation of small artistic dance companies enabling them growth and progression de-O U ZIR N spite the recession. The purpose of this research is to find out how randomly chosen various micro DO ECEN dance art organizations enhanced digitalization and find out their experiences. The idea is to make RAN IK RN a ground for further research whether a direct connection between the application of digital tech-ED RO nology and financial gain can be found. ZB CA Z M EN 2 METHODS FERN A random group of fourteen small art organisation (including mine) was chosen from various O A K parts of Croatia. They are mainly led by female artists. Three of them did not respond when we EN began the research, so we continued with eleven that were given a questionnaire made on Goog-STV le forms. The questionnaire could be answered by March 2022. The first few questions were about NAN the structure of the organisation and finances (Table 1); two questions were about time and ways of education and had to be chosen from a few offered answers (Table 2); through multiple check 10. Z boxes, participants were asked about the benefits they have experienced (Table 3); the amount of money and time spent on it were determined in a chart pie (Table 4), while satisfaction with digital transformation was presented in a linear chart by grades from one (not at all) to five (totally)(Table 5). In the end, participants were asked to give their own comments, which might put a new insight on the problem. 3 RESULTS The questionnaire revealed that only one organisation had one person regularly employed, all the others have temporarily employed freelance artists. Furthermore, one organisation had income of more than 150.000,00 HRK, two of them up to 150.000,00 HRK, another two up to 100.000,00 HRK. Three organisations earned less than 50.000,00 and three did not have insight or did not want to say. 14 Table 1. a) and b) P T R H O E 1 CE 0 E th DI A N N GS N B UA OOK L CO WNFITEHR PENECEE OR RF EEVUIERWO ONPE'S S SCCIEIENNTCIFIES AC ANND AD PRRTOFES LESASDIONERS AAL CNOND S T C R H I O BU LA T R ION S ITS'S A ONB DOAUNT PCEEOPLE: EMBRACING D IGIT About 72,7 % income came from public funding and only 27,3 from own funding (Table 1.b). AL TR Four organisations needed about three months to implement digital transformation, four of them AN six months, one took a year, and two organizations did not transform their business at all (Table 2.a). SFORMATION, FOR A S USTAINABLE A ND E THICAL FUTURE 15 Table 2 CIJE A LESA MR ČJE PSFOONRADROE TA PLNV Z ITA KO IGI D ISPEVRZZIVI IIH PNVTIČNKOOE: ERTR A G N S EKV IH I LO EN A Č STVNAO / ZN IH Z ELEŽB N D A O U ZIR NDO ECENRANIK RNEDROZB CA Z M EN FERNO A K EN STVNAN 10. Z The main source of information and educational tool was internet (Table 2.b). Most organisations said that digital transformation gives them greater operational efficiency, easier administrative organization, greater media visibility and easier exchange of information, while planning and cost saving using the application for marketing and music is very rare. 16 Table 3 P T R H O E 1 CE 0 E th DI A N N GS N B UA OOK L CO WNFITEHR PENECEE OR RF EEVUIERWO ONPE'S S SCCIEIENNTCIFIES AC ANND AD PRRTOFES LESASDIONERS AAL CNOND S T C R H I O BU LA T R ION S ITS'S A ONB DOAUNT PCEEOPLE: EMBRACING D IGITAL TRAN Online education was the most popular way of using digital technology together with video host-SFO ing and digital social networks and video conferences, while webinars, 3D mapping, digital sce-RMA nography and web design were rarely used. (Table 3.b) TION The same number of participants (45,5%) spent less than an hour or up to three hours daily on , FO digital transformation, while only slightly less than 10%, (9,1) spent more than four hours daily. R A S (Table 4.a) USTAINABLE A ND E THICAL FUTURE 17 Table 4 CIJE A LESA MR ČJE PSFOONRADROE TA PLNV Z ITA KO IGI D ISPEVRZZIVI IIH PNVTIČNKOOE: ERTR A G N S EKV IH I LO EN A Č STVNAO / ZN IH Z ELEŽB N D A O U ZIR NDO ECENRANIK RNEDROZB CA Z M EN FERNO A K EN STVNAN 10. Z Digital transformation is nowadays affordable to a very wide range of users, giving lots of possibilities for low prices. Therefore, majority of organisations did not have to spend a lot of resources to implement digital transformation, 5.000,00 HRK or less is sufficient (Table 4.b). Most of the participants agreed that digital transition is useful in artistic and organisational work. Three organisations found it very useful or useful to some extent and no one concluded the opposite (Table 5.a). To the question to what extent digital transformation helped in surviving of small organisations during the pandemic, one disagreed, two of them replied slightly, one was moderate, while nine thought it helped a lot (Table 5.b). 18 P T R H O E 1 CE 0 E th DI A N N GS N B UA OOK L CO WNFITEHR PENECEE OR RF EEVUIERWO ONPE'S S SCCIEIENNTCIFIES AC ANND AD PRRTOFES LESASDIONERS AAL CNOND S T C R H I O BU LA T R ION S ITS'S A ONB DOAUNT PCEEOPLE: EMBRACING D IGITAL TRANSFORM 4 DISCUSSION ATIO The results revealed that digital transformation helped small art enterprise in dance to contin-N, F ue their activities despite the pandemic. The low cost of rather powerful technology and vari-OR A S ous business applications allowed small dance enterprises to develop and grow. Even earlier, U technology helped dance professionals and teachers enormously. The growth of telecommuni-STA cation, video sharing sites, specifically YouTube, and social media, have exponentially increased INA the number of people interested in dance and dance education. Dance teachers and artists are BLE A recognizing the digital explosion through increased connectivity in all aspects of the profession, N artmaking, instruction, and performance. Instructional technological developments seem to be in D E T sync with current art education policy initiatives and educational practices (Perish 2016). That is HIC why dance art organizations shifted very swiftly to online teaching and performance. The results AL F show that Croatia is no exception in that trend and only one of the eleven organizations did not UTU conduct digital transformation. Because most of the leaders in companies are female, art was a RE catalyst for easier acceptance of digital transformation for them. Therefore, art organizations are a good foundation for women entering the world of digital transformation and business. When asked to determine the extent to which digital technology helps in the artistic work and business of an art organization most responded that it is quite or significantly helpful. On the question of to 19 what extent digital technologies have helped art organizations to survive during the pandemic, three organizations responded that they did not experience any significant changes. Despite that CIJE A LESA answer it is obvious that there is a direct link between the application of digital technology in MR ČJE P communication and business and the visibility and material success of an art organization. Oth-SFO O N R erwise, they would not survive in time of the pandemic. The only problem is live contact with an A D R O audience which is crucial for artists as well as for the audience. That is something participants E T A P nicely commented: “The very action and application of digital technology is excellent and useful LN V Z ITA KO in work, but only as an aid to real work.” “Digital technology certainly helps in the creation and IG maintenance of projects, education, training and communication. But performance contact with I D ISPEVR the audience is invaluable.” “With all the practical help in the organization and some advantages ZZIVI I IH P of technology as a supplement to artistic expression, I believe that art, and especially dance de-NV pends on the human factor, contact, view and nothing of technology can replace it. We would not TIČN KOO even remember if we weren’t forced to; communication, online education...” E: ER TR A G N S EK 5 CONCLUSION V IH I LO EN Technological development resulted in cheaper digital devices, which enabled small art organiza-A Č STVNA tions in sance to develop and grow. The growth of telecommunication, video sharing sites, specifi-O / Z N cally YouTube, and social media, have exponentially increased the number of people interested in IH Z ELEŽB N dance and dance education (Perish 2016). Covid-19 speeded up digital transformation that changed D A the way in which small art enterprises operated. It helped in artistic work as well as in the business O U ZIR N of an art organization. This research showed that most of the small dance enterprises led by wom-DO ECEN R en, survived the Covid and financial recession by implementing digital transformation. Some of the AN IK RN organizations did not make that transition and continued to operate in the traditional mode, but ED RO they are in the minority. Time will show whether they can survive in a fast-changing environment ZB without technology. It will be interesting to continue this research to see how it will evolve, espe-CA Z M EN cially for organizations that did not find digital technology helpful at the time of the pandemic but FER are still implementing it. The majority thinks there is a direct link between the application of digital NO technology in communication and business and the visibility and material success. Art organizations A K are a good foundation for women entering the world of digital transformation and business and art EN can serve as a catalyst for easier acceptance of digital transformation. STVNAN 6 LITERATURE 10. Z 1. Kamberidou, Irene. 2020. “‚Distinguished‘ women entrepreneurs in the digital economy and the multitasking whirlpool.” Journal of Innovation and Entrepreneurship, Springer Open, 9(3), 1-26. 2. Liu, Sifan and Parilla, Joseph. 2020. Businesses owned by women and minorities have grown. Will COVID-19 undo that? Retrieved from https://www.brookings.edu/research/businesses-owned- -by-women-and-minorities-have-grown-will-covid-19-undo-that/. 3. Parrish, Mila. 2016. “Toward transformation: Digital tools for online dance pedagogy.” Arts Education Policy Review, 117. 168–182. 10.1080/10632913.2016.1187974. 4. Ughetto, Elisa, Rossi, Mariacristina, Audretsch, David and Lehmann, Erik. 2020. “Female entrepre-neurship in the digital era.” Small Business Economics, 55:305-312. 10.1007/s11187-019-00298-8. https://www.redhat.com/rhdc/managed-files/cm-digital-transformation-open-source-ebook-f25290-202011-en.pdf. 5. Vijesti, Europski parlament: 22-04-2021 11:22. https://www.redhat.com/rhdc/managed-files/ cm-digital-transformation-open-source-ebook-f25290-202011-en.pdf. 6. Europska komisija Prioriteti 2019-2020, https://ec.europa.eu/info/strategy/prioriti- es-2019-2024/europe-fit-digital-age_hr. 20 FINDING INSPIRATION IN THE LIMITS P T R H O E 1 CE 0 OF DIGITAL LEARNING E th DI A N N GS N B U Johanna Rebecca Greiner A OOK L C BA student, Alma Mater Europaea – Dance Academy O W NFITEHR PENE ABSTRACT C E E O R R F E Throughout the past two years many experiences could be gained regarding training dance on-EV UIER line. The following article will examine the personal experiences of the author and reflect on W O ON P the positive and negative influences that the forced digitalization had on her practice as an as-E'S S SC piring professional dancer. Part of the discussion will be online classes she was able to attend at C IE IE N the contemporary dance Formation CobosMika in Palamós, Spain in spring 2020, at the summer N T C IFI E academy of TWV academy (an online platform for professional dancers) in summer 2020 and a S A C A N course in biomechanics and improvisation held by a private dance school (Tanzstation) in Cologne, N D A D P Germany since October 2020. As a base for evaluation, serves the comparison of the experience R R T OFE S L and knowledge gained in classes that were held on site and in the dance-studio versus the classE S A es held online. Factors of comparison are space - as in the workspace of the student; time - how is S D ION ER the course structured timewise, also respecting a change in the expenditure of time; the quality S A AL of the received study material: taking a look at how the transmission and assimilation of physical C N ON D S and theoretical knowledge differ in on site versus online courses; and last but not least, commu-T C R H nication - difficulties and advantages of the exchange online. I O BU LA T R The result is that despite completely losing the factor of touch, the feeling of dancing in a group ION S IT side by side with fellow students and direct exchange, the online courses can bring great ad-S 'S A ON B vantages. For example, it is suddenly possible to join a class from the other side of the world D O A U and connect with people that under other circumstances would have been out of reach. Another N T P CE E great aspect is that in online classes students are often in their homes and alone, meaning in their OPL personal spaces out of reach from a potential negative group dynamic, leading to taking more E: E risks and dancing in a free flow. MBRA Key words: dance, online training. CING D IGITAL TRANSFORMATION, FOR A S USTAINABLE A ND E THICAL FUTURE 21 1 INTRODUCTION CIJE The digital learning was forced onto the author by the circumstances that resulted out of the globA LESA M al Corona pandemic. Suddenly, what was taken for granted, was part of a restriction and not al-R ČJE P lowed anymore. The daily hours spent in the dance studio were suddenly happening at home, SFO O N R A D a private space usually seen as a shelter and retreat to rest after the work was over and done. R O E T A P Everything was happening at the same place, there was no need to get into the car or bus to drive LN V Z to the studio or theater. It was just switching on the computer and logging into a meeting plat-ITA KO form or livestream. Suddenly, there was no direct social contact outside the household anymore, IGI D ISPEV only meetings online in form of video or phone calls. R ZZIV Even though, „... dance education is often one of the slowest disciplines to incorporate emerg-I I IH PNV ing technology integration.“ (Gradwohl 2018, 26) and „... dance educators may resist this change TIČN KOO even more due to the historical and kinesthetic nature of the art ...“ (2018, 26), also dance classes E: ER TR started to be held online on platforms like Zoom. A G N S EK It seemed as if the former distrust in digitalization was forgotten, and many people desperately V IH I tried to keep their daily routine alive with the aid of technical equipment. Who had internet and LO EN A Č STV a device to use it, was able to remain still part of the usual community. NA O / Z N For the author herself all started in the middle of a creation process at the Formation CobosMika IH Z SEED‘s in Palamós, Spain. In March 2020, two weeks before the performance, rehearsals already ELEŽB N D A took place on stage, the Spanish government assigned a lockdown. Following her parents‘ ad-O U ZIR vice, the author travelled back to her hometown in Germany, because there was no information NDO ECEN on how long the lockdown would last. None of the students were able to comprehend that the RA scenario would become so severe all over the world at this point in time. First, there was a pause, N IK RN ED RO a suspension, a hope that in two weeks everyone would be back in the studio working. Over time ZB the directors of the formation realized that the situation would last. In order to keep going, they CA Z M followed the impulse of big companies around Europe doing digital work, like NDT (Netherlands EN Dans Theater), and started to give their students tasks online. FERNO This sudden change and need for adaptation were connected to a lot of challenges in maintain-A K ing the daily training routine that is necessary to become a professional dancer. In the following EN paragraphs, these challenges are reflected on in a form of an evaluation and comparison of the STVN author’s experiences at three different institutions: the contemporary dance Formation CobosMiAN ka in Palamós, Spain in spring 2020, the summer academy of TWV academy (an online platform 10. Z for professional dancers) in summer 2020 and a private dance school (Tanzstation) in Cologne, Germany (October 2020 - today). The experiences are outlined in form of short excerpts by reporting moments from specific classes taken at the institutions mentioned above. Further on, these excerpts are compared to the experience of having a class on-site in the studio using the factors of space, time, quality of study material and communication. These are defined as a guideline in the following chapter. In the last step, the result of the comparison is examined regarding the limitation and the new inspiration that digital learning generated. „Dance is now more accessible than ever as anyone can view and learn from online YouTube videos.“ (Gradwohl 2018, 28), or enter affordable online courses through platforms like Zoom, but can certain standards be preserved and the quality of education in dance maintained? 2 DISCUSSION 2.1 Defining the factors of comparison In order to define the factors of comparison, which are space (or in other words location), time, quality of transmitted study materials and communication, the author interviewed her teacher of Teaching Methods in Contemporary Dance Joan van der Mast a dance worker, teacher and choreographer from the Netherlands. The goal was to find out what are the ideal conditions for a dance class on-site as it is usually held. „Johanna Greiner: How would you describe the ideal workspace for a dance class? [...] 22 Joan van der Mast: Okay, the perfect location is a studio of the minimum size 10 x 10 m2, it has a nice P T floor, that is bouncy and not too slippery, but also not too sticky. So, it has to be the perfect linoleum. R H O E 1 C I like mirrors. But I also need curtains in front of the mirror if there are mirrors. The acoustics should E 0 E th D be nice, so that everyone, also in the back of the studio can hear me. And most important is the I A N N GS N sound system and the quality of the sound system. I always use a computer or my phone. So, it‘s B UA OOK really great, if it has at least two boxes, four is even better. Bluetooth is great, I think, but it can also L CO be linked with a plug. That‘s it. But on the other side, now in Corona times there has to be fresh air W NFITE [...]. And the temperature. Not too cold, not too warm. And preferably some daylight entrances, not H R P EN only that artificial light. Okay, but for the students, you need to have a dressing room and the toilet. E C E E O R Maybe shower, but I think yeah, it depends, but you also have to have a clean dressing room, and a R F E EV toilet with toilet paper and paper towels. [...] U IE R W O JG: Okay, so moving on to the second question. What does time mean for you in the context of a ON PE'S S SC dance class, leading a dance class? I‘m asking you as a teacher. C IE IE N N JvdM: My perfect class is 90 minutes minimum. [...] Because in the 90 minutes in terms of time, I can T C IFI E do a warm-up, a physical warm up usually takes me 10 minutes. Next, I can do a technical training S A C A N for at least 30- 45 minutes, where I do floor work, standing work. Also, some work through the N D A D P space. And then I can also do some creative work like some improvisation assignments, creative R R T OFE S L assignment, and then in the end, work more towards choreography. So, for me, in a good class, E S A there should always be a nice combination of three elements: technique, physical skills and trainS D ION ER ing; creativity; and I call it reproductive work like choreography, more complex unities of dance. S A AL There needs to be a warm-up and some cooling down. I always do stretching also of 10 minutes. C N ON D S That‘s my kind of work. Of course, with professionals, sometimes I work like for two or three hours T C R H I O then it‘s different. [...] BU LA T R I But time investment that is the other one, that‘s another question, because I think the students ON S IT S ' should come and be already kind of warm. My warm-up is really more based on muscles and brain S A ON B warm up, but they have to be already mentally prepared, do already some stretching and also D O A U some cardio work themselves. So, I always suggest that they bike or if they don‘t bike that they N T P CE E run some circles in the space. But it‘s also the mental preparation. So, students have to be there OPL minimum 10 minutes in advance. Also afterwards, but that‘s me, I have my students always take E: EM the notebook, where they have to reflect on what were the corrections today, this is more for the BR professional level. Then the day before my next classes, they just have to think about it. It‘s a kind ACI of a reflection moment. [...] NG D JG: Let‘s move to the quality. How would you define quality of transmitted study material? IGITA JvdM: You mean the content of the material, or the dance material? Well, for me quality in dance L TR requires that it‘s challenging in motor skills. There‘s variation and richness in motor skills. So that ANS means different actions, different initiations, different follow through, like on the body level. That FOR there are things on the floor, in different levels, standing and also in locomotion in the class, that MA means it‘s not only on the spot, but it includes also a lot of richness in shape. Then like what I said TIO in dynamics, but also in the space. That it is not only on the spot, that traveling, that it has different N, F levels in the space, maybe different directions, orientation, that‘s one thing. Then, on the other side OR A S it should be really interesting with music, versatile music, artistic music. That level is important for U me. And it should also have a certain artistic quality [...]