It is clear that you share our commitment to social justice and from this comes the energy that produced this issue. Dance/movement therapy theory, research and practice have guided us through our studies, our professional work, and often our personal lives. What we learn in our professional practice enhances how we see and feel and relate to the people in our lives, our partners, friends and families. Because of what we do professionally, our relationships and our community appear to us in a perspective unique to the interface of body and mind.
This program development project integrated dance/movement therapy concepts and Dr. Joy DeGruy’s Post traumatic slave syndrome (PTSS) theory, with the goal of helping African American adolescents in Chicago’s Roseland neighborhood understand, explore and heal from PTSS. The Delphi Method was used to gather information from collaborators via individual interviews and follow up surveys. Collaborators—all experienced with African American adolescents in the Roseland neighborhood and similar neighborhoods—included one African American dance/movement therapist, one program developer, an arts and education director, and an arts education manager. Information sought from collaborators was guided by a Theory Logic Model resulting in clearly identified inputs, activities, outputs, outcomes and impacts. The resulting program, titled Healing in Motion, consists of ten modules focused on healing domains from DeGruy’s PTSS model. Each module uses DMT and creative arts approaches for addressing the healing domains. Practical strengths-based activities support healing and positive community engagement. Program adaptations, evaluation suggestions and supplemental activities beyond the current program are suggested.
Vertically Integrated Programs (VIP) are a curricular structure that enable students to pursue a public-facing project throughout their education. Students from different traditions combine their skills to produce a final deliverable in the form of research, an artifact, or an experience. VIPs allow for an inclusive approach to working in academia as professors direct students’ strengths toward a collective good. When academic units direct VIP work outward, the knowledge and skills of students and faculty become community service. With proper scaffolding, VIP work breaks down barriers between institutions and communities as relationships develop between academic workers and residents over time. To provide students with the skills necessary to do this participatory design work with communities, they need to learn inclusive strategies within the classroom. VIP curricula enforce and enable three different scales of inclusion: within the classroom, within the academy, and within the city. This chapter looks at a VIP curriculum situated within the Interactive Arts and Media Department at Columbia College Chicago to demonstrate these scales. Under the leadership of the department’s public-facing Design Lab, undergraduates from multiple disciplines partnered with the Economic Awareness Council (EAC) to produce a serious game that teaches financial literacy to underserved students. EAC will use the game for hundreds of Chicago students in the summer of 2022. This chapter presents tactics, lessons, and insights for achieving inclusion at all levels of the VIP curriculum to achieve constructive community work.KeywordsInteraction designVertically Integrated ProgramsCommunities of practiceInclusive educationProject-based learning
This article documents a collaborative inquiry between four parent–child dyads. Adopting an approach of duoethnography, the collaborative explored the question, “What happens when parents and children co-construct meaning regarding the challenges and opportunities in using digital technologies?” By positioning youth as co-researchers, the teams disrupted traditional hierarchical power structures in their homes. The inquiry uncovered a process of building mutual trust through open communication and mediated decision making that empowered adolescents to critique adults' and peers' technology practices while reflecting on their own literacy development.
After a long hiatus, psychology and philosophy are returning to formal study of imagination. While excellent work is being done in the current environment, this article argues for a stronger thesis than usually adopted. Imagination is not just a peripheral feature of cognition or a domain for aesthetic research. It is instead the core operating system or cognitive capacity for humans and has epistemic and therapeutic functions that ground all our sense-making activities. A sketch of imagination as embodied cognition is offered, followed by suggestions of how to organize imagination studies into a more rigorous science–humanities research area.
In 2020 a petition from students and recent graduates of dance/movement therapy (DMT) programs was sent to the Board of Directors of the American Dance Therapy Association (ADTA). This petition brought forward concerns and critical questioning of movement observation frames, including a desire to bring a critical and anti-oppressive lens to the access of all bodies within larger psychological theories, DMT theories, and movement observation systems. The petition included a request for a “true” and “comprehensive” history of Rudolf Laban. The Education Committee of the ADTA charged one of three working groups to examine Laban’s history. This paper is the culmination of the history working groups’ exploration. It focuses on how histories are constructed and raises questions about the truth and comprehensiveness of any single account. It is divided into two sections. Laban’s controversial period in Germany (1919–1937) is highlighted first with a comparison of the historical narratives constructed by different scholars. The second part briefly describes the last two decades of Laban’s life (1938–1958) when he expanded his work outside of dance. It follows that no single story, including the ones constructed by this committee, can claim to be “true” and “comprehensive” histories. This history working group recommends integrating a full history of Laban in the teaching of dance therapy courses, engaging in intentional discussions about the cultural limitations of the system due to how it was developed, integrating and encouraging research by non-European dance therapists, and purposefully encouraging and sustaining diverse student bodies to continue the diversification of the DMT field. Decentering characteristics of the dominant culture will not be a quick fix, but a journey which requires the acknowledgement of Laban’s contributions to the discipline, while holding him accountable for his choices.