. STAIN JG: [...] And what is needed to transmit this quality to provide good quality in class as a teacher? ABL JvdM: As a teacher, you need to have great analytical skills of what you‘re teaching. And you have to E A N have great methodology skills in how to make progressions for your students. You should be able D E to create progressions in time, actually in time, you should not overload them with information but THIC really make progressions. And the other thing is that you really have to understand what kind of AL F students you have. How are they learning? What is motivating them? How do they communicate, so UTU that you know what to say and vary. You just need to have great communication skills. [...] Of course, RE you have to demonstrate very clearly, but you have to also be able to clearly verbalize this. [...] It‘s not only demonstrating and giving instructions, it‘s also observing your students and guiding them, like giving them stimuli, giving them feedback. For me, the process of teaching is like giving instructions and making interesting assignments, demonstrating things, but it‘s also observing, guiding 23 and stimulating them. And then in the end, it‘s giving corrections and giving feedback. So, teaching is a three-phase thing: initiate, demonstrate, instruction, I call it instructions, give instructions; then CIJE A LESA it‘s guiding; and then it‘s giving feedback and corrections and processing the development. And a MR ČJE P lot of teachers, which I call bad teachers, and it‘s mainly also dancers, they just instruct and demon-SFO O N R strate. And that‘s it. That‘s everything. A D R O JG: Yes. Okay. So, I want to link into the communication. What are the most important factors for E T A P LN V Z communication in the classroom? ITA KO IG JvdM: Communication is, well, it‘s body language. So it‘s the whole body, but it‘s also especially the I D ISPEV face. The eye contact with your students. [...] It is the touch, how you touch, that is also communica-R ZZIV tion. What other ways of communication are there? Of course, with the voice, it‘s also the way you I I IH PNV sing the dynamics of the voice, the way you use images also. It‘s not not only clear instruction, and TIČN KO the action words you have to use, but it‘s also how you trigger the fantasy, you know? O E: ER TR JG: How would you rate the importance of touch in the communication with the students? A G N S EK JvdM: It depends on what kind of learner the student is - the point with tactile touch is that it‘s giv-V IH I LO EN ing direct feedback. It‘s a very fast way of learning and it‘s nonverbal, they go immediately into the A Č STV body not through the brain in the body. You immediately go into the kinesthetic awareness. That NA O / Z N are the ways of communication, but the communication is so important. The whole -, it‘s also how IH Z you provide the communication, the openness between the students, if the communication is only ELEŽB N D A student teacher, or if the communication is also amongst the peers. And here the teacher has an O U ZIR important role that you give them trust with that, you really protect, always protect the safety for ND all of the children. O ECEN RAN IK R That is the problem in zoom. There is no social, almost no social interaction. Well, I did it. But it takes N ED RO a lot of research of the teacher how to do that. And you know, the energy, the energy of each other ZB is so wonderful in live classes. CA Z M EN JG: Would you put that under communication? The energy? FERN JvdM: Yes. Because communication is also to stimulate, how you enter, how you motivate a person. O Yeah. Because the group energy is really helping me, and the quality of my teaching. One to one. For A K EN instance, on Zoom, I always have to keep directing the students, especially when they‘re all alone STV at home, because they watch very closely, and they don‘t see anything. They cannot move, or they NA move, and I have to direct them constantly. But in a live class, I can step out and observe because N there‘s the energy of the class and the good students will take the other ones with them. So, then I 10. Z can start observing and teach. I feel online teaching is more like entertainment, keeping them busy more than teaching. Also, the feedback online is really hard. It‘s really hard. It‘s only possible when I do not move as a teacher, so almost not possible.“ 2.2 Experiencing digital learning In the following chapter excerpts of the author‘s personal experience with learning through the frame of a „Zoom-class“ are shared, in order to give insights on the limitations and the possibilities of the way of digital learning as an inspiration. 2.2.1. A formation stranded online – digital learning at CobosMika SEED‘s The adaptation to distance learning in the CobosMika SEED‘s Formation was started with an assignment to create a group video, „passing on“ one movement from one person to the other, creating a continuous dance phrase with change of dancer and location. Additionally, the students were asked to watch former productions of the Formation and to analyze them, bringing in a theoretical aspect, that usually was not included in the program. On top of that, each student had to choose a solo from the former productions, learn it and then send a video to the teachers for feedback. In the next step, when it was clear that the restrictions would last for longer than just four weeks, regular online classes in yoga / Pilates, ballet and contemporary dance as well as pre-recorded video teach-ings were provided to the students. It was clear that eventually there was no possibility to return to the studio before the end of the academic year. These online classes and other digital projects and workshops were continuously offered until the official end in June of the training session 2019 / 20. On top of that weekly meetings with the whole staff and students were arranged in order to keep 24 connected, talk about student concerns and organizational issues, „... teachers and students were P T adapting to and gradually accepting this online teaching mode as a form of interaction.“ (Heyang R H O E 1 C and Martin 2020, 314). E 0 E th DI A „Before logging into the digital classroom, I am preparing the space, the living room of my moth-N N GS N er‘s apartment, it is the biggest room available. However, there is a big table and chairs that I have B UA OOK L C to push away in order to dance. Also, there is a big carpet on the floor, but I realized it is better to O W N dance on the carpet than on the slippery concrete tiles. We are waiting until everyone has logged F IT E H R into the Zoom room, chatting about what we do staying at home all day. Someone recommends a P EN E C livestream that will happen at night, others share impressions of last week‘s workshop. Today Claire E E O R R Pernette and Peter Mika are leading the class together. First Claire is guiding us through a warm-up, F E EV UI she is combining improvisation tasks with little sets of planks, pliés and dégagé exercises. Claire is E R W O doing most of the exercises with the group, but while we improvise, she observes and motivates ON PE'S S SC us by saying that despite the unusual circumstances of Zoom teaching she can see, that we all proC IE IE gressed and developed. Soon the muscles are burning, and the body is ready for the second part of N N T C I the class. Peter is taking over and teaching us a phrase. He begins by demonstrating the first part of FI ES A C A the phrase and continues showing the movement in more detail. We learn it step by step and go N N D A D through it several times. For a detail of the right hand, Peter comes closer to the camera showing P R R T the movement in a close-up. What seemed to be a simple opening and closing of the fist, is actually OFE S LE a twist in the wrist and the fingers gradually popping out. Seeing him like that I realized that I am S A S D ION E also very close to the camera in order to see better, since I have to participate with my phone, hence RS A A catch the choreography from a small screen. For repeating the whole phrase, I step back as much as L C N ON D S I can, not bumping into the table or chairs. Claire is dancing the phrase with us, so we can still take a T C R H look if we are lost and Peter can observe and give feedback.“ I O BU LA T R ION S I 2.2.2 Online summer-intensive at TWV academy T S 'S A ON „After an intensive yoga class as a warm-up I am logging back into the virtual space of the TWV B D O academy on Zoom. It is my second week of the summer-intensive and this week I am having classes A U N T P C with Sadé and Kristina Alleyne from the UK. Each of the sisters is logged in on their own device. At E EOP the beginning they take some time to greet everyone and introduce today‘s work plan. I noticed LE: E some pain in my knee during the yoga class, so I informed Sadé about it in the private chat. This is MB the main way for students to communicate in this summer-intensive. Classes are held with up to 60 RA people or more, from all over the world, so it is a must to switch of your microphone, otherwise the CING D overlapping noises would create a mess. Sadé reacts quickly and writes I should just go as far as it IG feels right today. We keep on chatting a little bit about dance injuries and how to still keep going. ITA Then the warm-up starts. The class and technical training are manageable for me. I am working L TR from the living room of my mother‘s apartment. Every once in a while, I have to rearrange the giant ANS carpet, which always gets displaced after a while of stepping around on it with energetic dance FOR movements. I realize that I have been constantly moving for an hour, without a break, since online MA there is no need to split the students in smaller groups to have more space for the exercise as it TIO would be necessary in an on-site class. For the creative part and when we learn a part of a choreog-N, F raphy created by the Alleyne sisters, I have to take a break and sit down. It is nice to watch the other OR A S participants dance and after a while Sadé notices me and writes me if everything is ok. This makes U me feel held and still part of the action, even though I am sitting at home alone in front of a screen. STA Later on, when Kristina and Sadé opened the space for feedback and exchange they asked me if I INAB wanted to share some observations.“ LE A N 2.2.3. Connecting from within – improvisation in a hybrid training D E TH The reason why the open online classes of the Tanzstation are so appealing for the author is, because ICA it is all about improvisation - one does not have to learn a set shape. The teacher Phuong Bui guides L FU his students with vibrant verbal instructions and gives a feeling of continuous accompaniment. TURE „It is Saturday morning, and I am logged in to the Zoom-room of Phuong. He is leading the class from a studio of his dance school Tanzstation in Cologne, Germany. There are students in the studio with him and students in the virtual space of Zoom. Before the class starts there is a moment for an informal conversation including exchange from the studio to the Zoom space. Then the class starts. 25 The students online mute their microphones, while the students in the studio assemble in front of the camera in a half circle and the teacher places himself in the middle, facing the camera with his CIJE A LESA profile. Every week Phuong introduces a new topic, for the improvisation, additionally to a structure MR ČJE P that is reappearing. Today the class is focused on the expressivity and precision of the hands. He SFO O N R invites everyone to take a paper and a pen and write down some words in nice big cursive letters. A D R O Then he asks us to draw those words in the air. Still sitting down, I draw big letters in the space in E T A P front of my screen. While we are active the teacher points out the fluidity which is visible in the LN V Z ITA KO whole arm moving, when writing those cursive letters in the air. After this introductory part, the first IG task for improvisation is to find this fluid movement of the arm and hand in the whole body. While I D ISPEVR the students start dancing Phuong continues to talk and guides them continuously even when there ZZIVI I IH P is music. The music that is coming out of the speakers of my laptop is sometimes breaking up, but NV since the teacher is always giving further instructions and feedback, I prefer the original sound. With TIČN KOO the end of the first song the next task is announced: become aware of your breath and actively use E: ER TR it while moving. Phuong invites to even use voice, he states it is strongly connected with the breath A G N S EK and encourages the people online to really speak or sing since no-one will be hearing them. As I V IH I move through my room, I start singing along the music or naming things I observe while passing LO EN A Č STV them. The next task is to come back to the hands and their day-to-day natural movements: writing, NA working with any kind of tools and of course gesturing. While exploring how this phenomenon can O / Z N IH Z be integrated into dance, the teacher observes his students and reminds them to still feel the hands ELEŽB N D A connected with the rest of the body and asks them to be as aware of the feet as of the hands. I am O U ZIR sensing deep into my body and connecting the impulses of my hands with the stepping of my feet. ND The improvisation becomes almost like a meditation and allows me to move true to my physical O ECEN RA needs and abilities. However, in some moments I catch myself dancing only facing the screen of my N IK RN ED R computer and losing myself in observing myself and the other participants. Ending the task Phuong OZB opens the space for an exchange about the experience of the participants. Everyone is included, CA Z M students in the studio as well as the ones online. Sometimes it is hard for me to understand the parEN ticipants in the studio, because they are too far away from the microphone and in the next minute FERN a heated discussion starts in between the students on-site, but the teacher intervenes and collects O back everyone‘s focus by introducing the next task. ...“ A K EN STVN 3 ON THE LIMITS OF DIGITAL LEARNING AND POSSIBLE INSPIRATIONS AN To reflect on the findings of the digital learning through video-call platforms like Zoom or Teams 10. Z the pre-set factors of comparison will be used and applied to the three experiences.Beginning with the factor of space, it generally has to be stated, that „many everyday interactions have migrated to Zoom (or other video conferencing platforms), and now run the real risk of breaching the boundaries of personal space and privacy that is expected in one’s own home“ (Bennett 2020, 261). The author did not have access to a proper location as defined in the interview with Joan van der Mast but had to follow all the classes from her home environment. This was not only connected to clearing space of furniture before dancing, but also to exposing the private space to people, like teachers, that would under other circumstances not cross this boarder of privacy. There was a pressure to tidy the room in order to appear decent and an urge to remove personal belongings to maintain a neu-tral meeting ground. Practically speaking, the author was most of the time in a space with a concrete floor covered by a big carpet and surrounded by furniture. Even though the space was of a size that allowed to move for at least two steps in all directions, which seems big considering the circumstances, in order to learn choreographic steps or see details of proposed exercises the author had to be close to her device and was therefor not fully visible for the respective teachers. For a long time, she even did not have access to a computer but had to use her smartphone as a device to connect to the video-call platform. Looking at what Joan van der Mast defined as an ideal location for dance training, this set up can only score in the availability of sanitary facilities. The screen could potentially serve as a mirror, but only if one can see him/herself fully. „While what might be deemed as a ‘suitable’ dance space can vary and depend on the intention of the movement taking place, many would not necessarily have easy access to this if participating in online classes while situated in their homes“ (Heyang and Martin 2020, 315). 26 Regarding the factor of time, as mentioned above, there was no time expenditure anymore to get P T to the space of the class or workshop. Once realized the time that usually would be spent traveling R H O E 1 C from one place to the other, could be used for individual warm-up and cooling down as well as E 0 E th D reflection. However, looking at the classes taken with CobosMika SEED‘s, the author spent around 3 I A N N GS N months working and having recreation in the same place. Usually, driving or walking to the studio, B UA OOK would allow for some transition and mental preparation, creating space between having breakfast L CO and starting to dance. In the case of taking an online class these transitions had to be deliberately W NFITE created. In the beginning the author was not aware of the fact that, going from one activity straight H R P EN into the next, leads to an overwhelmed state of mind. E C E E O R R Looking at time in the sense of structuring a class, the teachers from CobosMika SEED‘s and the TWV F E EV UI academy tried to keep the order, that was also described by Joan: warm-up, technical training, creE R W O ative work and going into a choreography and cooling down, alive. „Beckie Supiano explains that ON PE'S S SC there is a tendency for our first approach to online teaching to be to use ‘real-time videoconferenc-C IE IE ing because it feels, at first blush, like the best stand-in for teaching face-to-face’“ (Heyang and MarN N T C I tin 2020, 314). In those institutions it was possible, because already experienced and professional FI ES A C A dancers were participating, however for learners that are more dependent on touch and alignment N N D A D or posture corrections this would probably not work. In general, it took the teacher more time to P R R T transmit for example a choreography as well as it took the author as a student longer time to learn OFE S LE the choreography since there is only a two-dimensional perception of the body through the screen S A S D ION E on sometimes a small screen and with change of light and angle of the camera a movement can be RS A A perceived very differently from what it really is. L C N ON D S Moving on to the quality of the study material, it has to be emphasized, that improving motor skills T C R H I O through technical training is not possible from the perspective of the author. First of all, as men-BU LA T R tioned before the student does not really know whether the teacher really sees what the student ION S IT is doing due to different light situations and camera angles, meaning it is almost impossible to give S 'S A ON adequate feedback. Secondly, vice versa the student cannot rely on what he/she sees on the screen B D O A U for the same reasons and due to the circumstances, there are no tactile corrections possible. In other N T P C words, if there is not already a certain level of motor skills acquired beforehand, working on tech-E EOP nical skills in dance is digitally not possible, especially because of „... the unrealistic expectations LE: E that come from watching dancers on YouTube or other video platforms. Students want instant grat-MB ification and expect to perform tricks and unsafe flexibility movements regardless of their own skill RAC level or body“ (Grawohl 2018, 50). On the other hand, with the right engagement of the teacher ING D creative tasks and improvisation classes can be quite resourceful. Taking into consideration the open IG class of Phuong Bui at the Tanzstation in Cologne, the author developed great skills of awareness ITAL T towards her body and the body-mind connection. RA Leading into the last factor of communication, Phuong managed to find a way of communicating NSF his study material that works even through the digital learning on the Zoom platform. It could be ORM his constant vocal presence, instructing and singing, but also the fact that he always opens space AT for reflection and exchange between the students. While in the more form-oriented dance classes ION, F provided from CobosMika SEED‘s and the TWV summer intensive, which where definitely lacking the OR A S touch as a component of communication, in the class of the Tanzstation it was not necessarily miss-ing. „... [T]his shift requires a redefinition of our cultural conceptions of liveness and what it means UST to be present with one another“ (Bennett 2020, 266). AINABLE A 4 CONCLUSION ND E Overall, it has to be pointed out, that in the process of becoming a professional dancer, the circum-TH stances of the enforced digital learning have caused serious challenges and struggles. Especially ICA regarding technical training and the development of motor skills I lost valuable time and oppor-L FU tunities. Especially training three months online with the CobosMika SEED‘S formation, where a lot TUR of recognized guest teachers and performance opportunities had been planned on-site. Training E online was more a way of keeping the routine alive and maintaining the skills acquired so far. For similar reasons I participated in the summer intensive of the TWV academy, the urge to move and connect with people from the same work field. What was really inspiring about the TWV summer intensive, was to see so many fellow movers connecting in one space. Here it became really clear, 27 that the world was faced with a global issue, making people from all parts of the world connect in an online space. Eliminating the risks of direct contact, made room for the chance of an international CIJE A LESA exchange in dance. „In the face of this epidemic, we concluded that while we were forced to keep MR ČJE P our distance physically from our international colleagues, the boarders and categories that we SFO O N R once seemed so fixed on, perhaps no longer mattered in quite the same way“ (Heyang and Martin A D R O 2020, 310). E T A P LN V Z The most inspiration I got in the open class of the Tanzstation lead by Phuong Bui. He found a way ITA KO to still communicate with his students, even though important factors of communication like direct IGI D eye contact or touch (see interview with JvdM) were restricted. He generated a connection by con-ISPEVR stantly using his voice. The way he used the voice, not just instructing, but also singing and encour-ZZIVI I IH PN aging was very stimulating and motivating. Through his classes I worked a lot on my proprioceptive V TIČN KO reflexes and inner awareness, because it was never about recreating a form, but more about finding O E: E expression in one‘s own shape. It might not have been intensive work on technical skills, however it R TR aided me in becoming aware of the inherent biomechanics and structures in my body. A G N S EKV IH I To conclude, digital learning was inspiring because it made me connect with movers outside the LO EN boarders of Europe and I found my own way of keeping up the daily work and practice. It was a A Č STVN nudge into the direction of finding an independent training routine and getting more familiar with A O / Z N the deep physical structures of the body. IH Z ELEŽB N The limitations of digital learning in dance education, as mentioned above, are severe. In the proD A cess of becoming a professional, online classes put not only the progress in acquiring technique on O U ZIR ND a hold, but also the development of complex motor skills. Owed to not having access to a proper O ECEN R work location and the ways of communication being restricted, the assimilation as well as the trans-AN IK RN mission of the study material suffered and lead to a diminished quality of the content. Furthermore, ED RO opportunities for creative work in a group and the development of social skills are very limited. ZB CA Z M EN 5 LITERATURE FERNO 1. Bennett, Naomi P. 2020. “Telematic Connections: Sensing, Feeling, Being in Space Together.” In-A K ternational Journal of Performance Arts and Digital Media 16, no. 3 (September 1, 2020): 245–68. EN doi:10.1080/14794713.2020.1827531. STVN 2. Gradwohl, Anna Kristine. 