This interview, with an introduction, chronicles Beth Turner's introduction to theatre, her work as a playwright, and her founding of Black Masks magazine. Like many periodicals, Black Masks, too, is a documentary magazine, thus capturing the people, plays, and moments that have shaped Black theatre and performance within the African Diaspora. As a result of its lengthy history and journalistic approach, Black Masks has traced the evolution of Black theatre for over 35 years. In particular, Black Masks has spotlighted pioneering and innovative theatre artists and practitioners, theater founders and administrators, and trailblazing teachers and scholars, who have received limited attention (and in some cases no attention at all) in other periodicals as well as in more traditional scholarly journals and collections.
Over the past 3,000 years, speakers of the Ateker family of languages in East Africa chose various strategies to respond to periods of climate change including the end of the African Humid Period and the Medieval Climate Anomaly. Some Ateker people made wholesale changes to food production, adopting transhumant pastoralism or shifting staple crops, while others migrated to wetter lands. All borrowed new economic and social idea from neighbors. These climate-induced changes in turn had profound social and political ramifications marked by an investment in resilient systems for decentralizing power, such as age-classes and neighborhood congresses. By integrating evidence from historical linguistics and oral traditions with paleoclimatological data, this paper explores how a group of stateless societies responded to climate change. It also considers whether these cases complicate concepts such as “collapse” and “resilience” that are derived from analyses of mostly state-centric climate histories.
"Ear to Waipapa Taumata Rau" is a remote live coding performance for two laptop performers distributed in two different continents exploring the sonic components of Waipapa Taumata Rau. The performance is based on processing sound generated by crowdsourced and personal site-specific field recordings from the conference location featuring field recordings collected by the conference participants and uploaded on Freesound. The piece is a real-time improvisation and a free interpretation of John Cage’s ‘A Dip in the Lake’. Full text available from: https://nime.pubpub.org/pub/h3znmkok
One of the consequences of the pandemic has been the potential to embrace hybrid support for different human group activities, including music performance, resulting in accommodating a wider range of situations. We believe that we are barely at the tip of the iceberg and that we can explore further the possibilities of the medium by promoting a more active role of the audience during telematic performance. In this paper, we present personic, a mobile web app designed for distributed audiences to constitute a digital musical instrument. This has the twofold purpose of letting the audience contribute to the performance with a non-intrusive and easy-to-use approach, as well as providing audiovisual feedback that is helpful for both the performers and the audience alike. The challenges and possibilities of this approach are discussed from pilot testing the app using a practice-based approach. We conclude by pointing to new directions of telematic performance, which is a promising direction for network music and digital performance. Full text available from: https://nime.pubpub.org/pub/yju481nh
Red Table Talk, a web series exclusively aired on Facebook Watch, represents the narrative of intergenerational Black women who tackle critical conversations. The show, developed by Jada Pinkett-Smith and featuring her daughter and mother, brings in special guests for discussions on race, gender identity, sexual and mental health, co-parenting, and relationships. This paper relies on both qualitative and quantitative data from an audience survey, supplemented by thematic analysis to explore these themes. We show how the alternative media model of Facebook Watch and the series itself act as rebellions against institutionalized narratives that perpetuate stereotypes against people of color. We examine how Black women creators reclaim agency and resist generational forms of silencing by authoring a counter-narrative at the intersection of their lived cultural experiences.
The turn to Interactive Digital Narratives to understand complexity offers a new model for creating, developing, and maintaining knowledge. At the same time, storytellers have turned their attention to Virtual Reality (VR). The confluence of these trends draws attention to how non-fiction practitioners can use the technical and aesthetic affordances of VR to create knowledge about complex subjects through the IDN form. This article explores the epistemic rhetorical nature of using narrative discourse in VR to create knowledge about a non-fiction subject. The IDN community has not addressed this rhetorical aspect in their proposed epistemological process. Clarifying the epistemic rhetorical aspect inherent in producing knowledge on complex subjects through IDN provides insights into practitioners’ persuasive and political design and development choices. These intentional choices, in turn, impact the kind of knowledge produced. This rhetorical approach to knowledge production can be grounded in a Neo-sophist epistemic tradition wherein aesthetic choices are used rhetorically. I will present and discuss the Sophist rhetorical tactics of antithesis, the rhetoric of the possible; enargeia, the rhetoric of vivid details; kairos, the rhetoric of opportune timing; and mêtis, the rhetoric of the body. Their implementation by practitioners, how these aesthetic choices rhetorically create knowledge in the System-Process-Product model is presented. The article clarifies these rhetorical processes and choices and analyzes the 2021 Tribeca Film Festival’s Best Immersive Narrative, The Changing Same: An American Pilgrimage: Episode 1 . This VR factual IDN allows interactors to experience historical moments of racial injustice in the United States. The production team was interviewed about how they used the technical and aesthetic qualities of VR and IDN rhetorically to produce knowledge about the complex and violent history of racial injustice in the United States. Their responses indicate their active use of epistemic rhetorical tactics that capitalize on the technical and aesthetic affordances of VR and IDN to create knowledge.
The purpose of this study was to explore potential for integrating elements of contact improvisation (CI) into the practice of dance/movement therapy (DMT). This study aimed to determine the critical considerations for introducing an improvisational practice involving the use of touch to clients in a safe and therapeutic manner. The primary research question was: How can CI be used within the practice of DMT? The primary investigator collaborated with three dance/movement therapists who also practice CI to explore the research question through an embodied group artistic inquiry. Co-researchers met three times for three hours each in a private dance studio space. Data were collected and analyzed through arts-based methods, including structured improvisations, visual art, and dialogue which were documented through a short film. The results illuminated the many layers of psychological and emotional content that CI can provoke, suggesting that CI must be broken down into small, manageable experiences specific to the clients’ needs, setting and treatment goals. Two themes emerged that illuminate the purpose of CI in DMT, which are holism and making contact. The study aims to spark further conversation about the ways in which the exploration of contact (both physical and emotional) can be transformational for DMT clients and facilitators.
Vancomycin usage is often unavoidable in pregnant patients; however, literature suggests vancomycin can cross the placental barrier and reach the fetus. Understanding the mass transit of vancomycin to the fetus is important in pregnancy. We aimed to (i) identify a relevant population pharmacokinetic (PK) model for vancomycin in pregnancy and (ii) estimate PK parameters and describe the mass transit of vancomycin from mother to pup kidneys. Pregnant Sprague-Dawley rats (i.e., trimester 1 and trimester 3) received 250 mg/kg vancomycin once daily for three days through intravenous injection via an internal jugular vein catheter. Vancomycin concentrations in maternal plasma and pup kidneys were quantified via liquid chromatography-tandem mass spectrometry (LC-MS/MS). Multiple compartment models were fitted and assessed using a nonparametric approach with Pmetrics. A total of 10 vancomycin-treated rats and 48 pups contributed PK data. A 3-compartment model adjusted for trimester fit the data well (maternal plasma Bayesian, observed versus predicted R2 = 0.978; pup kidney Bayesian, observed versus predicted R2 = 0.999). The mean rate constant for vancomycin mass transit to the pup kidney was 0.72 h-1 for trimester 1 dams and 0.75 h-1 for trimester 3 dams. Median vancomycin concentrations in pup kidneys from trimester 3 were significantly higher than those in trimester 1 (8.62 versus 0.36 μg/mL, P < 0.001). Vancomycin transited to the fetus from the mother and was; kidney accumulation differed by trimester. This model may be useful for a translational understanding of vancomycin distribution in pregnancy to ensure efficacious and safe doses to both mother and fetus.
In 1972, more than two hundred Black music educators convened an impromptu, offsite protest meeting during the 23rd Convention of the Music Educators National Conference in response to the dearth of Black music and musicians represented on the program and the near exclusion of Black musicians on the Jazz Night program. The unprecedented and impactful meeting, held on the campus of Morehouse College on the last day of the Convention, led to the formation of the National Black Music Caucus (NBMC). This article chronicles the birth of the NBMC and its subsequent growth over the next 25 years, focusing on the historical relationship between Black music educators and MENC, the importance of Atlanta to the organization’s founding, the motivation for the initial meeting, goals of the organization, and its key accomplishments. This story is told through the use of primary sources, including conference programs and organizational documents, while centering the voices of those who were instrumental in leading NBMC throughout its first 25 years.
La Donna Forsgren’s Sistuhs in the Struggle: An Oral History of Black Arts Movement Theater and Performance is a critical intervention in theatre studies, women’s studies, and Black studies, employing a narrative methodology to recover and centre the voices of Black women who built the Black Arts Movement.
Background A venous thromboembolism (VTE) bundle was launched in 2016 at the University of Illinois Hospital aiming to reduce the rate of VTE in the neurosurgical ICU. Main elements of the bundle included correct and early use of intermittent pneumatic compression and subcutaneous heparin. Methods Patients with SAH were retrospectively identified from 2014 until 2018. VTE events were diagnosed using twice weekly lower-extremity venous Duplex ultrasound and chest computerized tomography when appropriate. Results A total of 133 patients was included in each group. The incidence of VTE was not significantly different before and after the bundle (15% vs. 12%, p = 0.47). No difference was found regarding new episode of intracranial hemorrhage secondary to SQH (1.5% vs. 2.1%, p = 0.65). Multivariate analysis demonstrated that longer ICU LOS, higher Caprini score, and presence of baseline lung diseases were associated with VTE development. Conclusions With a median Caprini score of 9, our patient population was found to be at high risk for developing VTE. The implementation of the VTE bundle did not significantly reduce the rate of VTE in patients with non-traumatic SAH at UIH.
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