2018. “Perceptions of Technology in Dance Education: the Effect of Tech-AN nology on Student Learning and Teaching Strategies of the Twenty-First Century Skills in Dance 10. Z Education.” Master‘s Theses. University of Northern Colorado. Scholarship & Creative Works @ Digital UNC. Available at: https://digscholarship.unco.edu/theses/74. 3. Heyang, Tuomeiciren and Rose Martin. 2020. “A reimagined world: international tertiary dance education in light of COVID-19.” Research in Dance Education. Available at: https://doi.org/10.10 80/14647893.2020.1780206. 4. Van der Mast, Joan. 2022. Interview with the author. Ljubljana, 22nd February, 2022. 28 GESTURE AS AN AUXILIARY TOOL P T R H O E 1 CE 0 IN TREATMENT OF CHILDREN WITH ASD E th DI A N N GS N B U Lidia Krisskaya A OOK L C MA student at the Alma Mater Europaea – Dance Academy O W NFITEHR PENE ABSTRACT C E E O R R F E A gesture is understood as a process associated with the creation of a meaningful message EV UIER through an initiated movement. The autistic child, repeating the speaker‘s gestures, tries to un-W O ON P derstand the meaning of the explained behavioural situation. By memorizing these gestures, E'S S SC the child can use them depending on the situation when appropriate behaviour is required. This C IE IE N paper is based on a series of observations regarding the perception and subsequent use of ges-N T C IFI E tures in autistic children in the process of learning and communication. S A C A N N D A Keywords: movement, biological programs, gestures, autistic children, ASD D P RRTOFES LESASDIONERS AAL CNOND S T C R H I O BU LA T R ION S ITS'S A ONB DOAUNT PCEEOPLE: EMBRACING D IGITAL TRANSFORMATION, FOR A S USTAINABLE A ND E THICAL FUTURE 29 1 INTRODUCTION CIJE Before presenting movement as a medium of meaning, I will highlight the biological needs of A LESA M self-development programs that help us prepare for the future: especially the programs in our R ČJE P brain associated with movement, play, and freedom. SFO O N R A D R O Most of the neurons in the human brain are involved in controlling movements and memorizing E T A P motor programs. For movements to be implemented effectively, they must be repeated and LN V Z undergo a motor learning procedure. This is happening against the backdrop of positive emo-ITA KO IG tions. Therefore, the movements are pleasant to repeat. This function is especially effective in I D ISPEVR children‘s brains, which are growing and must develop these motor skills. Motor learning has ZZIV biological implications: we need to move well to meet a wide variety of needs. We may not be I I IH PNV aware of this, but our future-oriented programs are pushing us to practice these motor skills TIČN KOO (Dubynin 2021). E: ER TR Certain impairments in the presentation of these programs are observed in the development A G N S EK of children with various diagnoses on the autism spectrum. This „stumbling“ in development V IH I allows, in a sense, to break through semiotic structures and come closer to understanding LO EN A Č STV non-structural processes that may be associated with the unconscious. NA O / Z N IH Z 2 SELF-DEVELOPMENT PROGRAMS ELEŽB N D A A child repeats the movement many times in a row. Without realizing it, he/she trains. The neu-O U ZIR N ral networks in the child‘s brain regularly rewards him/her with dopamine so that the child has DO ECEN R an incentive to master motor skills. The brain of an adult is already trained, this programming AN IK RN block is often weakened, therefore, we no longer move so willingly. But if substantia nigra is ED RO actively installed in our brain, an adult person can move very easily and experience positive ZB emotions from walking, playing sports, or even meaningless dancing in front of a mirror (Du-CA Z M EN bynin 2021). FERN Movements are embedded in various behavioural programs. The body does not just move, but O often starts biological programs that will be used in the future to escape from danger or get A K EN food. A separate and very important category of such programs is programs related to com-STV munication in a pack, team, or society. Fighting, pretending to be in a fight, or playing games NA in young children is a very serious component of behaviour. During these processes, the neu-N ral networks responsible for movement are tested, and the young brain learns to assess the 10. Z strength of the enemy. Therefore, playing, in the behaviour of animals and humans, is of great importance (Dubynin 2021). The combination of play and freedom is very effective. Freedom is the most important part of the game. The movements we make usually have a purpose. The obstacles that arise are perceived by the brain as a serious problem. This includes an additional block of programs called freedom reflexes. If something restricts freedom of movement, it meets the resistance of neural networks, and they add energy to the process of solving the problem - overcoming or avoiding obstacles. Ivan Pavlevich Pavlov stressed that overcoming restrictions is just as important as food and safety: the freedom reflex is a common reaction of animals, one of the most important innate reflexes. If it were not for it, any slightest obstacle that an animal encounters on its way would completely interrupt its life path (2001). The very restriction of freedom of movement is a source of negative emotions. The desire for freedom to execute the chosen program is the result of the work of certain neural networks. As long as everything is going well, this brain function is not activated. But if an obstacle arises, producing a discrepancy between the expected and actual results of the behaviour, then the neural network is triggered, providing a comparison of what happened with what we wanted. Negative emotions arise, which add additional energy, first of all, to the work of the associative frontal cortex, so it can more persistently strive to achieve the goal. 30 3 USE OF BIOLOGICAL PROGRAMS IN EDUCATION P T R H O E 1 In dance training, the most important biological programs are freedom, obedience to a leader, CE 0 E th and empathy. The unique combination of these programs in the brain of each of us is the basis of DI A N our temperament, on which dance repertoire often depends. N GS N B UA Over time, conditioned reflexes are formed for each of these programs. We learn to implement OOK L C these programs more effectively to achieve success, since it creates positive emotions, making this O W NFI behavioural pattern more pronounced in our reactions. At the same time, educators can tweak T E H R P E these programs to help us deal with the failures by suppressing the negative reactions. These are N E C E E O R the basic outlines of how through education, we can make a person more freedom-loving, more R F E E active, more responsive. V U IE R W O To learn a new dance sequence, we need practice. As we practice, the so-called motor representa-ON PE' tions - memories of motor movements - are formed in our brains. They are represented by groups S S SC CI of co-activated neurons, called neural ensembles (Pinotsis et al. 2017) - brain cells that interact to E IE N N T C help us perform the movements we have learned. Memory representations are updated through IFI ES A C the dynamic recruitment of neuronal ensembles at the time of learning. Memories are not static A N N D A entities, but instead are flexible network states that reactivate and evolve across time and experi-D P RRT ence and can be replayed to make movements in different situations (Mau et al. 2020). OFE S LE Depending on the situation, we can select the best response built upon our experience and the S A S D ION E motor representations that have been developed and stored in our brain through practice. When RS A A we practice the movements over and over, new motor memories develop in our brains and there-L C N ON D S fore we perform better (Haaland et al. 2019). T C R H I O BU LA T R 4 IMPORTANCE OF GESTURE ION S ITS'S A As Broaders et al. (2007) pointed out in their article, gestures might convey information not ON B found elsewhere in the speech. Authors consider that such information is usually not conscious-D O A U N T P ly accessible and note that “telling children to gesture encourages them to convey previously CE EO unspoken, implicit ideas, which in turn makes them receptive to instructions leading to learn-PLE ing” (2007, 539). : EM The gesture serves as a link, having little to no importance in itself. According to Kristeva (2004), BRA a gesture does not indicate what it should mean, but rather an inclusion in one common space CIN without a dichotomy between thought and word, signified and signifier, combing in one se-G D I miotic text the subject, object, and practice. The gesture only delineates the space in which GITA something is created that can be seen as an indication or expression, constituting the outer L TR boundary of the space in which the sign appears. What we manage to discern behind a gesture AN has nothing to do with expression or indication, since the production of gestures occurs outside SFO the plane of systematization of signs (Kristeva 2004). Co-speech gestures are indisputably im-RMA portant in communication, though they appear to be processed in brain regions distinct from TIO those that support language comprehension, similar to other extra-linguistic communicative N, F signals, like facial expressions or prosody (Jouravlev et al. 2019). OR A S Usually, a gesture is presented as a mechanical addition to a conversation and is often viewed US as a visualization rather than an action or process. A gesture can be thought of as an action TAI or a work, preceding the presenting or presented message. Gestures go beyond reflecting our NAB thoughts and can be involved in changing them (Goldin-Meadow & Wagner 2005). LE A ND E 5 GESTURE AS AN AUXILIARY TOOL IN THE TREATMENT OF CHILDREN WITH ASD THICA Autism spectrum disorders (ASD) are among the most common types of mental development im-L FU pairment in children. ASDs are characterized by complex brain disorders; these disorders include TU autism, childhood disintegrative disorder, Asperger‘s syndrome, and others. Patients with these RE conditions may have significant deficits in communication, speech and motor capabilities, emotional state, and intellectual abilities. Children with ASD have decreased pain sensitivity, locomo-tor, and repeated stereotypic hyperactivity, an elevated anxiety level, and a reduction in social contact (Malysheva et al. 2014). 31 Speech-accompanying gestures constitute an information channel during communication (Jouravlev et al. 2019). The question of whether a channel for the transmission of information, CIJE A LESA consisting of inextricably linked signifier and signified, has not yet been formed or cannot be MR ČJE P formed at all in autistic children remains to be studied. SFO O N R Observing autistic children, I began to notice one feature, namely the ability of these children A D R O while listening to the explanation, at the same time copy the gestures of the speaker‘s hands for E T A P LN V Z a specific purpose - the repetition of gestures leads to an understanding of the meaning of what ITA KO was explained or said. A parallel with the lesson of classical dance immediately suggests itself, IGI D when a student, trying to memorize a new movement or combination, not only observes, what ISPEVR the teacher shows, but also repeats simultaneously with him during the movement presentation, ZZIVI I IH PN and thereby tries to memorize it with his body, forming a motor skill. In this case, it is worth conV TIČN KO sidering a gesture as a process involved in generating a message through an initiated movement; O E: E as a mechanism leading to understanding the meaning, and even more so – to its creation. R TR A G N S By copying, memorizing, repeating, and performing dance combinations, the young dancer EKV IH I forms his understanding of the work in question, filling it with meanings. An autistic child, re-LO EN peating the teacher‘s gestures, memorizes them and, through these movements, tries to underA Č STVN stand the meaning of the explained behavioural situation. For him, meaning does not yet exist, A O / Z N it needs to be constructed in the process of this communication. By memorizing these gestures, IH Z he can use them depending on the situation when the explained behaviour is required from ELEŽB N D A him. In this case, the gesture should be understood not as a semantic sign, but as a process O U ZIR N preceding the creation of meaning in the practice of communication. DO ECEN R As Homann (2020) has observed, dance/movement therapy brings the neurophysiological in-AN IK RN tersections of mind and body to life. Its methods and approaches are founded on the under-ED RO standing that the body deeply informs consciousness forming new layers of learned behaviours ZB CA Z M and routines. EN My own experience in giving dance therapy to autistic children confirmed that gesture indeed is FERN a valuable tool in the limited toolbox that education providers can use for the training of little O patients with ASD. I consider that further theoretical research is needed to establish the multi-A K EN disciplinary framework describing the mechanism involved in the use of gestures by children STV with ASD. And even more importantly, a careful observational empirical study of dance therapy NAN involving gestures is needed by the scientific and pedagogical communities. 10. Z 6 CONCLUSION The study of dance combination is the creation of a semiotic context. A similar creation of a common context happens in the process of explaining new behavioural situations with the help of gestures to autistic children. While teaching such children, emphasis should be placed on the practical use of gestures, thereby developing in these children the ability to construct meanings and understand behavioural situations by linking them with the gesture movement. The social malad-justment seen in autistic children may, to some extent, be the result of a distortion in future-oriented programming. Work with these children should be done individually and started as early as possible, helping them to develop necessary skills. The brain of such a child is often stingy with positive emotions, the line between freedom and aggression is often too thin, so it is so important to start helping them learn movements and gestures as early as possible, while the brain is still young and diligent, and in many cases can still respond. 7 LITERATURE 1. Broaders, S. C., Wagner Cook, S., Mitchell, Z., & Goldin-Meadow, S. 2007. “Making children gesture brings out implicit knowledge and leads to learning.” Journal of experimental psichology, 136(4), 539-550. 2. Dubynin, V. 2021. The brain and its needs. From nutrition to recognition. . Moscow: Arhe. 3. Goldin-Meadow, S., & Wagner, S. M. (2005). “How our hands help us learn.” Trends in cognitive sciences, 9(5), 234-241. 32 4. Haaland, K., Stapp, L., & Sainburg, R. 2019. Where Are Motor Memories Located in the Brain? RetriP T eved 6 2021, from Frontiers for Young Minds.: https://kids.frontiersin.org/articles/10.3389/ R H O E 1 C frym.2019.00054 E 0 E th DI A 5. Homann, K. 2020. “Dynamic Equilibrium: Engaging and Supporting Neurophysiological IntelliN N GS N gence Through Dance/Movement Therapy.” American Journal of Dance Therapy, 42, 296-310. B UA OOK L C 6. Jouravlev, O., Zheng, D., Balewski, Z., Le Arnz Pongos, A., Levan, Z., Goldin-Meadow, S., & Fedo-O W N renko, E. 2019. “Speech-accompanying gestures are not processed by the language-processing F IT E H R mechanisms.” Neuropsychologia, 132, 107-132. P EN E C E 7. Kristeva, J. 2004. Gesture: Practice or Communication? Selected Works: The Destruction of Poetics. E O R R F E Moscow: ROSSPEN. EV UIER 8. Malysheva, A. V., Abbasova, K. R., Averina, O. A., Solovieva, L. N., Gedzun, V. R., Gulyaev, M. V., & W O ON P Dubynin, V. A. 2014. “Fetal Valproate Syndrome as an Experimental Model of Autism.” Physiology. E'S S SC 9. Mau, W., Hasselmo, M. E., & Cai, D. J. 2020. „The brain in motion: How ensemble fluidity drives C IE IE N N memory-updating and flexibility.” Neuroscience. T C IFI ES A 10. Pavlov, I. 2001. Freedom reflex. Saint-Petersbourg: Piter. C A N N D A 11. Pinotsis, D. A., Brincat, S. L., & Miller, E. K. 2017. “On memories, neural ensembles and mental D P R flexibility.” Neuroimage, 297-313. R T OFE S LESASDIONERS AAL CNOND S T C R H I O BU LA T R ION S ITS'S A ONB DOAUNT PCEEOPLE: EMBRACING D IGITAL TRANSFORMATION, FOR A S USTAINABLE A ND E THICAL FUTURE 33 UMETNIŠKA IZKUŠNJA V ŠTUDIJU BODOČIH CIJE A LESA VZGOJITELJIC PREDŠOLSKIH OTROK KOT MR ČJE P POPOTNICA ZA OSEBNI IN POKLICNI RAZVOJ SFO O N R A D THE ARTISTIC EXPERIENCE IN THE STUDIES OF FUTURE R O E T A P EDUCATORS AS A PATH TO PERSONAL AND PROFESSIONAL LN V Z ITA KO DEVELOPMENT IGI D ISPEVRZZIVI IIH P Urša Rupnik NV samozaposlena v kulturi, plesalka, koreografinja, plesna pedagoginja TIČN KOOE: E Dr. Vesna Geršak R TR A G N S docentka za plesno izražanje, UL Pedagoška fakulteta EKV IH I LO EN A Č STV POVZETEK NA O / Z N Zaprtje javnega življenja zaradi epidemije je (tudi) na plesnem področju drastično poseglo tako IH Z v načine ustvarjanja in uprizarjanja kakor tudi poučevanja v in skozi plesno umetnost. Umetniški ELEŽB N D A postopki in pedagoški pristopi so bili primorani prevprašati svoje bistvo, saj ples brez osnovnega O U ZIR pogoja – primerno velikega prostora težko obstaja. V prispevku obravnavani primer je v študij-NDO ECEN ski proces bodočih vzgojiteljic preko izbirnega predmeta plesno gledališče vnesel »pandemska« RA raziskovanja in prakse dveh umetnic (plesne in likovne) in na ta način vzpostavil platformo za N IK RN ED R lastno ustvarjalnost študentk skozi jezike plesa, likovnosti in filma. Sveži in preko virtualnih OZB medijev osmišljeni postopki ustvarjanja in poučevanja so glede na odzive študentk predšolske CA Z M vzgoje pozitivno učinkovali tako na njihovo razumevanje osebne umetniške izkušnje za indivi-EN dualni in poklicni razvoj, kakor na njihovo psihofizično dobrobit v času zaprtja družbe; hkrati pa FERN postavili temelj za razmislek o redefiniciji plesne pedagogike v visokošolskem izobraževanju bo-O A K dočih pedagoških delavcev in delavk. EN Podatki so bili obdelani s kvalitativno metodo, refleksije študentk so bile kategorizirane po Glas-STVN serjevi kontrolni teoriji o človekovih potrebah v 4 kategorije: ljubezen, zabava, svoboda, moč. AN Ključne besede: umetniška izkušnja, študentje predšolske vzgoje, izobraževanje na daljavo, vi-10. Z soko šolstvo, plesna pedagogika. ABSTRACT In the field of dance, the closure of public life due to the epidemic has also had a drastic impact on the ways of creating, performing and teaching in and through the art of dance. Artistic processes and pedagogical approaches have been forced to question their very essence, as dance can hard-ly exist without one of its basic requirements - an appropriately sized space. The case study discussed in this paper brought the ‚pandemic‘ explorations and practises of two artists (from dance and visual arts) into the study process of future educators through the elective course Dance The-atre, thus creating a platform for students‘ own creativity through the languages of dance, visual arts and film. The fresh processes of creating and teaching, mediated through virtual media, positively impacted both students‘ understanding of personal artistic experience for individual and professional development and their psycho-physical well-being in a time of public closure; at the same time, they laid the groundwork for reflection on redefining dance education in the higher education of future educators and practitioners. Data were processed using a qualitative method. The students‘ reflections were grouped into 4 categories according to Glasser‘s control theory of human needs: Love/Belonging, Fun, Freedom, Power. Keywords: artistic experience, pre-school education students, distance education, higher education, dance pedagogy. 34 1 UVOD P T R H O E 1 Dokument Road map for Arts Education (2006) predstavi izsledke raziskav, ki so pokazale, da vzgo-CE 0 E th ja v umetnosti in vzgoja skozi umetnost pri posamezniku krepita ustvarjalnost in iniciativnost, DI A N bogatita njegovo domišljijo, spodbujata socialni, čustveni, spoznavni in moralni razvoj, razvoj kri-N GS N B U tičnega mišljenja in avtonomnosti. Prav tako zavedanje pomena umetnostne vzgoje v vzgoji in A OOK L C izobraževanju izpostavlja vrsta mednarodnih strategij za razvoj kulturne in izobraževalne politike O W N (med njimi: Gifts of the muse: Reframing the debate about the benefits of the arts, 2004; Bamford, F IT E H R 2017; Road map for arts education, 2006; UNESCO: Seoul agenda goals for the development of arts P EN E C E education, 2010; Winner idr., 2013), med katerimi UNESCO: Seoul agenda, goals for the develo-E O R R F E pment of arts education (2010, 10) opredeljuje potrebo »po uresničevanju celotnega potenciala EV UIER visokokakovostne umetnostne vzgoje za doseganje pomembnih socialnih in kulturnih ciljev ter W O ON P nenazadnje v korist otrokom, mladim in osebam, vključenim v vseživljenjsko učenje«. Umetniška E'S S SC izkušnja ima velik pedagoški potencial, saj dostopa do spoznanja realnosti na poseben način, kot C IE IE N simbolno posredovana izkušnja ‒ z estetskim, domišljijskim dopolnjevanjem umetniških kodov N T C IFI E prejemnik doživlja in reflektira izkušnje drugih in tako etično zori. Zato je umetnost vrednota S A C A N sama po sebi (Namen in cilji projekta SKUM). N D A D P R Domači in tuji avtorji obsežno pričajo o doprinosu vključevanja ustvarjalnega giba v vzgojno iz-R T OFE S L obraževalne procese, ustvarjalni gib kot učni pristop1 ima pomembne učinke na vseh področjih E S A S D otrokovega razvoja, učenja in spoznavanja. Poučevanje in učenje z ustvarjalnim gibom je celos-ION ERS A ten učni pristop, ki angažira celovitost človekovega bitja, vključuje razvijanje telesnih, čustvenih, AL C N razumskih zmožnosti otrok; pogosto zajema senzorične zaznave, socialne interakcije, ustvarjalni ON D S proces, elemente performativnega in različne oblike refleksije, kar vodi k utelešenemu učenju T C R H I O BU in celoviti (umetniški) izkušnji ter odgovornemu bivanju v svetu in vključujoči družbi, ki slavi in LA T R podpira (kulturno, spolno, rasno, identitetno idr.) raznolikost (Anttila 2018; Anttila in Svendler ION S IT Nielsen 2019; Anttila idr. 2019; Geršak 2016, 2021; Keinänen idr. 2000; Kroflič 1999; Road Map for S 'S A ON B Arts Education 2006; Smith-Autard 2002). D O A U N T P Obenem izobraževanje v in skozi plesno umetnost učeče se opremlja s t.i. spretnostmi za 21. sto-CE EO letje2, ki so potrebne za učinkovito spopadanje z delovnimi pogoji in družbenimi situacijami v tem PLE stoletju hitrih sprememb in nenehnih nestabilnosti (Cenry Minton in Hofmeister 2010; Stinson : EM 2015, Velten Rothmund, 2020). Še več – nekatere izmed kompetenc, kot na primer ustvarjalnost, BRA kritično mišljenje, inovativnost, samozavest, socialne spretnosti idr., so izobraževanju v in skozi CIN plesno umetnost imanentne (Cenry Minton in Hofmeister 2010; Stinson 2015). Velten Rothmud G D (2020) obstoječim spretnostim dodaja še komponento utelešenosti in s tem kompetence razširja IGIT tudi v smislu procesne, ne le ciljne naravnanosti ter somatsko zavedanje celotnega človeškega AL T bitja postavlja kot temelj ostalim spretnostim. RAN V vrsti držav pa je izpostavljena problematika pomanjkljive usposobljenosti učiteljev za poučevanje SFO umetnostnih predmetov (Eurydice 2009; Ijdens in Wagner 2018), kakor tudi potreba po bolj urav-RMA noteženem vključevanju različnih umetnostnih področjih, saj npr. drama, ples, film, digitalni mediji TIO itn. pogosto niso del šolskega kurikuluma. Mnogi vzgojitelji in učitelji se ne počutijo dovolj kom-N, F petentne za vključevanje raznolikih ustvarjalnih umetniških dejavnosti v svoje delo; nimajo dovolj OR A S znanj, izkušenj, saj se na primer s plesno umetnostjo (v slovenskem prostoru) niso srečali v procesu U formalnega izobraževanja do vstopa na srednjo (vzgojiteljsko) šolo oziroma (pedagoško) fakulteto. STAIN Zaradi tega menimo, da je pomembno študentom pedagoških smeri omogočiti seznanitev s prin-AB cipi ustvarjalnega giba oziroma sodobne plesne umetnosti, ki niso zgolj didaktično naravnani, LE A temveč nudijo študentom lastno utelešeno izkušnjo, ki pripomore k samorazumevanju, spodbuja ND E ustvarjalnost in nadgrajuje študijske in osebne kompetence. Tovrstno okolje smo v projektu, ki ga TH predstavljamo (Geršak 2021), soustvarili ob vključevanju plesne, likovne in video umetnosti v času ICAL F zaprtja javnega življenja in učenja in poučevanja na daljavo. UTURE 1 Ideji je menda veter v krila poslala že legenda sodobnega plesa Isadora Duncan na prelomu iz 19. v 20. sto-letje (Martin 1939/1965, 288). 2 Spretnosti so opredeljene v okviru konzorcija izobraževlnih in poslovnih partnerjev Partnership for 21st Century Skills (Stinson 2015, 110). 35 Zbrane osebne refleksije študentk smo analizirali s pomočjo Glasserjeve teorije izbire (Glasser 1994, 1998), ki trdi, da je v naši dedni zasnovi navodilo, da moramo potešiti pet osnovnih potreb; CIJE A LESA te so poleg fiziološke potrebe po preživetju še štiri psihološke potrebe: po ljubezni in pripadnosti, MR ČJE P po moči, svobodi in zabavi. Vse od rojstva dalje nas naši geni ženejo k zadovoljevanju naših potreb SFO O N R in naše vedenje je vedno naša najboljša izbira, da potrebe v določenem trenutku zadovoljimo. A D R O Če nam teh potreb ne uspe zadovoljiti, občutimo bolečino oziroma nezadovoljstvo. Potreba po E T A P ljubezni in pripadnosti pomeni pripadati, ljubiti, biti ljubljen, bližino, sodelovanje, sprejetost in LN V Z ITA KO tovarištvo. Ljudje smo socialna bitja, kar pomeni, da smo v odnosih z drugimi in skozi različna IG razmerja tešimo potrebo po ljubezni in pripadnosti. Potreba po moči pomeni uveljavljenost, spo-I D ISPEVR štovanje, pomembnost in samozavest. To pomeni, da imamo občutek, da smo pomembni, prizna-ZZIVI I IH P ni od drugih ljudi. Potreba po svobodi pomeni možnost izbiranja, odločanja, neodvisnost, izbor NV načina življenja. Zajema svobodno izražanje samega sebe. Potreba po zabavi pomeni sprostitev, TIČN KOO igrivost, ustvarjalnost. Je potreba, ki jo najlažje izpolnimo, saj je edina, ki jo lahko zadovoljimo E: ER TR tako v odnosu z nekom kot tudi sami (Glasser 1998). A G N S EKV IH I LO EN 2 OSREDNJI DEL A Č STVNA 2.1 Namen in cilji O / Z N V času izvajanja študijskega procesa na daljavo je poučevanje v umetnosti in s pomočjo umetniške IH Z ELEŽB N izkušnje narekovalo ustvarjanje inovativnih (digitalnih) prostorov, kjer smo študentkam predšolske D A O U ZIR vzgoje, ki so obiskovale izbirni predmet plesno gledališče omogočili dostop do umetniške izkušnje. ND Ob tem smo iskali nove didaktične pristope, ki jih bomo predstavili v nadaljevanju. Cilji in predvideni O ECEN RA študijski rezultati predmeta plesno gledališče, definirani v učnem načrtu, so predvsem metodično N IK RN naravnani na pridobivanje kompetenc za delo z otroki, med njimi pa sta navedena tudi cilj: ED ROZB »Sposobnost za sintetično, analitično, ustvarjalno mišljenje ter reševanje problemov« in študijski CA Z M rezultat: »Študent pridobiva socialne spretnosti, skozi plesno ustvarjanje razvija svojo ustvarjalnost EN in samopodobo; uporablja domačo in tujo literaturo in druge vire, rešuje probleme, dela v timu.« FERN (učni načrt predmeta Plesno gledališče). Omenjeni cilj in študijski rezultat sta bila tudi izhodišče za O načrtovanje projektnega dela na daljavo. A K EN 2.2 Sodelujoči STVNAN V projektu je sodelovalo 16 študentk 3. letnika predšolske vzgoje v okviru izbirnega predmeta plesno gledališče v študijskem letu 2020/21. Predmet na daljavo smo izvajale nosilka predmeta in dve 10. Z asistentki, ki sta tudi ustvarjalki, samozaposleni v kulturi s plesnega oziroma likovnega področja, med februarjem in majem 2021. 2.3 Zbiranje in obdelava podatkov Študentke so posamezne vtise/naloge in zaključne videoposnetke oddajale v spletno učilnico, obenem pa so ob zaključku študijskega leta oddale zapis v obliki osebne refleksije. Podatki so bili obdelani s kvalitativno metodo, refleksije študentk so bile kategorizirane po kontrolni teoriji – teoriji izbire (Glasser 1994) v štiri kategorije glede na Glasserjeve temeljne potrebe po ljubezni, zabavi, svobodi in moči (prav tam). 2.4 Opis pristopa/procesa Tema projektnega dela na daljavo so bili štirje naravni elementi: zemlja, ogenj, voda in zrak. Srečanja, ki smo jih izvajali prek aplikacije ZOOM in s pomočjo spletne učilnice, so potekala v sledečih korakih: predstavitev ideje projekta → viharjenje možganov → razdelitev v skupine → vtis 1 in 2 → scenosled → samostojno ustvarjanje v skupinah → predstavitev projektov v obliki filmov → refleksija. Ob začetku izvajanja predmeta na daljavo smo prek aplikacije ZOOM izvedli tudi nekaj ustvarjalnih delavnic, kjer smo povezovali plesno in likovno umetnost, da so študentke osvežile in nadgradile znanje, ki so ga pridobile v prvem letniku pri rednem predmetu plesno izražanje. Na delavnicah smo se posvetili gibalnim značilnostim posameznih elementov, kot npr. fluidnost vode; igrivost v povezavi z ognjem; teža v odnosu zemlja – zrak. Kot referenco so si študentke ogledale, analizirale in komentirale nekatere video posnetke, plesne filme oziroma plesno-vizualna spogledovanja uveljavljenih ustvarjalcev z naravnimi elementi, njihovo 36 uporabo, transformacijo in nadgradnjo v umetniško celoto, s poudarkom na site specific plesnih P T video projektih. R H O E 1 CE 0 V začetnem koraku viharjenja možganov smo s pomočjo orodja »white board« v aplikaciji ZOOM E th DI A zapisali asociacije na temo štirih naravnih elementov. Na temo zemlje so se pojavile asociacije, kot N N GS N so trdnost, prizemljitev, korenine, tla, pradavnina, rastline, zgradbe ipd. Na temo ognja so bile aso-B UA OOK L C ciacije vezane na toploto, plamen, bližino, ljubezen, druženje ipd. Voda je sprožila asociacije, kot so O W N pretočnost, neskončnost, zvok, sprostitev, morje, modrina. Zrak pa je spodbudil asociacije lahkot-F IT E H R nost, dihanje, življenje, oblaki, ptice, virus. (Slika 1) P EN E C E E O R Slika 1: Asociacije na štiri naravne elemente R F E EV UIERWO ONPE'S S SCCIEIENNTCIFIES AC ANND AD PRRTOFES LESASDIONERS AAL CNOND S T C R H I O BU LA T R ION S ITS'S A ONB DOAUNT PCEEOPLE: EMBRAC Vtise so študentke pripravile na podlagi samostojnega raziskovanja posameznega elementa in ING D raziskovanja materiala v povezavi z elementom in jih oddale v spletno učilnico v obliki zapisa IG ali/in fotografij. Predstavljamo vtis študentke, ki je raziskovala element zrak: »Za fotografijo ITAL T sem izbrala travnik in lep sončen dan. Gibanje koprene s pomočjo vetra in lastnega gibanja rok RA še lepše pride do izraza, ko ga zaobjame sončna svetloba. Prav tako pa z belo kopreno in mod-NS rim nebom pridemo do lepega kontrasta barv.« »Kopreno sem izbrala, ker je zelo lahkoten ma-FOR terial, ki ga veter lepo zaobjame in vanj ponese neko gibanje, ki je za naše oči zelo lepo vidno. MAT Prav zaradi tega prenosa gibanja na material sem ustvarila tudi počasen posnetek, ki prikazuje ION gibanje materiala.« (Slika 2) , FOR A S USTAINABLE A ND E THICAL FUTURE 37 Slika 2: Vtis študentke, ki je raziskovala element zrak CIJE A LESA MR ČJE PSFOONRADROE TA PLNV Z ITA KO IGI D ISPEVRZZIVI IIH PNVTIČNKOOE: ERTR A G N S EKV IH I LO EN A Č STVNAO / ZN IH Z ELEŽB N D A O U ZIR NDO ECENRANIK RNEDROZB CA Z M EN Sledil je naslednji korak, ko so študentke v skupinah oblikovale scenosled, ki je zajemal načrt, kako FERNO bodo posamezen element ustvarjalno predstavile. Scenosledi so vsebovali celoten načrt izvedbe, A K načine gibanja, pa tudi prostorsko umestitev, dodano glasbo oziroma zvoke, razmislek o oblačilih EN in načinih snemanja (slika 3). STVNAN Slika 3: Scenosled za element zemljo v obliki fotografije (dodan je bil še opis ostalih vidikov) 10. Z 38 P T R H O E 1 CE 0 E th DI A N N GS N B UA OOK L CO WNFITEHR PENECEE OR RF EEVUIERWO ONPE'S S SCCIEIENNTCI FI ES A C A N Po samostojnem ustvarjanju v skupinah po posameznih naravnih elementih je sledila predstavitev N D A D P nastalih posnetkov, ki so jih študentke samostojno zmontirale in opremile z glasbo (slika 4). Štu-R R T OFE S L dentke so na zadnjem srečanju na daljavo predstavile nastale filme. E S A S D ION ER Slika 4: Izsek iz filma o vodi S A AL C NOND S T C R H I O BU LA T R ION S ITS'S A ONB DOAUNT PCEEOPLE: EMBRACING D IGITAL TRANSFORMATION, FOR A S USTAINABLE A 2.5 Predstavitev rezultatov in refleksija ND E Rezultate predstavljamo v obliki refleksij asistentk – umetnic in zbranih refleksij iz zapisov študentk. THI Nuša Jurjevič je v komentarju na predstavljen film o zemlji zapisala: »//… dekleta so večji del name-CAL F nila gibanju nog od kolena navzdol, inovativno so se poigravala s podlago. Pohvalno je bilo, da so UT se z zornim kotom približala ravnini tal, gibanje pa prilagodila strukturam podlag. Zadnji posnetki URE vse te drobne gibe celotnega videa povežejo v celoto, ko sledi posnetek s sencami. Študentke so izkoristile zanimiv gibalni material in možnosti, ki jih ponujata kamera in dron. Tak video je, da si kar želiš sezuti čevlje in stopati po naši ljubi Zemlji in popolnoma si predstavljam, kako bi s takim igrivim pristopom k plesu zemlje pritegnile tudi otroške gledalce«. 39 Pri elementu ogenj se vidi bogatost gibanja, smiselna uporaba glasbe. Črno/beli vložki in bese-dilo navdušujejo, prav tako lokacije. Vidi se, da so ogenj natančno opazovale in poskušale ujeti CIJE A LESA njegovo neukročeno gibkost. Poleg tega so vključile tudi asociacije, misli, pesmi, slikanje. Zelo MR ČJE P intimna, a hkrati ekspresivna pripoved. Urša Rupnik je v komentarju študentkam napisala: »Nav-SFO O N R dušujejo me tudi vaše plesne ekspresije, kako si res dovolite izraziti se skozi gib in začutiti ogenj A D R O v sebi. Bravo!« E T A P LN V Z Element zrak je bil predstavljen v filmu z vrhunsko kamero, od posnetkov, kadriranja in montaže. ITA KO Koncept je bil osmišljen in dramaturgija jasna. Kostumska oprema, rekviziti, scenski elementi os-IGI D mišljeni, izbira lokacij izvrstna in izkoriščena. Premišljena in smiselna umeščenost giba ter koreo-ISPEVR grafskih postavitev – smiselnost statike in dinamike. ZZIVI I IH PNV Nuša Jurjevič je študentkam podala mnenje: »Zrak je v produkcijskem smislu izjemno dodelan, TIČN KO deluje profesionalno. Študentke so se zelo potrudile s koreografijo in uskladile gibe ter razmerja O E: ER TR med solo in skupinskimi točkami, tudi rekviziti so izredno dodelani. Pri tem videu me je prepričala A G N S jasna zgodba, dekleta gledalca peljejo od svežine narave v težak, onesnažen zrak, nato pa ga EKV IH I vrnejo nazaj v objem narave. Vidno je, da so razmišljale o vizualnem vidiku plesa, tako da video LO EN predstavlja tudi super izhodišče za otroško raziskovanje likovnih elementov v naravi.« A Č STVNA O filmu voda je Urša Rupnik zapisala: »Res ekspresiven ples, cenim tako izraznost! Super izbira O / Z N pokrajine, glasba se odlično ujema … Estetsko zelo domišljeno, premišljena uporaba rekvizitov, IH Z ELEŽB N humorni vložek z zalivanjem ... Same pohvale!«, Nuša Jurjevič pa dodaja: »Punce imajo never-D A jeten občutek za gibanje, skozi cel video sem imela občutek, da gre za neke vrste poklon vodi, O U ZIR ND zahvala vodi, ki daje (lahko pa tudi jemlje) življenje, skoraj malo mitsko in ritualno deluje. Poleg O ECEN R tega je krasno, ker so se igrale z zvoki rekvizitov in glasbo vključile šele v zaključnem delu, raziAN IK RN skovale so prosojnost in prozornost rekvizitov, sivine ozadja, skratka izjemno lepo. Tukaj res vidim ED RO prvinskost ter predanost, ki sije iz videa in deklet, pa tudi zaključek z otrokoma je top.« ZB CA Z M Zbrane refleksije iz zapisov študentk ob zaključku projekta smo kategorizirali glede na Glasserjeve EN potrebe (1994) v naslednje štiri kategorije: svoboda, zabava, ljubezen in moč (Geršak 2021). FERNO SVOBODA A K • Bilo je zelo inovativno delo. EN • Imeli smo svobodo ustvarjanja. STVNA • Navdušena sem nad našo možnostjo svobode pri predmetu od samega plesa in doživljanja le N tega, kot svobodo pri ustvarjanju. 10. Z • Zelo mi je bil všeč način razmišljanja, saj so nam vse profesorice pustile prosto pot, da smo v svojem izdelku lahko pustile svoj pečat. Dandanes je na fakulteti to zelo redka možnost, katero pri tem predmetu zelo cenim. • … bile ves čas v skupinah svobodne – v smislu izbire kolegic in razdelitev v skupine, pri izbiri teme, glasbe, pripomočkov, gibalnih elementov, prostora za snemanje … • Eden izmed redkih predmetov, kjer smo lahko svobodni in ustvarjalni. • Smo se kreativno izražali ter izražali našo plesno domišljijo. • Všeč mi je bila ta svoboda in neomejenost pri predmetu. ZABAVA • Predmet smo opravljale in se ga udeleževale z velikim užitkom. • Vse skupaj je bilo izjemno zanimivo in zabavno. • Ob snemanju projekta pa sem se vedno tudi sprostila in pozabila na vsakdanje obveznosti, saj samo umetnost cenim, ker me vedno ponese v drug svet, kjer pozabim na skrbi, ki me obdajajo v hitrem tempu življenja. • Na srečanja sem vedno prihajala dobre volje, saj me ta smer veseli. • Sodelovanje v skupini me je vedno navdalo z dobro energijo in razveselilo. • Bilo je tudi za nas igrivo, kar je tudi pomemben vidik ustvarjanja z otroki. • Pri tem smo neizmerno uživale. 40 LJUBEZEN P T R H • Dobro sodelovanje v skupinah. O E 1 CE 0 • Veliko je bilo sodelovanja pri izdelovanju projekta E th DI A N • Projekt me je pritegnil tudi iz socialnega vidika. Pri projektu smo bile z soustvarjalkami zelo pov-N GS N ezane, smo se dopolnjevale, si izmenjevale mnenja, kar se po mojem mnenju tudi dobro izraža B UA OOK L C v našem končnem izdelku. Naše delo je bilo namreč zelo produktivno, hkrati pa je imela vsaka O W N možnost v posnetek vključiti nek del sebe. F IT E H R • Ker v času epidemije nismo imeli veliko socialnih stikov, je bil ta projekt pravi balzam s tega vidi-P EN E C E ka, saj smo se po umiritvi situacije lahko celo dobile v živo in ustvarjale skupaj. E O R R F EE • Hkrati nas ravno ta projekt spodbuja k sodelovanju, ki je v vrtcu še kako pomembno. V U IE R W • Potrebna je bila izmenjava mnenj, argumentacija, usklajevanje, dogovor … O ON PE' • Poleg tega pa smo se znotraj skupine, katere se prej nismo tako dobro poznale, zelo povezale in S S SC C postale dobre prijateljice. IE IE N N T C • S skupino sem se dobro razumela, ni prišlo do sporov in odprte smo bile za različne ideje ali im-IFI ES A C provizacijo vseh študentk v skupini. A N N D A D P MOČ R R T OFE S L • Razvijanje in spoznavanje samega sebe ob plesu in gibu. E S A S D • Pridobila sem veliko novih komunikacijskih spretnosti, ko smo se dogovarjale s kolegicami za ION ERS A celotno izvedbo projekta. AL C N • Pri dodelavi in izdelavi projekta je bilo zelo pomembno usklajevanje mnenja in razdelitve dela, ON D S T C glede na okoliščine, v katerih živimo v tem času epidemije. R H I O BU LA • Pridobile smo tudi veliko strokovnega znanja na področju medijev in uporabljene tehnologije. T R ION S I • Sem se naučila, kako zelo je pomembna ustvarjalnost, hkrati pa tudi upoštevanje in prilagajanje T S 'S A ON drugim. B D O • Predmet mi je dal veliko novega znanja, hkrati pa mi je dopuščal izraz proste umetniške kreative. A U N T P C • Upala sem si preizkušati stvari, ki si jih morda s kakšnim drugim pristopom ne bi. E EOPL • Smo spoznali, kako pomembno je pri uprizarjanju nekega elementa gibanje prilagoditi tako, E: E da s tem izražamo kar se da nazorno občutek, ki nam ga daje izbrani element. Pri tem pa smo MBR spoznale, kako velik vpliv imajo tudi barve, saj z njimi dodatno podkrepimo vizualno kompo-AC nento posnetka in na ta način približamo posnetek še kakšni drugi populaciji. Prav tako pa sem ING D spoznala, da marsikdaj osnovan načrt ni popolnoma izvedljiv v realnosti in ga je potrebno prila-IG goditi dani situaciji. ITAL T • Izdelovanje takšnega projekta je nekaj povsem novega, nova izkušnja, ki mi je prinesla ogromno. RA Ogromno idej, iznajdljivosti, sodelovanja, novega znanja, predvsem pa zadovoljstva in užitka. NSF • Takšni projekti so dobra ideja in iztočnica tudi za delo v vrtcu. ORM • Bili vodeni, usmerjani, poslušani, razumljeni. ATIO • Sam projekt pa je tudi primer dobre prakse, saj bi lahko v vrtcu na podoben način, kot me, izvedli N, F nek plesni projekt. OR A S • Sedaj pri izbirnem predmetu plesno gledališče pa sem ples spoznala v malce drugačni luči. US • Naučila sem se vživeti v svoje telo, ga poslušati, mu slediti, se mu prepustiti. TAIN • Ne samo, da mi je predmet veliko dal za prihodnost moje poti vzgojiteljice, ampak tudi za živl-AB jenje. Se znaš vživeti vase, poslušati svoje telo, gibati po svojem občutku. LE A N Pri soustvarjanju projekta na temo naravnih elementov so študentke zadovoljile vse štiri osnov-D E T ne potrebe po Glasserju (1994): potrebo po svobodi – študentke so v svojih refleksijah predvsem HIC poudarjale svobodo ustvarjanja brez omejitev, ki jih sicer občutijo v tradicionalnih pristopih učenja AL F in poučevanja. Prav tako so izpostavile potrebo po zabavi – sprostitev v času pandemije, igrivost, UTU uživanje in dobro voljo. Potrebo po ljubezni so zadovoljile s sodelovanjem v skupini, kjer je bilo RE čutiti sprejetost, pripadnost, prijateljstvo. Dejavnosti, ki so jih izvajale, so omogočale sodelovanje med njimi v prijetnem vzdušju, kar so pogrešale v času študija na daljavo. Potreba po moči pa se je udejanjala skozi soustvarjanje plesnega projekta, kjer so imele možnost samopotrjevanja in pridobivanja novih kompetenc. 41 Obenem so študentke razvijale tudi spretnosti in veščine, potrebne za uspešno in izpopolnjujoče soustvarjanje delovanja in bivanja v 21. stoletju; v svojih refleksijah so poudarile ustvarjalnost, iz-CIJE A LESA najdljivost in inovativnost, znotraj katerih so lahko izrazile svoje notranje svetove in v ustvarjalnem MR ČJE P procesu in končnem izdelku pustile avtorski pečat. Nadalje so študentke izpostavile socialne veščine SFO O N R – v projektu so se, ne glede na to, da je potekal na daljavo, s kolegicami še tesneje povezale, (na) A D R O učile so se sodelovati v ustvarjalnem timu, argumentirati svoja stališča, izmenjave mnenj in iskanja E T A P kompromisov. Nenazadnje so skozi delo na drugačen način spoznavale same sebe in krepile samo-LN V Z ITA KO zavest; kot pomembne pa vidimo tudi refleksije, v katerih so študentke navedle, da so se tekom IG projekta naučile vživeti se v svoje telo oziroma vase, se poslušati, slediti lastnim občutkom in se I D ISPEVR gibati v skladu z njimi; kar resonira z v uvodu omenjenim konceptom utelešenosti kot pomembne ZZIVI I IH P veščine bivanja in delovanja v sodobnem času in svetu. NV TIČN KOOE: E 3 SKLEP R TR A G N S V plesni pedagogiki poznamo dva pristopa; na eni strani profesionalni model učenja plesa, kjer je EKV IH I poudarek na urjenju, treningu plesne tehnike, oziroma ozaveščanju (plesnega) telesa ter poznava-LO EN nje in urjenje v veščinah koreografije, kompozicije, ki vodi v produkt – plesno predstavo. Na drugi A Č STVNA strani pa pedagoški model, ki poudarja proces in razvijanje plesne ustvarjalnosti, zanemari pa estet-O / Z N ski vidik ter gledanje in cenjenje plesne umetnosti (Geršak in Lenard 2012). Smith-Authard (2002) IH Z ELEŽB N predlaga t. i. vmesni model plesne pedagogike (angl. a midway model in dance pedagogy), ki po-D A udarja proces, ne zanemari pa produkta. Po tem vmesnem modelu je potekal proces raziskovanja O U ZIR N posameznih naravnih elementov in ustvarjanja študentk v skupinah, pri čemer ni bil zanemarjen DO ECEN R produkt; nastali so ustvarjalni zaključni izdelki. Študentke so imele svobodo pri razvijanju lastne AN IK RN ustvarjalnosti, obenem pa so dobile spodbudo tudi za svoje delo v vrtcu, saj jim bodo izkušnje in ED RO znanja, ki so jih usvojile med projektnim delom, koristila tako pri njihovem osebnem kot poklicnem ZB razvoju. Ob delu na daljavo, ko smo iskali nove načine izpeljave predmeta plesno gledališče, smo CA Z M EN tako dosegli začrtani cilj, da pri študentkah razvijamo ustvarjalno mišljenje in reševanje problemov, FER obenem pa jih skozi lastno umetniško izkušnjo opolnomočimo tudi s kompetencami za delo z otro-NO ki. Prav tako so študentke skozi projekt dosegle študijski rezultat pridobivanja socialnih spretnosti, A K tekom projekta so razvijale svojo ustvarjalnost in samopodobo ter v timu uspešno reševale tako EN ustvarjalne kot tehnične in logistične probleme. Kot pomembna se je izkazala izkušnja plesnega STVNA ustvarjanja kot utelešena izkušnja, v katero je človeško bitje vpeto kot spoznavna celota. N Nekateri avtorji so mnenja, da sodobna družba potrebuje na novo premišljene humanistične usme-10. Z ritve, k čemur lahko v veliki meri prispeva prav umetnost in če si na tem mestu drznemo dodati: to vlogo lahko še posebej dobro odigra ples kot celovita umetnost celotnega človeškega bitja, ki od pradavnine ljudi povezuje in lahko na najbolj primarni ravni ruši nesoglasja in tendence po uni-formiranosti prebivalcev 21. stoletja. Ustvarjanje v plesni umetnosti širi posameznikov in skupinski diapazon spretnosti, veščin in kompetenc za življenje v 21. stoletju ter z obratom k utelešenemu razumevanju sveta in delovanju v njem hkrati daje protiutež ponoreli kapitalistično-materialistični gonji (Rupnik 2021). 4 LITERATURA 1. Anttila, E. 2018. The potential of dance as embodied learning. V Proceedings of A Body of Knowledge - Embodied Cognition and the Arts conference, 8.–10. 12. 2016. 2. Anttila, E. in Svendler Nielsen, C. 2019. Dance and the quality of life at schools: A Nordic affiliation. V K. Bond (ur.), Dance and the Quality of Life (str. 327–345). Springer. 3. Anttila, E., Martin, R. in Svendler Nielsen, C. 2019. Performing difference in/through dance: The significance of dialogical, or third spaces in creating conditions for learning and living together. V Thinking Skills and Creativity, 31, str. 209–216. 4. Cerny Minton, S. in Hofmeister, J. 2010. The International Baccalaureate Dance Programme: Learning Skills for Life in the 21st Century. V Journal of Dance Education, 10:3, str. 67–76. 5. Bamford, A. 2017. Making it happen: Closing the gap between policy and practice in arts education. V Fleming, L. Bresler & J. O’Toole, (ur.), The Routledge International Handbook of the Arts and Education, (pp. 388-398). Routledge, Taylor & Frances Group. 42 6. Eurydice. 2009. Arts and Cultural Education at School in Europe. EACEA/Eurydice P9. P T R H 7. Geršak, V., Lenard. V. 2012. Vmesni model za izvajanje plesne umetnosti v vrtcu. Revija za elemen-O E 1 CE 0 tarno izobraževanje, letn. 5, št. 2/3, str. 91–106. E th DI A 8. Geršak, V. 2016. Ustvarjalni gib kot celostni učni pristop v osnovni šoli [Doktorska disertacija]. UniN N GS N verza v Ljubljani, Pedagoška fakulteta. B UA OOK L C 9. Geršak, V. 2021. Umetniška izkušnja v študiju bodočih vzgojiteljic predšolskih otrok – ples med O W N zemljo, vodo, zrakom in ognjem. V N. Meško (ur.), V. Geršak (ur.). Učinki plesa, 4. mednarodna F IT E H R konferenca plesne pedagogike. JSKD. P EN E C E 10. Gifts of the Muse. Reframing the Debate About the Benefits of the Arts. (2004). E O R R F EE 11. Glasser, W. 1994. Dobra šola. Regionalni izobraževalni center. V U IE R W 12. Glasser, W. 1998. Teorija izbire. TOP regionalni izobraževalni center. O ON PE' 13. Ijdens, I. & Wagner, E. 2018. Quality of Arts Education. V I. Ijdens, B. Bolden, & E. Wagner, S S SC C (Eds.), International Yearbook for Research in Arts Education, Volume 5 (2017) (pp. 151–173). IE IE N N T Munster: Waxmann. C IFI ES A C 14. Keinänen, M., Hetland, L. in Winne, E. 2000. Teaching Cognitive Skill through Dance: Evidence A N N D A for near but Not Far Transfer. V The Journal of Aesthetic Education, Autumn – Winter, 34, 3/4, D P RRT Special Issue: The Arts and Academic Achievement: What the Evidence Shows, Autumn – Win-OFE S LE ter, str. 295–306. S A S D ION E 15. Kroflič, B. 1999. Ustvarjalni gib – tretja razsežnost pouka. Znanstveno in publicistično središče. RS A A 16. Martin, J. 1939/1965. Introduction to the Dance. Dance Horizons, Inc. L C N ON D S 17. Namen in cilji projekta SKUM. Dostopno na: http://www.skum.si (15. november 2021). T C R H I O 18. Road Map for Arts Education. 2006. http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/ BU LA T R CLT/CLT/pdf/Arts_Edu_RoadMap_en.pdf. ION S IT 19. Rupnik, U. 2021. Učinki in učinkovitost plesa za kakovostnejše in odgovornejše življenje mladih S 'S A ON B odraslih. V N. Meško (ur.), V. Geršak (ur.). Učinki plesa, 4. mednarodna konferenca plesne pedago-D O A U gike. JSKD. N T P CE EO 20. Smith-Autard, J. M. 2002. The Art of Dance in Education. A&C Black. PLE 21. Stinson, S. W. 2015. Rethinking standards and assessment in dance education. V C. Svendler Ni- : EM elsen in S. Burridge (ur.), Dance education around the world : Perspectives on dance, young people BR and change (str. 107–116). Routledge. ACIN 22. Učni načrt predmeta Plesno gledališče. Dostopno na https://www.pef.uni-lj.si/fileadmin/Dato-G D teke/Studijski_programi/Ucni_nacrti/ (15.november 2021). IGITA 23. UNESCO: Seoul Agenda, Goals for the Development of Arts Education (2010). http://www. L TR unesco.org/new/fileadmin/MULTIMEDIA/HQ/CLT/CLT/pdf/Seoul_Agenda_EN.pdf. ANS 24. Velten Rothmund, I. 2020. Daring in dance–Bachelor Students in Dance Developing Life Skills for FOR the 21st Century. V Nordic Journal of Dance, 11(2), str. 31–40. MA 25. Winner, E., Goldstein, T., Vincent-Lancrin, S. 2013. Art for Art’s Sake? Overview, OECD Publishing, TION http://dx.doi.org/10.1787/9789264180789-en. , FOR A S USTAINABLE A ND E THICAL FUTURE 43 INTEROCEPCIJA PLESALCEV TER NJIHOVO CIJE A LESA ZAVEDANJE ČUSTEV IN TELESNIH OBČUTKOV MR ČJE P INTERCEPTION OF DANCERS AND THEIR AWARENESS SFO O N R A D OF EMOTIONS AND BODILY SENSATIONS R O E T A P LN V Z ITA KO Doc. dr. Tjaša Stepišnik Perdih IG Fakulteta za uporabne družbene študije I D ISPEVR ZZIV Ajda Špacapan I I IH PNV Plesni klub ŠINŠIN TIČN KOOE: ERTR POVZETEK A G N S EKV IH I Interocepcija predstavlja usmerjeno pozornost na notranje dogajanje in zavestno prepoznavo LO EN notranjih telesnih občutkov. Je pomemben mehanizem pri razvoju posameznikovega samoza-A Č STVN vedanja in individualnosti. Umetniki, ki se s telesom ukvarjajo neposredno (plesalci, igralci) ali A O / Z N posredno (likovna umetnost, pisanje) naj bi imeli boljše sposobnosti interoceptivne zaznave, IH Z prepoznavanje interoceptivnih procesov pa je povezano s posameznikovo integracijo telesnih ELEŽB N D A senzacij, kognitivnih procesov pa tudi afektivnega doživljanja. Ker so telesni občutki in čustve-O U ZIR N no doživljanje za plesalce sodobnega plesa pogosto povod za njihov plesni material, nas je za-DO ECEN nimalo, ali se razvitost interocepcije povezuje s sposobnostjo zaznavanja telesnih občutkov in RAN IK R zavedanjem čustev? V raziskavi smo uporabili vprašalnik MAIA (Multidimensional Assessment N ED RO of Interoceptive Awareness) in DERS (Difficulties in Emotion Regulation Scale). Sodelovalo je 77 ZB udeležencev s povprečno starostjo 28,77 let (SD=12,5). 55,8 % udeležencev se je s plesom ukvar-CA Z M EN jalo profesionalno, 31,2 % pol profesionalno, najmanjši delež (23,4 %) pa ljubiteljsko. Povprečna FER doba ukvarjanja s plesom je bila 17,47 let (SD=9,5). Rezultati raziskave kažejo na trend, da se ple-NO salci z bolj razvito interocepcijo bolj zavedajo svojih čustev in telesnih občutkov. To ni pomembno A K le za ustvarjanje in poklicno udejstvovanje sodobnih plesalcev, ampak tudi za njihovo telesno EN in duševno zdravje, kar pomeni, da bi bilo v razvoju plesalca smiselno namenjati pozornost tudi STVN njegovim interoceptivnim sposobnostim. AN Ključne besede: interocepcija, sodobni ples, zaznavanje telesnih občutkov, zavedanje čustev. 10. Z ABSTRACT Interoception refers to the conscious perception of sensations from inside the body and has been described as an important mechanism in the development of an individual‘s self-awareness and individuality. Artists who deal with the body directly (dancers, actors) or indirectly (fine arts, writing) have a better starting point for interoceptive awareness. Since the bodily sensations and emotional experiences for contemporary dancers are often generators of their dance material, we were interested in whether interoception is related to the ability to perceive bodily sensations and to emotional awareness? In our study, we used the MAIA questionnaire (Multidimensional Assessment of Interoceptive Awareness) and DERS (Difficulties in Emotion Regulation Scale). There were 77 participants with an average age of 28.77 years (SD=12.5). 55.8% of participants danced professionally, 31.2% semi-professionally, and 23.4% were amateurs. On average they were dancing for 17.47 years (SD=9.5). The results of our study show that dancers with better interoceptive skills are more aware of their emotions and bodily feelings. This is important not only for the professional activity of modern dancers, but also for their physical and mental health. Therefore, it would be sensible to pay special attention to the development of interoceptive skills in dance education. Keywords: interoception, modern dance, perception of bodily sensations, emotional awareness. 44 1 UVOD P T R H O E 1 1.1. Interocepcija CE 0 E th D Raziskovanje interocepcije se je razmahnilo v zadnjih 20 letih, čeprav je besedo “interoceptor” kot I A N N GS pojem za živčne receptorje za senzorne dražljaje, ki izvirajo znotraj telesa, uporabil Charles S. Sher-N B UA ringtone že v začetku 20. stoletja (Cameron 2001, 697). V svoji definiciji je interoceptivno zaznavo OOK L CO jasno ločil od proprioceptivne, ki se nanaša na zaznavo telesa v prostoru, ter eksteroceptivne, ki se W NFI nanaša na zaznavanje dražljajev iz zunanjega okolja. Vse tri zaznave skupaj tvorijo posameznikov T E H R P E občutek fizičnega telesa (Garfinkel idr. 2015, 65). N E C E E O R Koncept interocepcije ostaja danes široko definiran in različno razumljen, kljub temu pa se večina R F E EV avtorjev strinja (npr. Cameron 2001; Craig 2003; Mehling idr. 2012; Farb idr. 2015), da interocep-U IE R W O tivno zavedanje vključuje zaznavanje notranjega stanja telesa in da to senzorno zavedanje izvira ON PE'S S tako iz telesnega - fiziološkega stanja kot tudi iz posameznikove presoje, prepričanj, izkušenj, pri-SC CI čakovanj in konteksta (Gibson 2019, 3–4). Interocepcija torej zahteva interakcijo med zaznavanjem E IE N N T C telesnih stanj in kognitivno presojo teh telesnih stanj (Farb idr. 2015, 2–3). IFI ES A C A Če na interoceptivno zavedanje pogledamo iz fenomenološkega vidika, gre za tisti del interocepci-N N D A D je, ki postane zavesten in v tem smislu pomeni usmerjeno pozornost na notranje dogajanje ter za-P R R T vestno prepoznavo notranjih fizioloških procesov (Mehling idr., 1). Prepoznavanje interoceptivnih OFE S LE procesov je tako povezano s posameznikovo integracijo telesnih senzacij, kognitivnih procesov pa S A S D ION E tudi afektivnega doživljanja (Price in Hooven 2018, 3). RS A AL C NOND S 1.2. Povezanost interocepcije s čustvovanjem T C R H Čustva se pojavijo kot odziv na določen dražljaj, ta je lahko zunanji, npr. dogodek ali oseba, notranji kot I O BU LA občutek ali pa je skupek obojega. Cvetek (2014, 16–24) piše, da čeprav je naš prvi odziv nezaveden, T R ION S I lahko s pomočjo interoceptivnega zavedanja svoje odzive ozavestimo in tudi prilagodimo. Tako ima T S 'S A ON interoceptivno zavedanje pomembno vlogo pri čustveni regulaciji (Price in Hooven 2018, 3). B D O A U Kever idr. (2015) ugotavljajo, da imajo posamezniki z večjo mero interoceptivne občutljivosti (angl. N T P CE E interoceptive sensibility) večji nabor strategij čustvene regulacije in da posamezniki z višjim rezultatom OPL interoceptivne natančnosti (angl. interoceptive accuracy), merjene z nalogo štetja srčnega utripa, bolje E: E prepoznavajo, katera strategija uravnavanja čustev je v dani situaciji zanje ustreznejša. Poleg tega tisti MBR z višje izraženo interoceptivno natančnostjo uspešneje regulirajo svoja neprijetna čustva v primeru AC socialne izključenosti (Pollatos, Matthias in Keller 2015, 6). Zamariola idr. (2019) pa ugotavljajo, da ING D kažejo posamezniki z nižje izraženimi interoceptivnimi sposobnostmi več težav pri ubesedenju čustev IG in zmanjševanju vpliva čustev, ki jih ustvarjajo negativne izkušnje v vsakdanjem življenju. ITAL T Vse duševne motnje so v določeni meri povezane z okrnjenim čustvovanjem, zato je ravnanje s RA čustvi pomemben dejavnik duševnega zdravja (Stepišnik Perdih 2018, 149). Raziskave kažejo NSF na povezanost med duševnimi motnjami, kot so anksioznost, depresija, anoreksija, obsesivno-ORM kompulzivna motnja in nepravilnostmi v prenosu interoceptivnih signalov (Paulus in Stein 2010, ATI 458–459). Tako se tehnike, ki spodbujajo razvoj interocepcije, kot npr. čuječnost, TRE, fokusing ON, F ipd., čedalje bolj uporabljajo tudi v praksi strokovnjakov za duševno zdravje. Omogočajo namreč OR A S uspešnejšo regulacijo čustev in boljši izid obravnave (Remmers, Topolinski in Koole 2016). US 1.3. Namen TAINA Bistvo sodobnega plesa oz. tisto, kar ga najbolj določa, je “konstruiranje telesa plesočega subjekta” BLE A (Hrvatin 2001, 9). To telo “nenehno igra spremenljivo igro med pomenom in spoznanjem, med realN nostjo in pojavnostjo, med prisotnostjo in izginotjem, med subjektom in objektom ter ne dopušča, D E T da bi ga zaobjeli z enim dejanjem, sistemom, stilom, formo ali besedo” (Kunst v Hrvatin 2001, 10). HIC Plesalci sodobnega plesa se tako s telesom v veliki meri ukvarjajo na drugačen način kot drugi ple-AL F salci, npr. baletniki, ki so podvrženi strogi formi in tehniki plesa. Znotraj in v okviru svojega telesa UTU iščejo navdih, impulze in mnogotere razsežnosti ustvarjanja. Telesni občutki in čustveno doživljanje RE plesalcev so pogosto povod za njihov plesni material, zato sklepamo, da je tudi njihova interocepcija dobro razvita. Da bi to preverili, smo zasnovali raziskavo, s katero smo želeli odgovoriti, kakšna je interocepcija plesalcev sodobnega plesa ter kako se razvitost interocepcije povezuje s sposobnostjo zaznavanja telesnih občutkov in zavedanjem čustev? 45 2 METODA CIJE V raziskavi je bila uporabljena deskriptivna in korelacijska kvantitativna metodologija. A LESA MR ČJE P 2.1. Udeleženci SFO O N R A D V raziskavi je sodelovalo 77 udeležencev, od tega 66 (85,7 %) žensk, 10 (12,9 %) moških, 1 (1,4 %) R O E T A P udeleženec pa se glede spola ni opredelil. Povprečna starost udeležencev je bila 28,77 let (SD=12,5). LN V Z 55,8 % udeležencev se je s plesom ukvarjalo profesionalno, 31,2 % pol profesionalno, najmanjši ITA KO IG delež (23,4 %) pa ljubiteljsko. Povprečna doba ukvarjanja s plesom je bila 17,47 let (SD=9,5), pri I D ISPEV čemer je več kot polovica (53,2 %) udeležencev plesala med 11 do 20 let, preostali vzorec v enakih R ZZIV deležih (23,4 %) predstavljajo tisti, ki plešejo manj kot 10 let in tisti, ki plešejo več kot 21 let. I I IH PNVTIČNKO 2.2. Pripomočki O E: ER TR Poleg osnovnih demografskih vprašanj smo v raziskavi uporabili dva vprašalnika: A G N S • Lestvica interoceptivnega zavedanja MAIA (angl. Multidimensional Assessment of Interoceptive EKV IH I Awareness – Mehling idr. 2012) vključuje 32 postavk, ki se vrednotijo na 6-stopenjski Likertovi LO EN lestvici (0 – nikoli, 5 – vedno). Skupna ocena interoceptivnega zavedanja je sestavljena iz osmih A Č STVNA podlestvic, ki jih lahko vrednotimo tudi vsako posebej: opažanje (zavedanje neprijetnih, prijet-O / Z N nih in nevtralnih telesnih občutkov), ne-odvračanje (posameznik ne ignorira bolečine in občut-IH Z ELEŽB N kov nelagodja), ne-vznemirjanje (posameznik ne doživlja čustvene stiske ob pojavu občutkov D A nelagodja ali bolečine), regulacija pozornosti (sposobnost vzdrževanja in nadzorovanja pozor-O U ZIR ND nosti na telesnih občutkih), čustveno zavedanje (zavedanje povezave med telesnimi občutki in O ECEN R čustvenimi stanji), samoregulacija (sposobnost uravnavanja stiske/nemira s pozornostjo na tele-AN IK RN sne občutke), poslušanje telesa (vpogled v čustva in občutke s pomočjo telesa), zaupanje (doživ-ED RO ljanje telesa kot varnega in vrednega zaupanja). ZB CA Z M • Lestvica ugotavljanja težav z uravnavanjem čustev (angl. Difficulties in Emotion Regulation Scale EN – Gratz in Roemer 2004) vključuje 36 postavk, ki se vrednotijo na 5-stopenjski Likertovi lestvici FERN (1 – skoraj nikoli, 5 – skoraj vedno). Visok rezultat na lestvici je povezan z večjimi težavami pri O uravnavanju čustev. Skupni seštevek vprašalnika je sicer sestavljen iz šestih podlestvic, ki jih lahko A K EN vrednotimo tudi vsako posebej: nesprejemanje (nesprejemanje čustvenih odzivov), cilji (težave STV pri ciljno usmerjenem vedenju), impulzivnost (težave pri kontroli impulzov), zavedanje (poman-NA kanje čustvenega zavedanja), strategije (omejen dostop do učinkovitih strategij čustvene regu-N lacije), jasnost (pomankanje čustvene jasnosti). V raziskavi smo uporabili samo podlestvico zave-10. Z danja, ki se nanaša na spremljanje, prepoznavanje in zavedanje lastnih čustev. Primer vprašanja je npr. “Ko sem vznemirjen/a, si vzamem čas, da bi ugotovil/a, kaj pravzaprav čutim”. 2.3. Postopek Podatke smo zbrali z namenskim vzorčenjem v času od 8. 10. 2020–8. 1. 2021. Spletna anketa je bila posredovana Društvu za sodobni ples, Javnemu skladu za kulturne dejavnosti – oddelek za ples, ansamblu za sodobni ples En Knap, različnim plesnim studiem in šolam, kjer poučujejo sodobni ples, plesni akademiji Alma Mater Europaea – oddelku za sodobni ples, umetniški gimnaziji Ljubljana – plesna smer (sodobni ples) ter različnim osebnim kontaktom, ki se ukvarjajo s sodobnim plesom. V raziskavi je bila zagotovljena anonimnost in prostovoljno sodelovanje udeležencev. Zbrane podatke smo statistično obdelali s programom SPSS. 3 REZULTATI V Tabeli 1 so prikazane povprečne vrednosti za posamezno podlestvico interoceptivnega zavedanja MAIA našega vzorca sodobnih plesalcev v primerjavi z vzorcema tečajnikov in učiteljev “body-mind” tehnik (le-ta se razlikujeta glede na leta izkušenj s temi tehnikami) ter kliničnim vzorcem posameznikov z motnjami hranjenja. 46 Tabela 1. Povprečne vrednosti podlestvic MAIA pri različnih populacijah P T R H O E 1 C Sodobni plesalci Tečajniki in manj E 0 E th (Stepišnik Perdih, izkušeni učitelji BM Izkušeni učitelji BM Motnje hranjenja DI A N Špacapan, 2021) (Mehling idr. 2012) (Mehling idr. 2012) (Brown 2017) N GS N B U MAIA podlestvica M (SD) M (SD) M (SD) M (SD) A OOK L CO Opažanje 4,04 (0,90) 3,79 (0,60) 4,09 (0,54) 3,14 (1,15) W NFITE ne-odvračanje 2,36 (1,28) 3,13 (0,79) 3,28 (0,93) 2,12 (1,18) H R P EN E ne-vznemirjanje 2,39 (1,25) 3,13 (0,88) 3,42 (0,77) 2,39 (1,17) C E E O R R F E regulacija pozornosti 3,74 (1,00) 3,65 (0,68) 3,95 (0,56) 2,33 (1,22) EV UIER čustveno zavedanje 4,10 (1,13) 4,13 (0,68) 4,19 (0,61) 2,88 (1,22) W O ON PE Samoregulacija 3,41 (1,03) 3,79 (0,74) 3,93 (0,72) 2,08 (1,34) 'S S SC CI poslušanje telesa 3,32 (1,21) 3,41 (0,94) 3,60 (0,78) 1,72 (1,35) E IE N N T C I zaupanje telesu 4,15 (1,04) 4,09 (0,75) 4,17 (0,74) 1,73 (1,55) FI ES A C A N Opombe: M – aritmetična sredina; SD – standardni odklon; BM – “body-mind” tehnike N D A D P R Rezultati kažejo, da so plesalci najvišje ocenjevali svoje doživljanje telesa kot varnega in vredneR T OFE S L ga zaupanja, zavedanje povezanosti med telesnimi občutki in čustvenimi stanji ter svojo sposob-E S A S D nost opažanja telesnih občutkov (vse višje kot 4 na lestvici od 0 – nikoli do 5 – vedno). Rezultati na ION ER podlestvicah opažanje, regulacija pozornosti, čustveno zavedanje, poslušanje telesa in zaupanje S A AL C N telesu so primerljivi z rezultati manj izkušenih oz. izkušenih (več kot 5 let izkušenj) učiteljev “body-ON D S mind” tehnik, najbolj očitne razlike pa so na podlestvicah ne-odvračanje in ne-vznemirjanje, kjer se T C R H I O rezultati plesalcev celo približajo populaciji posameznikov z motnjami hranjenja. BU LA T R I Povezanost med razvitostjo interocepcije in zavedanjem lastnih telesnih občutkov in čustev smo ON S IT S 'S A preverjali s Pearsonovim korelacijskim koeficientom (Tabela 2). ON B DOAU Tabela 2. Pearsoovi korelacijski koeficienti med interocepcijo, pomanjkanjem čustvenega zave-N T P CE E danja in zavedanjem telesnih občutkov OPLE: E Pomanjkanje čustvenega zavedanja Zavedanje telesnih občutkov MBR Pearson Correlation -,587** ,690** ACIN Interocepcija Sig. (2-tailed) ,000 ,000 G D IG N 77 77 ITAL T Opombe: N-numerus vzorca; *-statistično pomemben rezultat na nivoju 5% tveganja; **-statistično pomemben R rezultat na nivoju 1% tveganja ANSF Rezultat korelacijske matrike (Tabela 2) kaže, da sta razvitost interocepcije in pomanjkanje čustven-ORM ega zavedanje statistično značilno negativno in srednje močno povezana (r=-0,587**). Udeleženci z AT višjo interocepcijo imajo torej manjše težave z zavedanjem svojih čustev oz. se bolj zavedajo svojih ION čustev ter obratno, udeleženci, ki se bolj zavedajo svojih čustev, imajo višjo interocepcijo. , FOR A S Razvitost interocepcije je tudi statistično pomembno pozitivno in srednje močno povezana (r=0,690**) z zavedanjem lastnih telesnih občutkov. Udeleženci z višjo interocepcijo se bolj zave-USTA dajo svojih telesnih občutkov in obratno, udeleženci, ki se bolj zavedajo svojih telesnih občutkov, INA imajo višjo interocepcijo. BLE A Rezultati korelacij kažejo na trend, da se plesalci z bolj razvito interocepcijo bolj zavedajo svojih ND E čustev in telesnih občutkov. THICAL F 4 RAZPRAVA UTU Raziskava je vključevala 77 plesalcev sodobnega plesa. Večino vzorca so predstavljale ženske (85,7 RE %), kar sicer odraža splošno stanje - v Društvu za sodobni ples Slovenije navajajo, da je bilo leta 2021 registriranih 51 članov, od tega 13 moških (Društvo za sodobni ples Slovenije 2021). Večina udeležencev (76,6 %) se je s plesom ukvarjala pol profesionalno oz. profesionalno, kar pomeni, da jim ples predstavlja poklic ali karierno pot. 47 Plesalci sodobnega plesa se s telesom ukvarjajo na drugačen način kot plesalci, ki so podvrženi strogi formi in tehniki plesa. Njihovi telesni občutki in čustveno doživljanje so pogosto povod za CIJE A LESA plesni material, zato nas je zanimalo, kakšna je interocepcija plesalcev sodobnega plesa ter kako MR ČJE P se razvitost njihove interocepcije povezuje s sposobnostjo zaznavanja telesnih občutkov in zave-SFO O N R danjem čustev? A D R O Interocepcija predstavlja usmerjeno pozornost na notranje dogajanje in zavestno prepoznavo E T A P LN V Z notranjih telesnih občutkov (Mehling idr. 2012, 2). Raziskave kažejo, da imajo umetniki, ki se s ITA KO telesom ukvarjajo neposredno (plesalci, igralci) ali posredno (likovna umetnost, pisanje), boljše IGI D izhodišče za interoceptivno zaznavo (Christensen, Gaigg in Calvo-Merino 2018, 5). Rezultati naše ISPEVR raziskave so pokazali, da je sposobnost plesalcev za zavedanje tako neprijetnih, prijetnih, kot nev-ZZIVI I IH PN tralnih telesnih občutkov (podlestvica opažanje), njihova sposobnost vzdrževanja in nadzorovanja V TIČN KO pozornosti na telesnih občutkih (podlestvica regulacija pozornosti), zavedanje povezave med tele-O E: E snimi občutki in čustvenimi stanji (podlestvica čustveno zavedanje) in vpogled v čustva in občutke R TR s pomočjo telesa (podlestvica poslušanje telesa) ter njihovo doživljanje telesa kot varnega in vred-A G N S EK nega zaupanja (podlestvica zaupanje telesu) primerljiva s tečajniki oz. učitelji “body-mind” tehnik V IH I LO EN (npr. joga, TRE, tai chi, čuječnost ipd.). Še posebej vzpodbudno je, da je opažanje telesnih občutkov A Č STVN in zaupanje telesu pri plesalcih (4,04 oz. 4,15) primerljivo z učitelji s 5 ali več leti poučavanja body-A O / Z N mind tehnik (4,09 oz. 4,17) (Tabela 1). Seveda imajo učitelji za seboj lastno prakso še preden so IH Z postali učitelji, zato lahko lažje primerjamo z našim vzorcem, kjer je 76,6% udeležencev plesalo več ELEŽB N D A kot 11 let, nekateri tudi več kot 20. O U ZIR N Najbolj očitne razlike pa so na podlestvicah ne-odvračanje (posameznik ne ignorira bolečine in DO ECEN R občutkov nelagodja) in ne-vznemirjanje (posameznik ne doživlja čustvene stiske ob pojavu občut-AN IK RN kov nelagodja ali bolečine), kjer so rezultati plesalcev (2,36 oz. 2,39) podobni rezultatom vzorca ED RO posameznikov z motnjami hranjenja (2,12 oz. 2,39) in za skoraj 1 točko odstopajo od udeležencev ZB in učiteljev “body-mind” tehnik (Tabela 1). Profesionalno ukvarjanje s plesom je fizično zahtevna CA Z M EN poklicna pot z visoko prevalenco poškodb (Vassallo idr. 2019, 260). Poškodbe in bolečino plesal-FER ci razumejo kot nekaj, kar jim preprečuje ples ali normalno gibanje (Thomas in Tarr 2009, 51) in NO tako lahko ovira njihovo poklicno udejstvovanje in posledično ogroža njihovo materialno eksist-A K enco, s čimer bi lahko povezali nižji rezultat na podlestvici ne-vznemirjenja ob občutkih nelagodja EN ali bolečine. Anderson and Hanrahan (2008) ugotavljata, da je bolečina, ki jo občutijo poškodovani STVN plesalci, negativno zaznana in lahko povzroči izgubo samozavesti in motivacije ter povečan strah AN in tesnobo. Po drugi strani pa bolečino in nelagodje, ki spremljata te poškodbe, plesalci pogosto 10. Z ignorirajo in še naprej plešejo oz. se po poškodbi prehitro vrnejo na trening (Krasnow, Mainwaring in Kerr 1999; Mainwaring, Krasnow in Kerr 2001; Encarnacion idr. 2000; Hays 2010). V profesion-alnem plesu je namreč močno zakoreninjena kultura skrivanja poškodb (Vassallo idr. 2019, 260), zato ni nenavadno, da so plesalci dosegli nižje vrednosti na podlestvici ne-odvračanja pozornosti od bolečine in občutkov nelagodja. V raziskavi smo ugotovili pozitivno povezanost interocepcije in zavedanja telesnih občutkov. Interocepcija je v marsičem sorodna zavedanju telesnih senzacij, pri čemer slednje vključuje tudi komponento eksterocepcije (Cameron 2001, 699). Tsakiris, Tajadura-Jiménez in Costantini (2011) so z iluzi-jo umetne roke (angl. rubber hand illusion) preučevali, kako interocepcija (merjena z nalogo štetja srčnega utripa) modulira zaznavo telesa in eksterocepcijo. Rezultati so pokazali, da so se osebe z višje izraženo interoceptivno občutljivostjo bolje odrezale, kar pomeni, da so umetno roko manjkrat zamenjali za svojo. Avtorji zaključujejo, da interocepcija do neke mere oblikuje zaznavo telesa in eksterocepcijo ter igra aktivno vlogo pri oblikovanju veččutnih zaznav in njihovi integraciji. Rezultati naše raziskave kažejo tudi, da imajo plesalci z boljšim interoceptivnim zavedanjem manj težav z zavedanjem svojih čustev. Za zavedanje čustev sta potrebna dva pogoja, doživljanje čustev in kognitivna refleksija na to doživljanje (Croyle in Waltz 2002, 437). Damasio (2005, 134) pravi, da predstavlja interoceptivna občutljivost na somatsko oz. telesno komponento čustvenih signalov nujen pogoj za kognitivno in besedno obdelavo čustev. Zamariola idr. (2019, 480) so ugotovili, da kažejo posamezniki z nižje izraženimi interoceptivnimi sposobnostmi več težav v verbaliziran-ju in reguliranju čustev. Kot vidimo, interoceptivno zavedanje ni zgolj orodje za boljše zaznavanje in prepoznavanje čustev, ampak tudi za njihovo uravnavanje. To ni pomembna ugotovitev zgolj za plesalce, ampak tudi za splošno populacijo, še posebej pa za poklice, ki se ukvarjajo s čustvovanjem 48 drugih (psihosocialni svetovalci, psihologi, psihoterapevti ipd.), saj je interocepcijo možno relativno P T enostavno in predvsem učinkovito izboljševati. Iz Avstralije tako prihajajo vzpodbudne informacije, R H O E 1 C da nekatere šole trening interocepcije že vključujejo v svoj kurikulum (Goodall in McAuley 2019). Na E 0 E th D ta način želijo pri otrocih in mladostnikih izboljšati I A N N GS N B UA OOK L C 5 SKLEP O W NF Rezultati raziskave kažejo na trend, da se plesalci z bolj razvito interocepcijo bolj zavedajo svojih IT E H R P E čustev in telesnih občutkov. To ni pomembno le za ustvarjanje in poklicno udejstvovanje sodobN E C E E O nih plesalcev, ampak ne nazadnje tudi za njihovo telesno in duševno zdravje, kar pomeni, da bi R R F EE bilo v razvoju plesalca smiselno namenjati pozornost tudi njegovim interoceptivnim sposobnostim. 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Vzgojitelj vzpod-P R R T OFE S L buja otroka k umetniški dejavnosti, kjer ima pomembno vlogo tudi ples. Opisujemo psihofi-E S A zični razvoj otroka od dojenčka do šolarja z značilnostmi posameznega otrokovega obdobja. S D ION ER Predstavimo pomen in organizacijo interesnih dejavnosti v vrtcu, sodelovanje s starši: pravilen S A AL pristop in komunikacijo, plesne dejavnosti z elementi plesa, učenje in vzgajanje s plesom ter C N ON D S vlogo vzgojitelja pri tem. T C R H I O BU Raziskovalna metodologija. V raziskavi je bila uporabljena kvantitativna metodologija. Po-LA T R datke smo dobili z anketnim vprašalnikom, sestavljenim iz treh sklopov: splošni podatki o ION S IT plesnih dejavnostih, mnenje staršev in vzgojiteljev o obiskovanju minulih plesnih dejavnosti S 'S A ON B ter mnenje o plesni dejavnosti, kot dodatni dejavnosti vrtca. Anketirali smo 104 starše in 48 D O A U vzgojiteljic vrtcev Pomurja. N T P CE EO Rezultati. Rezultati raziskave kažejo, da so starši in tudi njihovi otroci bili zadovoljni s plesom, PLE tudi z organizacijo. Večina plesne dejavnosti se je izvajala kot popoldanska dejavnost vrtca, ples : EM so večinoma starši sami financirali in tudi v prihodnosti so pripravljeni financirati in podpirati BR plesne dejavnosti v vrtcih. Večinoma so ples poučevali plesni učitelji z licenco kot popoldansko ACIN plesno dejavnost posameznega vrtca. V posameznih vrtcih so plesne dejavnosti izvajale tudi G D vzgojiteljice, starši pa so bili v obeh primerih zadovoljni z njihovim delom. Vzgojitelji se zavedajo IGIT pomena kontinuiranega plesnega izobraževanja. AL TR Sklep. Starši in vzgojitelji se zavedajo pomena plesnih dejavnosti v pomurskih vrtcih. Plesne de-AN javnosti morajo biti dostopne vsem otrokom, predlagamo, naj jih financira država, vzgojitelji SFO morajo imeti možnost nadaljnjega formalnega šolanja in stalnega strokovnega izpopolnjevan-RMA ja. Dobrodošlih je tudi več raziskav s področja plesnih dejavnosti, ki bi potrjevale pomen in upo-TIO rabnost plesnih dejavnosti za celoten razvoj otroka. N, FO Ključne besede: otrok, vrtec, plesne dejavnosti, starši, vzgojitelji. R A S USTAINABLE A ND E THICAL FUTURE 51 ABSTRACT CIJE Introduction. Dance in kindergarten is an important factor in the psycho-physical development A LESA M of children. The study is written about dance expression in the preschool period. Dance expres-R ČJE P sion in the preschool period has a significant impact on the holistic development of children in all SFO O N R A D areas: the psychomotor, cognitive and emotional-social. The kindergarten curriculum is the basis for R O the educator‘s work with the objectives and scope of activities in the kindergarten. The educator E T A P LN V Z encourages children to artistic activity, in which dance plays an important role. The paper de-ITA KO scribes the physical and mental development of a child from a baby to a schoolchild, with the IGI D ISPEV characteristics of each child‘s period. It presents the importance and the organization of extra-R ZZIV curricular activities in the kindergarten, cooperation with parents: the right approach and comI I IH PN munication, dance activities with elements of dance, learning and training in the dance and the V TIČN KO role of the teacher in all this. O E: ER TR Research Methodology. The study used quantitative methodology. Data were obtained through A G N S a questionnaire composed of three sections: general data on dance activities, the opinion of par-EKV IH I ents and educators attending the recent dance activities and the views on dance activities, such LO EN as additional activities in the kindergarten. We interviewed 104 parents and 48 kindergarten A Č STVNA teachers in Pomurje. O / Z N Results. Research results show that parents and their children were satisfied with the dancing IH Z ELEŽB N and the organization. The majority of dance activities were carried out as an afternoon activity D A O U ZIR in the kindergarten which were funded by the parents and in the future the parents are willing ND to fund and support the dance activities in kindergartens. Mostly dance was taught by licensed O ECEN RA dance instructors as an afternoon dance activity in each particular kindergarten. In some kin-N IK RN dergartens dance activities were performed by the kindergarten teachers. The parents were ED ROZB satisfied with the work in both cases. Educators are aware of the importance of continuous CA Z M dance education. EN Discussion. Parents and educators are aware of the importance of dance activities in kindergar-FERN tens in Pomurje. Dance activities should be accessible to all children therefore, it is suggested O A K that they should be financed by the government and educators must have the opportunity to EN continue their formal education and life-long professional development. Further research in the STV field of dance activities which would confirm the importance and usefulness of dance activities NAN for the overall development of the child is more than welcome. 10. Z Keywords: child, kindergarten, dance activities, parents, educators 52 1 UVOD P T R H O E 1 Ples vpliva na otrokov celostni razvoj, psihični in fizični, zato nas zanima interes staršev in vzgojite-CE 0 E th ljev za ples kot dodatno dejavnost vrtcev, organizacija plesnih dejavnosti v vrtcih in prepoznavnost DI A N vzgojiteljev za kontinuirano izobraževanje otrok iz plesnih dejavnosti. N GS N B UA V raziskovalni nalogi želimo raziskati ples kot dodatno, popoldansko dejavnost vrtca in mnenje ter OOK L C interes staršev oz. vzgojiteljev za plesne dejavnosti pri delu z otroki v vrtcu. O W NFITE Znano nam je, da plesne dejavnosti pomembno vplivajo na otrokov celosten razvoj, zlasti v predšol-H R P EN skem obdobju, ko otrok hitro napreduje na vseh področjih, zato nas zanima, kakšne izkušnje imajo E C E E O R o plesnih dejavnosti vzgojiteljice in kako si pridobivajo plesno znanje. Zanima nas tudi, kako vzgo-R F E EV jiteljice poučujejo ples v vrtcih, kdaj, koliko časa, katere plese plešejo in druge plesne aktivnosti v U IE R W O praksi pri delu z otroki. ON PE'S S SCCIEIE 2 CILJI RAZISKAVE N N T C IFI ES A Cilji raziskave so predstaviti pomen plesa in plesnih dejavnosti za otrokov psihofizični razvoj, predsta-C A N N viti organizacijske možnosti plesnih dejavnosti v vrtcih, predstaviti interes staršev za ples kot dodat-D A D P R no dejavnost vrtca, predstaviti pomen plesnega izobraževanja vzgojiteljev in predstaviti ples kot R T OFE S L pomembno dejavnost v poučevanju in vzgoji otrok v vrtcih. E S A S D I Raziskovalno vprašanje 1: Kakšna so stališča vzgojiteljev in staršev o pomenu in vrednosti plesnih de-ON ERS A javnosti pri predšolskem otroku? AL C NOND S Raziskovalno vprašanje 2: Kakšen je interes staršev za interesne plesne dejavnosti v vrtcih z organizaT C R H cijskega vidika? I O BU LA T R Raziskovalno vprašanje 3: Imajo vzgojitelji v vrtcih dovolj plesnega znanja za izvajanje plesnih dejavno-ION S IT sti z otroki? S 'S A ON B Raziskovalno vprašanje 4: Ali vzgojitelji prepoznajo pomen plesnega izobraževanja za delo z otroki v D O A U vrtcih na področju plesne umetnosti? (Šumak 2016, 18). N T P CE EOPLE: E 3 RAZISKOVALNA METODOLOGIJA MB Raziskava temelji na kvantitativni metodi raziskovalnega dela. Podatki so zbrani z anketnim vprašal-RAC nikom, sestavljenim iz treh sklopov: splošni podatki o plesnih dejavnostih, mnenje staršev o obisko-ING D vanju minulih plesnih dejavnosti ter mnenje staršev o plesni dejavnosti kot dodatni dejavnosti vrtca. IGI Vzorec je namenski, anketirani so bili starši in vzgojitelji iz petih vrtcev mestnega ter petih vrtcev TAL T podeželskega okolja. V vsakem vrtcu smo anketirali starše 20 otrok in 5 vzgojiteljev. Predvideno RA število: 200 anketiranih staršev in 50 vzgojiteljev. Podatki so obdelani s pomočjo računalniškega NSF programa Microsoft Windows Excel in predstavljeni v obliki tabel (Šumak 2016, 19). ORMA 3.1 Rezultati TION V raziskavi so sodelovali: 104 starši, od tega 84 žensk (81 %) in 20 moških (19 %). Starost sodelujočih , FO staršev v raziskavi : 8 (8 %) staršev od 20 do 29 leta, 75 (72 %) staršev od 30 do 39 leta in 21 (20 %) R A S staršev od 40 do 50 leta. Manj kot 20 let ni bil star noben anketiran starš. Večina staršev je starih med UST 30 in 39 let. Izobrazba: poklicno izobrazbo ima 10 (10 %) staršev, srednjo strokovno 23 (22 %), višjo AIN strokovno 11 (10 %), visoko strokovno 30 (29 %) in univerzitetno izobrazbo 27 (26 %) staršev. Starši ABL z magisterijem so 3 (3 %). Več kot polovica staršev vprašanih otrok ima visoko in univerzitetno izo-E A N brazbo. Starostna struktura otrok: 25 (26 %) staršev ima šestletne otroke, 39 (37 %) petletne otroke, D E 28 (27 %) ima štiriletne otroke, 8 (8%) triletne otroke in 2 (2 %) sta starša otrok starih dve leti. Iz zapi-THI sanega je razvidno, da je večina otrok predšolskih, starih 4, 5 in 6 let. Na podeželju obiskuje vrtec 47 CAL F (45 %) in v mestu 57 (55 %) otrok. V mestu je 10 % več otrok. Informacije o plesni dejavnosti v vrtcu so UT starši prejeli od: v vrtcu je dobilo informacijo 73 (70 %) staršev, v lokalnih medijih 7 (7 %), naključno URE 6 (6 %) in od znancev 9 (8 %). Na vprašanje 3 (3 %) starši niso odgovorili. Starši so dobili največ informacij o plesni dejavnosti v vrtcu. Na vprašanje o obiskovanju otrok plesa kot popoldansko dodatno dejavnost vrtca, je pozitivno odgovorilo 35 (34 %) staršev. Negativno je odgovorilo 67 (64 %) star- šev, kar verjetno pomeni, da njihovi otroci niso nikoli obiskovali plesa kot dodatne dejavnosti vrtca. 53 Drugo sta odgovorila 2 (2 %) starša. Pri poučevanju plesa je 15 (14 %) staršev odgovorilo, da je njihove otroke ples poučeval vzgojitelj vrtca, 49 (47 %) je odgovorilo, da plesni učitelj z izobrazbo, 2 (2 CIJE A LESA %) sta odgovorila drugo. Otroke so večinoma poučevali plesni učitelji s plesno izobrazbo in licenco. MR ČJE P Posamezne plesne dejavnosti, to je v 14 %, so izvajale tudi vzgojiteljice vrtca. Plesne dejavnosti je SFO O N R financiral vrtec, je odgovorilo 10 (10 %) staršev, 53 (51 %) staršev je odgovorilo, da so ples financirali A D R O sami, občina ni nič financirala, tudi pod drugo ni bilo odgovorov. Na vprašanje ni odgovorilo 41 (39 E T A P %) staršev. Ples so v večini financirali starši (Šumak 2016, 20 – 28). LN V Z ITA KO IG Tabela 1: Mnenje staršev o popoldanski plesni dejavnosti vrtca I D ISPEVR ZZIV niti se I I IH PN sploh ne strinjam / v celoti V TIČN se ne strinjam niti se ne strinjam se KOO Izvedena popoldanska strinjam se strinjam se strinjam Niso E: ER TR plesna dejavnost 1 2 3 4 5 odgovorili N % A G N S EK 1 Otrok je rad obiskoval ples. 3 0 4 13 44 36 104 100 V IH I LO EN 2 Otrok želi nadaljevati s plesom. 0 2 9 23 32 34 104 100 A Č STVNA 3 Najrajši pleše otroške plese in O / Z N sodobne plese. 2 1 12 22 36 27 104 100 IH Z ELEŽB N 4 Najrajši pleše folklorne in družabne plese. 8 13 20 25 5 29 104 100 D A O U ZIR 5 Ples je bil dobro organiziran. 0 0 8 25 33 34 104 100 NDO ECEN 6 Prostorski pogoji so bili zadovoljivi. 2 1 4 24 33 36 104 100 RAN IK R 7 Poskrbljeno je bilo za varnost otrok. 2 1 3 16 42 36 104 100 N ED RO 8 Sodelovanje s starši je bilo dobro. 2 6 11 21 24 38 104 100 ZB CA Z M 9 Na zaključni prireditvi so otroci skupinsko EN pokazali pridobljeno plesno znanje. 0 0 2 8 52 38 104 100 FERN 10 Plesne dejavnosti dobro vpliva na O počutje otroka. 1 1 0 9 55 34 104 100 A K EN N = število anketiranih (Vir: Šumak 2016, 29) STVNAN Tabela 2: Mnenje staršev o plesu kot dejavnosti vrtca 10. Z niti se sploh ne strinjam / v celoti se ne strinjam niti se ne strinjam se TRDITEV strinjam se strinjam se strinjam Niso Mnenje staršev o plesu kot dejavnosti vrtca. 1 2 3 4 5 odgovorili N % 1 Ples dobro vpliva na otrokov fizični razvoj in motoriko. 1 0 1 15 72 11 104 100 2 Ples dobro vpliva na otrokov duševni razvoj. 1 0 4 15 69 11 104 100 3 Plesne dejavnosti morajo financirati starši. 10 13 42 12 11 12 104 100 4 Plesne dejavnosti mora financirati država. 8 8 33 16 24 12 104 100 5 Vrtec mora ponuditi staršem in otrokom ples kot dodatno popoldansko 3 30 31 19 12 104 100 (prostovoljno) dejavnost. 6 Otroke naj poučuje vzgojitelj s plesnim znanjem. 0 14 28 43 12 104 100 7 Popoldanska plesna dejavnost naj bo v zgodnjih popoldanskih urah. 4 5 11 23 45 12 104 100 8 Popoldanska plesna dejavnost naj bo v večernih urah (od 18 do 20 ure). 50 20 9 4 3 16 14 100 N = število anketiranih (Vir: Šumak 2016, 30) 54 Starši so odgovarjali o popoldanski plesni dejavnosti naslednje: več kot polovica jih je odgovorila, P T da so otroci radi obiskovali ples; prav tako je več kot polovica odgovorila, da s plesom želijo nadal-R H O E 1 C jevati; ples je bil dobro organiziran; prostorski pogoji so bili zadovoljivi; sodelovanje s starši je bilo E 0 E th D dobro; za varnost otrok je bilo zelo dobro poskrbljeno; skoraj vsi se strinjajo, da so otroci na skupni I A N N GS N zaključni prireditvi pokazali dobro plesno znanje, zelo radi plešejo otroške, sodobne in nekoliko B UA OOK manj folklorne in družabne plese. L CO WN Večina staršev je odgovorila, da plesne dejavnosti dobro vplivajo na počutje njihovega otroka. V F IT E H R celoti so se strinjali, da ples dobro vpliva na otrokov fizični in duševni razvoj. Polovica vprašanih P EN E C staršev je mnenja, da mora vrtec ponuditi otrokom ples kot dodatno popoldansko prostovoljno de-E E O R R javnost. Večina staršev meni, da naj otroke poučuje vzgojitelj s plesnim znanjem. Plesne dejavnosti F E EV UI se naj organizirajo v zgodnjih popoldanskih urah. Večerne ure se večini vprašanih ne zdijo primerne E R W O za popoldansko prostovoljno plesno dejavnost vrtca. Plesnih dejavnosti naj financira država. Starši ON PE'S S SC so zainteresirani za plesne dejavnosti svojih otrok v vrtcu, zato so jih pripravljeni tudi sami financirati C IE IE (Šumak 2016, 31–37). N N T C IFI ES A C Tabela 3: Mnenje vzgojiteljev o plesni dejavnosti otrok in vrtca A N N D A D P R niti se R T OFE S L sploh ne strinjam/ v celoti E S A se ne strinjam niti se ne strinjam se S D ION E strinjam se strinjam se strinjam RS A A Mnenje vzgojiteljev o plesni dejavnosti 1 2 3 4 5 N % L C N ON D S 1 Ples dobro vpliva na otrokov fizični razvoj T C in motoriko. 0 2 0 15 83 48 100 R H I O BU LA 2 Ples dobro vpliva na otrokovo počutje 0 2 0 15 83 48 100 T R ION S IT 3 Ples dobro vpliva na otrokov duševni razvoj. 0 0 8 23 69 48 100 S 'S A ON B 4 V vrtcu izvajamo plesne dejavnosti v D O A U sklopu kurikula. 0 4 4 44 44 48 100 N T P CE EO 5 Vsak vrtec bi moral imeti možnost dodatnih PL plesnih dejavnosti 2 6 27 42 23 48 100 E: EM 6 Vzgojitelj mora imeti dobro plesno znanje. 0 4 25 46 25 48 100 BRA 7 Pomembno je kontinuirano izobraževanje o CIN plesu in plesnih dejavnostih. 0 0 19 69 12 48 100 G D I 8 Vzgojitelji imamo dovolj možnosti za GIT izobraževanje na plesnem področju. 2 4 21 54 19 48 100 AL TR N = število anketiranih (Vir: Šumak 2016, 38) ANSF Vse vzgojiteljice, 48 (100 %) so ženskega spola. V starosti od 20 do 29 let je sodelovalo 6 (12 %) ORM vzgojiteljic. V starosti od 30 do 39 let je sodelovalo 18 (38 %) vzgojiteljic. V starosti od 40 do 49 je AT sodelovalo 16 (33 %) vzgojiteljic. Nad 50 let je sodelovalo 8 (17 %) vzgojiteljic. Manj kot 20 let ni ION bila stara nobena vzgojiteljica. Največ vzgojiteljic je starih od 30 do 49 let. Po našem mnenju so to , FOR A S vzgojiteljice z bogatim znanjem in praktičnimi izkušnjami v vrtcih. U Otroci so stari od 1 do 6 let, od dojenčka do konca predšolskega obdobja, zastopani v vseh starostnih STA skupinah. Na podeželju je zaposlenih 26 (54 %) vprašanih vzgojiteljic, v mestu pa 22 (46 %) vzgojite-INA ljic. Večji delež vprašanih je iz podeželja, to je 9 % več kot v vrtcih v mestu. Plesna dejavnost se izvaja BLE A eno uro na 7 dni, je odgovorilo 40 (83 %) vzgojiteljic; eno uro na 14 dni, je odgovorilo 6 (13 %); eno N uro na mesec, sta odgovorili 2 (4 %) vzgojiteljici. Večina plesnih dejavnosti se je izvajala tedensko, D E T eno šolsko uro skozi celo šolsko leto. Smo mnenja, da je omenjeno število plesnih ur premalo za HIC predšolske otroke. Ples je potrebno vključevati v različne oblike dela z otroki. Vzgojiteljice izvajajo z AL F otroki otroške plese, je odgovorilo 22 (46 %) vzgojiteljic. Otroške in folklorne plese, je odgovorilo 17 UTU (36 %) vzgojiteljic. Otroške in sodobne plese, so odgovorile 4 (8 %) vzgojiteljice. Otroške, sodobne RE in folklorne plese, so odgovorile 4 (8 %) vzgojiteljice. Otroške, folklorne in druge, je odgovorila 1 (2 %) vzgojiteljica. Vprašane vzgojiteljice odgovarjajo, da otroci zelo radi plešejo tako otroške kot folklorne plese, sodobne nekoliko manj. 55 Naše mnenje je, da verjetno imajo vzgojiteljice premalo oz. nezadostna znanja iz sodobnih plesnih dejavnosti, zato se ne odločajo pogosto za omenjene plesne aktivnosti. 36 (75 %) vzgoji-CIJE A LESA teljic je odgovorilo, da imajo v sklopu vrtca organiziran ples kot dodatno plesno dejavnost; 8 (17 MR ČJE P %) vzgojiteljic je odgovorilo, da nimajo organizirane dodatne plesne dejavnosti; 4 (8 %) vzgojite-SFO O N R ljic je odgovorilo z drugo. Večina vrtcev ima organizirane plesne dejavnosti, kar je velika dodatna A D R O vrednost za otroke. Večina vprašanih vzgojiteljic (98 %) jih meni, da ples dobro vpliva na otrokov E T A P fizični razvoj in motoriko ter s tem tudi na otrokovo počutje. Prav tako jih večina (88 %) odgovarja, LN V Z ITA KO da v vrtcu izvajajo plesne dejavnosti v sklopu kurikula, 8 % vzgojiteljic se z odgovorom ne strinja. IG Prav tako jih večina odgovarja, da mora vsak vrtec imeti možnost dodatnih plesnih dejavnosti (65 I D ISPEVR %). Posamezne vzgojiteljice (8 %) se s tem ne strinjajo. ZZIVI I IH PN Negativni odgovori posameznih vzgojiteljic so težko sprejemljivi in razumljivi, saj je splošno znaV TIČN KO no, da so plesne dejavnosti zelo pomembne za otrokov razvoj in so zato del kurikula in aktivnosti O E: E v vrtcih. Prav tako večina vzgojiteljic (71 %) meni, da vzgojitelj mora imeti dobro plesno znanje, R TR ki si ga pridobi s kontinuiranim izobraževanjem. Posamezne vzgojiteljice, (4 %), odgovarjajo, da A G N S EK vzgojitelj ne potrebuje plesnega znanja. Negativni odgovori posameznih vzgojiteljic prav tako niso V IH I LO EN združljivi s kurikulum in opravljanjem poklica vzgojitelja. A Č STVN Na vprašanje glede možnosti za izobraževanje na plesnem področju, odgovarja večina vzgojitelji A O / Z N pozitivno, da imajo možnosti izobraževanja. Le dve (6 %) se ne strinjata, menita, da nimata skoraj IH Z nobenih možnosti za plesno izobraževanje. Vzgojitelji imajo dovolj možnosti za izobraževanje na ELEŽB N D A plesnem področju, pozitivno odgovarja 73 % vprašanih vzgojiteljic. Iz navedenega sklepamo, da O U ZIR N imajo možnost izobraževanja, le posamezne vzgojiteljice teh možnosti nimajo (Šumak 2016 ). DO ECEN RAN IK RN 4 RAZPRAVA ED ROZB Raziskovalno vprašanje 1: Kakšna so stališča vzgojiteljev in staršev o pomenu in vrednosti plesnih de-CA Z M javnosti pri predšolskem otroku? EN FER Vzgojiteljice se zelo dobro zavedajo pomena plesa in plesnih dejavnosti v razvoju otroka. To potrjuje NO s pozitivnimi odgovori večina vprašanih vzgojiteljic. Njihovi odgovori potrjujejo zapisane trditve, da A K ples dobro vpliva na otrokov psihični, fizični razvoj in počutje, predvsem v predšolskem obdobju. EN Starši potrjujejo, da je ples zelo pomemben za otrokov fizični in psihični razvoj. Menijo, da ples STVNA ugodno deluje na počutje in tudi motoriko njihovih predšolskih otrok. Prav tako jih večina meni, da N želijo, da se plesne dejavnosti nadaljujejo (Šumak 2016, 39). 10. Z Raziskovalno vprašanje 2: Kakšen je interes staršev za interesne plesne dejavnosti v vrtcih z organiza-cijskega vidika? Z raziskavo potrjujemo, da imajo starši velik interes za plesne dejavnosti v vrtcih. Želijo, da vrtci op-ravljajo plesne dejavnosti tudi v dopoldanskem času. Kurikulum za vrtce vsebuje cilje in načela za posamezna področja dela s predšolskimi otroki v vrtcih. Pomembno vlogo daje gibanju in plesnim dejavnostim, ki jih izvajajo vzgojitelji. Starši pa so pripravljeni svoje otroke pripeljati na plesne dejavnosti tudi popoldan, predvsem v zgodnjih popoldanskih urah. Starši menijo, da mora plesne dejavnosti financirati država. Interes staršev za ples pa je tako velik, da so posamezniki plesne dejavnosti pripravljeni tudi sami financirati. Vprašani starši v raziskavi potrjujejo, da so bili z organizacijo in s prostorskimi zmogljivosti vrtca zadovoljni, prav tako z varnostjo otrok, zato obstoječi pogoji in zmogljivosti vrtcev ustrezajo nadaljnjim plesnim dejavnostim. Za starše je pomembno, da njihove otroke poučuje učitelj s plesnim znanjem, ne opredelijo se niti za vzgojitelja, niti za plesnega učitelja z licenco. Potrjuje se pravilo, da je za starše pomembno, da so otroci zadovoljni, da se dobro počutijo ob dejavnosti, da radi plešejo in da imajo učitelji plesa do otrok ustrezen in primeren odnos in ravnanje (Šumak 2016, 40). Raziskovalno vprašanje 3: Imajo vzgojitelji v vrtcih dovolj plesnega znanja za izvajanje plesnih dejavnosti z otroki? Vzgojitelji se zavedajo, da morajo imeti dobro plesno znanje, ki ga dosežejo s stalnim izobraževanjem in spremljanjem novosti. Nekaj staršev je odgovorilo, da so izvajale v posameznih vrtcih plesne dejavnosti in učile ples tudi vzgojiteljice in da so bili z delom zadovoljni. Podatek o pomembnosti plesnega znanja je razveseljiv, postavlja pa se nam vprašanje, koliko se dejansko učitelji udeležuje-56 jo seminarjev in različnih delavnic o plesu, kdo jih poučuje, gre le za predstavitev plesa ali dejansko P T za pridobitev znanja iz plesnih vsebin z vsemi didaktičnimi in pedagoškimi pristopi in metodami. R H O E 1 C Vzgojiteljevo znanje plesa ne smatramo le kot poznavanje in učenje nekih že znanih plesov in ritu-E 0 E th D alov. Pomembno je, da učitelj pozna vsebine plesa, ob tem pa pušča otroku ustvarjalnost. Raziskave I A N N GS N o plesnih dejavnostih v Sloveniji, ki jih opisuje strokovnjaki v različnih strokovnih člankih potrjujejo, B UA OOK da vzgojitelji gledajo na plesne dejavnosti preveč enostransko, da ne upoštevajo ustvarjalnosti po-L CO sameznega otroka in ob tem pogosto pozabljajo na evalvacijo, ki je pomemben del pedagoškega W NFITE procesa (Šumak 2016, 38 - 41). H R P EN E C Raziskovalno vprašanje 4: Ali vzgojitelji prepoznajo pomen plesnega izobraževanja za delo z otroki v E E O R R vrtcih na področju plesne umetnosti? F E EV UIER Vzgojitelji prepoznajo pomen plesnega izobraževanja za delo z otroki v vrtcih, saj menijo, da je pot-W O ON P rebno vključiti ples v delo z otroki. Večina jih že vključuje ples v svoje delo v okviru obveznega kuri-E'S S SC kula, prav tako pa v večini podpirajo ples kot dodatno dejavnost vrtca. C IE IE N N Razveseljiv je tudi podatek, da imajo dovolj možnosti za izobraževanje na plesnem področ- T C IFI ES A ju. Pomembno je, da vzgojitelji imajo interes za pridobivanje in utrjevanje plesnega znanja, ki C A N N D A ga lahko pridobijo na kvalitetnih plesnih seminarjih, konferencah, delavnicah v okviru stalneD P R ga strokovnega izpopolnjevanja in drugih plesnih izobraževanjih, ki jih organizirajo in izvajajo R T OFE S L strokovnjaki predvsem pedagoških fakultet, Javnega sklada Republike Slovenije in drugi (Šumak E S A S D 2016, 41). ION ERS AAL CNOND S 5 ZAKLJUČEK T C R H Ples je eden od pomembnih dejavnikov psihofizičnega razvoja otroka v predšolskem obdobju. Otro-I O BU LA T R ci v tem obdobju preživijo večinoma do osem ur v vrtcih, posamezni otroci celo več časa, saj so starši ION S IT obremenjeni z vsakdanjim delom v službi. S 'S A ON B V vrtcih je plesna dejavnost sestavni del programa in obvezni del kurikuluma, kar pomeni, da se v D O A U praksi, v vrtcih, pogosto izvajajo plesne dejavnosti. To ugotavljajo tudi vzgojitelji in starši otrok v N T P CE E pomurskih vrtcih, saj večini pomeni ples pomembno vrednost za otrokovo počutje in razvoj. OPLE Zagorc idr. (2013) navajajo, da učenje otroka na predšolski stopnji poteka skozi zavedanja telesa, : EM saj otroci sprejemajo vse zunanje dražljaje in signale najprej telesno, šele kasneje razumsko. Zaradi BRA telesnega razvoja se otrok postopoma zave svojega jaza, razvije odnose z drugimi in gradi nadaljnje CIN znanje. Umsko in čustveno življenje je tesno povezano z otrokovim razvojem. Staršem plesne dejav-G D nosti veliko pomenijo, posebej če so organizirane v sklopu vrtca, saj je tako poskrbljeno za vse, kar IGIT otrok potrebuje v času varstva. AL TR Ples je zanje nekaj lepega, pozitivnega, ples jih veže tudi na lepe spomine in zato to izkušnjo želijo AN svojim otrokom. Starši so bili večinoma z organizacijo, z učitelji plesa in prostorom, časom, pridobl-SFO jenim znanjem, zadovoljstvom otrok, povsem zadovoljni. RMAT Na ples so pripravljeni pripeljati svojega otroka tudi v popoldanskem času. Geršak in Lenard (2012) ION ugotavljata, da je potrebno cilje plesno-gibalnih dejavnosti v predšolskem obdobju natančno dolo- , FO čiti in poiskati orodja za njihovo evalviranje. R A S V vrtcih, kadar gre za plesne dejavnosti, so posamezni učitelji zadovoljni že s tem, da so otroci kre-UST ativni, da uživajo v plesu, spet drugi izvajajo natančne koreografije, predvsem v predstavitvah, na-AIN menjenim staršem in drugim gledalcem. Otroci so orodje v rokah vzgojitelja. Potrebno je slediti ABL omenjenim, zapisanim ciljem slovenskih pedagogov in plesnih strokovnjakov in to tako, da bodo E A N vzgojitelji v vrtcih sledili omenjenim ciljem. D E T Sami se profesionalno ukvarjamo s plesom, zaključujemo študij predšolske vzgoje in pri aktivnem HIC delu v vrtcih spoznavamo, da so vzgojitelji predani svojemu delu, v plesni kreativnosti pa žal pogos-AL F to otrokom ne dopuščajo dovolj svobode in lastnega ustvarjanja. Ples pogosto prepustijo učiteljem UTU plesnih šol, z razlago, da sami nimajo plesnih znanj. RE Posamezniki menijo, da vzgojitelji znanja ne potrebujejo. Kot narekujejo strokovnjaki, je združiti plesno znanje s pedagoškim, gotovo velik izziv, za kar so potrebna dodatna znanja. Poleg seminarjev in različnih konferenc je potrebno tudi formalno izobraževanje – na primer magistrski študijski program plesnih dejavnosti, ki bi nudil možnost vpeljave vmesnega modela plesne pedagogike. 57 Povečati je potrebno tudi raziskave s plesnih področij in dejavnosti, saj je v primerjavi z drugimi, predvsem pedagoškimi področji, to še dokaj neraziskano. Tudi to nam potrjuje, da bo potrebno po-CIJE A LESA skrbeti za plesno izobraževanje plesnih in pedagoških strokovnjakov, tako formalno kot neformal-MR ČJE P no (Šumak 2016, 42–43). SFO O N R A D R O 6 LITERATURA E T A P LN V Z 1. Bahovec, Eva D. idr. 1999. Kurikulum za vrtce: predšolska vzgoja v vrtcih. Ljubljana: Ministrstvo ITA KO IG za šolstvo in šport, Urad Republike Slovenije za šolstvo. I D ISPEVR 2. Geršak, Vesna. 2007. Pomen poučevanja in učenja s plesno-gibalnimi dejavnostmi v vrtcu in ZZIV osnovni šoli. Sodobna pedagogika (3), 128–143. I I IH PNV 3. Geršak, Vesna & Lenard, Vid. 2012. Vmesni model za izvajanje plesne umetnosti v vrtcu. Revija za TIČN KOO elementarno izobraževanje, letnik 5, številka 2/3, str. 91–106. E: ER TR 4. Hoyer, Silvestra. 1991. Zdravstvena nega pediatričnega varovanca. Ljubljana: Višja šola za zdra-A G N S vstvene delavce. EKV IH I LO EN 5. Šumak, Blaž. 2016. Ples v vrtcu – pomemben dejavnik psihofizičnega razvoja otroka. Diplom-A Č STV sko delo . Koper: Univerza na Primorskem. Pedagoška fakulteta. NA O / Z N 6. Videmšek, Mateja & Pišot, Rado. 2007. Šport za najmlajše. Univerza v Ljubljani, Fakulteta za šport, IH Z Inštitut za šport. ELEŽB N D A 7. Zagorc, Meta. 2006. Ples-ustvarjanje z gibom in ritmom. Ljubljana: Fakulteta za šport, Inštitut za šport. O U ZIR N 8. Zagorc, Meta idr. 2013. Ples v vrtcu. Ljubljana: Zavod Republike Slovenije za šolstvo. Zorec, Jelka. DO ECEN 2009. Zdravstvena nega zdravega in bolnega otroka. Maribor: Založba Pivec. RAN IK RNEDROZB CA Z M EN FERNO A K EN STVNAN 10. Z 58 FILMSKI REŽISER IN PLESALEC V PLESNEM FILMU P T R H O E 1 C FILM DIRECTOR AND DANCER IN DANCE FILM E 0 E th DI A N N GS N Doc. dr. Uroš Zavodnik B UA OOK L CO WNFITE POVZETEK H R P EN E C Filmski režiser je pri svojem ustvarjanju podvržen dramaturgiji filmske zgodbe ter oblikovanju E E O R R likov, skozi katere vstopa v interakcijo z gledalcem, katerega vpogled v umetnost, kot je prime-F E EV UI roma plesna umetnost, je precej drugačen kot pogled plesalca, ki ga režiser postavi pred filmsko E R W O ON P kamero skupaj s koreografom ter vso svojo širšo filmsko ekipo. Zato zlahka prihaja do diskre-E'S S SC pance med pričakovanji in predstavami plesalca ter režiserja, kako upodobiti filmski lik plesalca C IE IE ter ga umestiti v dramaturško oziroma žanrsko okolje celovečernega plesnega filma. V danem N N T C I trenutku, ko digitalizacija omogoča ‚produkcijo‘ tudi na strani plesalcev, ne samo za potrebe sa-FI ES A C A mopredstavitev za ‚digitalne avdicije‘ v današnjem covid času, temveč tudi za potrebe kratkih N N D A D plesnih filmov, ki se predstavljajo na različnih digitalnih platformah, smo morda na točki preP R R T OFE S L loma, ko bo plesalec na filmu manj podvržen dramaturškim zahtevam filmske umetnosti, ki v E svojem izhodišču kot sedma umetnost združuje vse ostale umetnosti, tudi plesno umetnost, in S A S D ION E bo v ospredje prešla bolj realistična podoba plesalca kot lika igranega plesnega žanra. RS A AL Ključne besede: filmska umetnost, režiser, plesalec, plesni film. C N ON D S T C R H I O BU L ABSTRACT A T R ION S I A film director, when he directs, is subordinated to the dramaturgy of narration, as well as to T S 'S A ON the creation of characters, through which he tries to interact with the spectator. The spectator’s B D O viewpoint regarding the art, especially dance art, is certainly different from the viewpoint of the A U N T P dancer, whom the film director puts in front of the film camera together with the choreographer CE EOP and his entire film crew. That is why there is a discrepancy between the expectations and visions LE: E of the dancer and the film director in how to create the character of the dancer for the genre of a MB feature dance film and place it in a dramaturgical, i.e. genre environment of a full-length movie. RA In this particular time, when digitalisation enables “production” by the dancer not only for the CIN requirements of self-promotion for “digital auditions” in time of Covid, but also for short dance G D I films that are presented on diverse digital film/video platforms, we might be at a turning point GITA when the dancer on film might be less subjected to dramaturgical demands of film art that in its L TR origin as the seventh art, unites all other arts, including dance art, and results in a more realistic AN representation of the dancer as a character in a feature dance film. SFOR Key words: film art, film director, dancer, dance film. MATION, FOR A S USTAINABLE A ND E THICAL FUTURE 59 1 UVOD CIJE Filmska umetnost kot »sedma umetnost« združuje vse ostale umetnosti, tudi plesno umetnost. A LESA M Ustvarjanje filmske iluzije (igrani film) je kompleksno, še posebej, žanrsko gledano, ker skozi doga-R ČJE P janje na filmskem platnu vstopamo v zgolj na videz resnične svetove, saj jih, tudi če gre za znanstve-SFO O N R A D no fantastiko (Sci-Fi), vselej prodajamo kot resnične, znotraj katerih se gledalec lahko poistoveti R O E T A P z insceniranimi liki in tudi sam postane del filmske zgodbe, ki se mu vsekakor zdi resnična. Sub-LN V Z verzija kinematografa1, ko se ugasne luč v kinodvorani in se gledalec znajde sam z insceniranimi ITA KO liki na filmskem platnu, je namreč tako močna, da iz podzavesti gledalca »krade« slike njegovega IGI D ISPEV življenja, ki jih ta anticipira, jih adaptira inscenirane na filmskem platnu, znotraj inscenirane zgodbe, R ZZIV ki gledalcu tako vse bolj postaja »njemu lastna«, kot bi imel opravka z iztrganimi deli iz svojega, I I IH PN lastnega življenja, pri čemer na like na platnu »lepi« like iz svoje podzavesti, s katerimi je v danih V TIČN KO situacijah resnično integriral in jim ima ali jim je imel še kaj povedati, bi z njimi morebiti moral celo O E: ER TR »poravnati« nesoglasja ali kaj podobnega – lahko gre tudi za nikoli izpovedane zgodbe iz njegove-A G N S ga življenja do njemu lastnih likov, ki so tako ali drugače oblikovali ali še vedno sooblikujejo nje-EKV IH I govo življenje. Ko je pred kinematografskim platnom, na katerem svetloba izrisuje podobe, ujete LO EN v neke inscenirane zgodbe, postane izzvan, da sam sebi izpove, kar nikoli ni zares storil v svojem A Č STVN resničnem življenju. Subverzija je neizmerna. A O / Z N Podobno kot pri gledalcu se lahko dogaja tudi v podzavesti režiserja ali plesalca, ko na primer gre IH Z ELEŽB N za žanrsko gledano plesni film, ko eden ali drugi zre v filmsko platno in inscenirano dogajanje vza-D A me za sebi lastno ter v njem išče podobnosti ali razhajanja, ki niso njemu lastna, kot so na primer O U ZIR ND lastna insceniranemu liku znotraj inscenirane filmske zgodbe na filmskem platnu. Se bo, še posebej O ECEN R plesalec, prepustil dogajanju, bo dopustil, da gre za »življenjsko zgodbo« insceniranega lika, ali bo, AN IK RN ker pri filmu, z ozirom na splošno prepričanje gre za insceniranje resničnosti, vztrajal, da je v resnič- ED RO nosti, na primer plesalca-gledalca, vendarle drugače, kot je le-to zaradi dramaturških in vseh drugih ZB CA Z M produkcijsko-tehničnih ter producentskih zahtev, ki jih filmska industrija pogojuje od režiserja, ta EN insceniral na filmskem platnu. FERN Filmska umetnost se je rodila s prvo kinematografsko predstavo bratov Lumièr, ki je bila organizira-O na v Parizu v letu 18952. Sprva kot atrakcija, ki jo je pred »pogubo« rešil Georges Méliès3, ki je kamero A K EN postavil v parter svojega iluzionističnega gledališča in z njo začel pripovedovati inscenirane zgodbe STV na svojem gledališkem odru. Pravzaprav je hkrati z iznajdbo kinematografa, torej še pred pripove-NA dovanjem zgodb s posnetim gledališkim dogajanjem v gledališču Georgesa Mélièsa, postalo tudi N jasno, saj nenazadnje gre za iznajdbo gibljivih slik, da se lahko medsebojno oplajata film in ples 10. Z (gibanje) in so se zato plesalci že zelo zgodaj pojavili pred filmsko kamero4. Plesalci s filmsko umetnostjo živijo že od njenega rojstva, ali obratno. Ekspresija gibanja, ki ga ples odslikava v vsej svoji izrazni moči, vključno z emotivnim potencialom, ki se skriva v njem, je namreč za filmski svet, vsaj v začetkih filmske umetnosti, v popolnosti odslikaval bistvo tehnološkega izuma kinematografa, gibljivih slik, s čimer, produkcijsko-tehničnimi omejitvami in izumi, sedma umetnost še vedno nujno koeksistira. 1 „I am rather surprised whenever I hear people chatter on about poetry in cinematography, the fantastic in cinematography and, particularly, ‘escapism’, a fashionable term which implies that the audience is trying to get out of itself, while in fact beauty in all its forms drives us back into ourselves and obliges us to find in our own souls the deep enrichment that frivolous people are determined to seek elsewhere” (Cocteau 1992, 39). 2 Am 28. Dezember 1895 fand die erste öffentliche Filmvorführung der Brüder Lumière unter dem Namen Cinématographe Lumère am Pariser Boulevard des Capucines, in Souterrain des Grand Café, statt, wo sie eine Varieté-Attraktion in der Tradition der Café-concerts war (Zavodnik 2006, 13; Sadoul 1982). 3 Illusionist Georges Méliès wurde Inhaber und künstlerischer Direktor des Théâtre Robert Houdin (Toeplitz 1992, 22). 4 There are of course numerous short dance films among the earliest moving pictures, made between 1894 and 1910, featuring solo dancers mainly from vaudeville and burlesque including Karina (1902, American Mutoscope and Biograph Co.), Betsey Ross Dance (1903, American Mutoscope and Biograph Co.), and Little Lillian Toe Dancer (1903, American Mutoscope and Biograph Co.). Dance was also included in the earliest narrative feature films such as Ruth St. Denis‘s work in Intolerance (1916, d. D.W.Griffiths)” (Brannigan 2011, 19). 60 2 FILMSKI REŽISER, FILMSKA REŽIJA P T R H O E 1 Kinematografska umetnost je v svoji izhodiščni konstelaciji, ustvarjanju filmske slike, avtorsko delo CE 0 E th režiserja, ki okoli sebe zbere široki team ostalih avtorjev, ki na njegov filmski set prihajajo iz različ- DI A N nih umetniških področij in ki sledijo njegovi viziji, domišljiji, ki jo skupaj postavijo v točno določeno N GS N B U prostorsko in časovno dimenzijo, ki jo gledalec na koncu A OOK L C interpretira kot neko svojo, » drugo realnost«, če na primer sledimo velikemu režiserju, Andreju TarO W NFI kovskemu – „ Cinema is the one art form where the author can see himself as the creator of an unconditi-T E H R P E onal reality, quite literally of his own world. In cinema man’s innate drive to self-assertion finds one of its N E C E E O R fullest and most direct means of realization. A film is an emotional reality, and that is how the audience R F E E receives it – as a ‘second reality’” (Tarkovsky 1987, 176). Gre za ustvarjalno igro, znotraj katere se V U IE R gledalec niti ne zaveda, v kakšnem položaju dejansko je, saj le-to premeteno inscenira režiser, ki W O ON PE ga napeto drži v toku insceniranega dogajanja, ga ‘veže’ na inscenirano dogajanje, še preden se ta 'S S SC C sploh zaveda, kje je in kaj sploh hoče ali želi – „ The director’s prime directive is to capture and control IE IE N N the mind and spirit of the audience. The director has to give the audience members what they want, even T C IFI ES A before they know they want it” (Richards 1992, 9). C A N N D A Ob tem, ko se režiser lahko gre precej premeteno igro z gledalcem in hkrati ostaja zvest svoji av-D P RRT torski viziji, ko inscenira, kreira mizansceno, režira film, ki ga bo konec koncev pokazal širši kine-OFE S LE matografski publiki, se samo po sebi zastavi vprašanje, kaj sploh je film, pri čemer bi se zagotovo S A S D I želeli soočiti z esenco njegovega pojmovanja, razumevanja. Verjetno slednje v svoji esenci najbolje ON ERS AA odraža scena z ameriškem režiserjem Samuelom Fullerjem v filmu Jean Luck Godarda Pierrot le fou L C N ( Nori Pierrot) iz leta 1965, ko Samuel Fuller na vprašanje igralca v filmu, Jean-Paul Belmonda, kaj ON D S T C natančno je film, slednje artikulira na precej eksistencialen, vsem razumljiv in dostopen način: „ Film R H I O BU L is like a battleground. Love, hate, action, violence, death. In one word emotions. “5 A T R ION S I Igramo se z emocijami, insceniranih likov in tistih, gledalčevih. Bolj ko smo v sedanjosti in gremo v T S 'S A ON prihodnost, bolj se filmska industrija, filmski studii zavedajo, kako pomembna je igra z gledalcem, B D O saj se kulturno dobro filmske umetnosti vselej prepleta tudi z dobičkom, ki v posledici omogoča A U N T P produkcijo novih filmskih stvaritev. Franšiza, ki jo na primer poganja Marvelovski domišljijski svet CE EOP oz. njegovi junaki, superjunaki (Iron Man, Black Panther,…), je ena takih filmskih zgodb, kjer se liki LE: E prepletajo med različnimi filmskimi spektakli in tako skupaj generirajo enormni prihodek studijev6, MB še posebej ker niso ujeti v ponavljajoče se narativne vzorce, temveč gledalcem vedno znova skušajo RA ponuditi svežino, jih skušajo presenetiti v pričakovanjih, kaj jim superjunaki smejo ali lahko ponu-CING D dijo, oziroma kot pravi Kevin Feige7, ki vodi Marvel Studios – ”We try to keep audiences coming back I in greater numbers by doing the unexpected and not simply following a patter or a mold or a formula” GITA (Harrison, Carlsen, Škerlavaj 2019, 4–5). Kaj je lahko Marvelov film, ponuja odgovor Ty Burr, filmski L TR kritik pri Boston Globe, ki pravi – ”The movie doesn‘t reinvent the superhero genre so much as reclaim AN and reenergize it – archetypes, clichés, and all – for viewers hungry to dream in their own skin…” (Harri-SFO son, Carlsen, Škerlavaj 2019, 5). RMAT Zanimivo je prav slednje, režiser ima opravka z gledalcem, ki je lačen sanjati v svoji koži. Koliko je ION potem zavezan resničnosti, primeroma v igranem plesnem filmu Darrena Aronofskega Črni labod , FO ( Black Swan 2010), če se osredotočamo na razmerje ‘režiser- plesalec’, ko režiser predstavlja, uvaja R A S lik balerine Nine Sayers (Natalie Portman) in njen osebnostni boj, da stopi na tako želen piedestal US primabalerine. Mar ni v tej ‘lakoti’ gledalca, da podoživi njen osebnostni boj, upravičeno primoran TAIN iti v ekstreme, da se primeroma v njej zbudi lik ‘črnega laboda’ v vsej njeni eksistencialni veličini, AB ki jo lahko tudi pogubi – ko kot režiser8 govoriš z baletniki, plesalci, ni nujno, da je temu tako, saj LE A praviloma v tem vidijo pretiravanje, pa vendarle, mar ni tako, da zgolj dramatiziranje lastnega boja ND E THIC 5 Pierrot le fou ( Nori Pierot, R: Jean-Luc Godard, 1965); sceno s Samuel Fullerjem si je mogoče pogledati tudi na AL F YouTube platformi ; primer: https://www.youtube.com/watch?v=ZPXV_Tm6iIw UT 6 »Its 22 films have grossed some $17 billion – more than any other movie franchise in history« (Harrison, URE Carlsen, Škerlavaj 2019, 4). 7 Kevin Feige je ameriški filmski in televizijski producent, ki je bil od leta 2007 predsednik Marvel Studios in glavni producent franize Marvel Cinematic Universe. 8 Sam sem režiser, zato si jemljem pravico stopiti v ta izkustveni diskurz; https://bsf.si/sl/ime/uros-zavodnik/; https://www.imdb.com/name/nm3691186/. 61 plesalca šele lahko v vsej veličini poteši izkustveno ‘lakoto’ gledalca, da ga torej v vsej možni meri ‘suspenza’ prikleneš na zgodbo, na lik, ki ga upodabljaš, insceniraš in ga končno pripelješ do vrhun-CIJE A LESA ca inscenirane narativne linije, kjer ga presenetiš in se z njim, podobno kot z likom, poigraš v vsej MR ČJE P veličini, ki ti jo ponuja film, ki pa je predvsem vizualen9, šele nato vse ostalo. Vizualno le-to nenaza-SFO O N R dnje izkusimo, podoživimo (spomnimo se njene preobrazbe) v zaključku filma Črni labod. Ko se to A D R O zgodi, skupaj z njo stopimo na piedestal primabalerine, hkrati pa jokamo, saj ko smo končno tam, E T A P plačamo za to ceno, ki ni vredna našega življenja ali pač? Naenkrat imamo pred sabo svoje življenje LN V Z ITA KO in vprašanje, za kaj je sploh vredno živeti, s čim smo ali smemo biti zadovoljni in kdo nam le-to sme IG dovoliti ali prepovedati. Tu in zdaj je pretiravanje vsekakor upravičeno ali naj bi bilo upravičeno tudi I D ISPEVR za plesalca, ker je za to, da stopiš na piedestal, pač treba plačati ceno v družbi, kot jo imamo in ki ZZIVI I IH P le-to s tem tiho pogojuje, ali pač? Morda se šele zdaj razkrije, narativno gledano, smiselnost pretira-NV vanja v življenju balerine, ki po mojih izkušnjah pri baletnih plesalcih ni vselej videno kot pretirano TIČN KOO realistično, je pa očitno dramaturško opravičeno, da narativni vrhunec zgodbe funkcionira v točno E: ER TR želeni smeri, lahko celo kot kritika ‘sistem’ v plesnem-baletnem teatru. A G N S EKV IH I LO EN 3 REŽISER IN PLESALEC A Č STVNA Kot smo ugotovili, ko gledamo plesni igrani film Črni labod, je ‘pretiravanje’ v oblikovanju lika bale-O / Z N rine, ki želi stopiti na sanjski piedestal primabalerine skozi baletno predstavo Labodje jezero, lahko IH Z ELEŽB N dramaturško upravičeno, še posebej če pogledujemo po gledalcu, ki želi nekaj zelo posebnega po-D A doživeti znotraj svoje kože, ob gledanju insceniranega dogajanja na velikem filmskem platnu, kjer O U ZIR N je slednje zgoščeno v vsakem kadru, ki se nizajo v širšo pripovedno celoto10. DO ECEN RA Poudarili smo, da je film predvsem vizualen, plesalec pa prav tako v vsej svoji ekspresiji plesnega N IK RN giba, kar lahko pojmujemo tudi sledeče, ko se s kamero, skozi različne plane, poigravamo s ple-ED ROZB salčevim gibom: CA Z M That dancing involves a manipulation of our foundational, tonic stability has significance regarding EN filming the body in motion. If dance can challenge the centering habits of our corporeal existence, the FERN dancing body as a type of screen performance must suggest new models for expressive film images O A K that take as their focus any number of bodily sites in close-up. What we find in this multiplicity of EN bodily sites are tiny muscle movements that constitute their own micro-dance – not expressing emo-STVN tions or psychological shifts, but pure movement relating only to the body and its “hidden little lives.” AN (Brannigan 2011, 52) 10. Z Slednje zagotovo lahko čutimo v velikih planih Črnega laboda, morda še posebej izrazito, saj naj se njena preobrazba dogaja predvsem v njeni notranjosti, saj naj prihaja iz njenega telesa, iz vsakega njenega giba, naj bo še tako ‘mikroskopsko’ majhen, nepomemben, zatorej na koncu, vizualno (od detajla do totala), ‘eksplodira’ v vsej vizualni podobi iz njene notranjosti, zatorej jo začutimo, zapa-demo v ekstazo skupaj z njo, plešemo skupaj z njo v vsej vizualni prezenci njene emotivno ‘razvpite’ notranjosti, njene temačne, zdaj bleščeče podobe črnega laboda, ne zavedajoč se, da se pri tem izteka njeno in naše eksistencialno bivaje tukaj in zdaj, da smo, da bomo za to plačali najvišjo možno ceno z našim/njenim življenjem. Režiser gradi v dramaturškem smislu11, kar mu plesalec daje v gibu, koreografiji giba, da se igra igro z liki in gledalcem, ki smo jo prej naznačili, še posebej, ko in če je na primer podvržen komercialne-mu studijskem sistemu – „ Given the competition with commercial cinema, a director has a ‘ particular responsibility’ towards his audiences [...] because of cinema’s unique power to affect an auditorium – in the identification of the screen with life [...]” (Tarkovsky 1987, 179). 9 „...film is a visual medium, it is also a narrative one [...]” (Winston 1973, 20). 10 „Through composition we are telling the audience where to look, what to look at and in what order to look at it” (Brown 2002, 30); „When thought is expressed in an artistic image, it means that an exact form has been found for it, the form that comes nearest to conveying the author’s world, to making incarnate his longing for the ideal” (Tarkovsky 1987, 104). 11 Kubrick commits himself to the importance of film as narrative art, he was convinced, if you can combine style and content, you have the best of all possible films (Nelson 1982, 6–7). 62 Režiser in plesalec se soočata znotraj kreiranja mizanscene12, ki jo kreira-režira režiser in ki se ne P T dogaja zgolj v postavitvah konstelacij med liki kot takimi, temveč tudi v korelaciji s produkcijsko-R H O E 1 C -tehnično opremo, kot je v uvodu v svojo knjigo Dance film zapisala Erin Brannigan – “In film the E 0 E th D lighting, editing, camera distance, and movement are equally potent ‚performers‘, so that one could talk I A N N GS N of filmic performance as including all these tehnical elements.” Plesalec je torej na setu kot del celote, B UA OOK seveda kot najpomembnejši del, ki ga režiser umešča znotraj celote, ki naj ga podpira v ekspresiji L CO njegovega lika, da se gib kot tak ujame v narativni aspekt filma, saj praviloma ni zgolj samemu sebi W NFITE namen, tj. njegovi izrazni moči brez kakršnekoli konotacije, temveč skupaj z njo. H R P EN E C Vsekakor se vselej zastavlja vprašanje upravičenosti inscenatorne podobe plesalca na filmu, znotraj E E O R R zgodbe, kot take, dramaturško vpete v pripovedni kader – ”the individual shot is the result of the F E EV UI combination of camera techniques and dramatic content; the content can be shaped into a composition, E R W O through which it gets aesthetic, emotional and dramatic effects” (primerjava Casty 1971, 56), če je za ON PE'S S SC plesalca izven konteksta njegovega dojemanja njegove resničnosti. Kakorkoli, tu se ‘ujameta’ oba, C IE IE režiser in plesalec, saj pri tako kompleksni umetnosti, kot je filmska umetnost, slednje večkrat po-N N T C I gojujejo filmski studii in producenti, ki pledirajo na domišljijski svet tudi izven konteksta resnično-FI ES A C A sti, zato da skozi število gledalcev oz. filmskih predstav povrnejo visoke stroške produkcije in z njo N N D A D pridobijo dovolj sredstev za vse nadaljnje produkcije, ki jih načrtujejo – gola realnost, ki velikokrat P R R T pogojuje tudi umetniško ustvarjanje na filmu, največkrat s ‘studijskimi’ in ‘režiserjevimi’ verzijami OFE S LE filma (spomnimo se na ‘director’s cut’, ki se pojavi po uradni verziji filma v kinematografih). S A S D ION ERS AAL CN 4 ZAKLJUČEK ON D S T C Filmski režiser in plesalec se na plesnem filmu soočata v postopku kreiranja mizanscene v kontekstu R H I O BU L dramaturških okvirov, ki pogojujejo celotno igrano filmsko zgodbo. Gre za več, kot smo za kreacijo A T R ION S I znotraj plesalčeve resničnosti iz njegovega življenja, če na primer gre za kreacijo njegovega lika na T S 'S A filmskem platnu (filmski primer: Črni labod; lik balerine Nine Sayers, ki jo upodablja Natalie Port-ON B man), ki odstopa od njegove resničnosti, je pa pogojen s celotnim dramaturškim razvojem naracije D O A U N T P in likov kot takih, da gledalca pripeljejo v želeno izkustvo znotraj njega samega. CE EO Vsekakor smo v času, ko plesalec ni zgolj in samo odvisen od režiserja, saj produkcijsko- tehničnih PLE: E omejitev ni več toliko, kot nekoč. Plesalec se lahko tudi sam postavi pred kamero, kot je to storil M Sergej Polunin, v njegovi filmski plesni intervenciji oz. kratkem plesnem filmu Take Me to Church BRA (2015)13, vendar še zmeraj skupaj s filmskim teamom, ki je vključeval tudi režiserja in koreografa. CING D Odnos ‘režiser-plesalec’ je svojski, tako kot sleherni odnos ‘režiser-igralec’, pa tudi njegov odnos s IG celotnim filmskim teamom, s katerim inscenira filmsko zgodbo. Gre za zaupanje, za celoto, ki je po-ITA navadi vselej v glavi režiserja, ko na primer govorimo o igranem plesnem filmu, ko pa gre samo za L TR koreografsko kreacijo pred filmsko kamero, smo že v drugem žanru ter v drugih vlogah, ki si jih med ANS sabo delita ‘režiser-plesalec’, ko se eden bolj ukvarja s produkcijsko-tehničnimi okviri realizacije, ki FOR podpirajo plesno kreacijo, drugi pa s koreografijo svojega plesnega performansa pred filmsko ka-MA mero. Kakorkoli, govorili smo o igrano-plesnem žanru, ki ima svoje zakonitosti in kjer ‘resničnost’ v TION življenju plesalca kot takega velikokrat ni dovolj za adaptacijo-dramatizacijo za veliko filmsko plat- , FO no, zato so nujni kompromisi, tudi ‘pretiravanja’ v kreaciji igranih plesnih likov, tudi če je narativno R A S v ospredju ples kot tak, gibanje, izrazna moč plesnega giba. USTAIN 12 „...mise-en-scène is a design made up of the disposition of the actors in relation to each other and to the AB setting” (Tarkovsky 1987, 24). „Well-selected mise-en-scène make the difference between a pedestrian LE A screenplay and an exciting one. This is the most challenging aspect of writing and directing as well” (Rich-ND E ards 1995, 44). „The auteur theory is concerned with interior meaning, the ultimate glory of the cinema as TH an art. Interior meaning is extrapolated from the tension between a director’s personality and his material” ICA (Saaris 1979, 663); „Auteur critics acknowledge that the cinema is, of course, a collective activity involving L F many people at various stages of pre-production, production and post-production. Nevertheless, the auteur UTU critics argue, it is the director who makes the choices concerning framing, camera position, the duration RE of the shot, and so on – those aspects of mise-en-shot that determine the way everything is visualized on screen. And it is precisely mise-en-shot that auteur critics focus on, because this is what makes film unique, what distinguishes film from other arts” (Buckland 2003, 74). 13 Sergei Polunin, Take Me to Church by Hozier, Directed by David LaChapelle; IMDb; YouTube: https://www. youtube.com/watch?v=c-tW0CkvdDI 63 5 LITERATURA IN FILMI CIJE 9. Aronofsky, Darren. 2010. Black Swan (igrani film). Produkcija: Fox Searchlight Pictures s Cross CreA LESA M ek Pictures, Protozoa Pictures, Phoenix Pictures, Dune Entertainment. R ČJE P 10. Brannigan, Erin. 2011. Dancefilm – Choreography and the Moving Image. Oxford University Press, SFO O N R A D Inc. New York. R O E T A P 11. Brown, Blain. 2002. Cinematography – Theory and Practice: Image Making for Cinematographers, LN V Z Directors, and Videographers. Amsterdam [u.a.]: Focal Press. ITA KO IG 12. Buckland, Warren. 2003. Film studies. London: Hodder & Stoughton Ltd. (Teach Yourself). I D ISPEVR 13. Casty, Alan. 1971. The dramatic art of the film. New York, Evanston, and London: Harper & Row, ZZIV Publishers. I I IH PNV 14. Cocteau, Jean. 1992. The Art of Cinema. London - New York: Marion Boyars Publishers. TIČN KOOE: E 15. Godarda, Jean-Luc. 1965. Pierrot le fou (igrani film). Produkcija: Films Georges de Beauregard, R TR Rome Paris Films, Société Nouvelle de Cinématographie (SNC), Dino de Laurentiis Cinematogra-A G N S EK fica. V IH I LO EN 16. Harrison, Spencer, Arne Carlsen, Miha Škerlavaj. 2019. Marvel’s Blockbuster Machine – How the A Č STVN studio balances continuity and renewal. Harvard Business School Publishing Corporation. A O / Z N 17. Nelson, Thomas Allen. 1982. Kubrick: Inside a Film Artist’s Maze. Bloomington: Indiana University IH Z Press. ELEŽB N D A 18. LaChapelle, David. 2015. “Sergei Polunin: Take Me to Church”. O U ZIR N 19. Richards, Ron. 1992. A director’s method for film and television. Boston – London: Focal Press. DO ECEN R 20. Sadoul, Georges. 1982. Geschichte der Filmkunst, nach dem französischen Originalausgabe: His-AN IK RN torie de l‘Art du Cinéma des origines à nos jours aus dem Jahr 1955. Frankfurt am Main: Fischer Ta-ED RO schenbuch Verlag. ZB CA Z M 21. Sarris, Andrew. 1979. Notes on the Auteur Theory in 1962, In: Mast, Gerald; Cohen, Marshall [Hrsg.] EN (1979), Film Theory and Criticism – Introductory Readings, Second edition. New York – Oxford: Ox-FERN ford University Press. S. 650–665. O 22. Tarkovsky, Andrey. 1987. Sculpting in Time, Reflections on the Cinema, translated from Russian by A K EN Kitty Hunter-Blair. New York: Alfred A. Knopf. STV 23. Toeplitz, Jerzy. 1992. Geschichte des Films: Band 1, 1895–1928. Berlin: Henschel Verlag. NAN 24. Winston, Douglas Garrett. 1973. The screenplay as Literature. London: The Tantivy Press. 10. Z 25. Zavodnik, Uroš. 2006. Die Dekonstruktion der Filmregie, des Filmregisseurs als „Auteur“ im postmo-dernen Unterhaltungskino – Filmregie auf Anforderung – die Inszenierung eines interaktiven Spiel-films. Dissertation. Alpen Adria Universität Klagenfurt u. AGRFT Ljubljana. 64 STUDY PROGRAMS 10. 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