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Session 19	Issues of Dance in Education
Susan Bendix, Harper Piver, Jodi James and Jennifer Tsukayama	Dance Education and Technology: Working at the Intersection of Conflicting Paradigms
	This paper explores the unique terrain that unfolded when a sophisticated, interactive system, SMALLab (Situated Multimedia Arts Learning Laboratory) was placed in an urban, inner-city elementary school to facilitate the instruction of a dance composition curriculum. Additionally, this paper seeks to understand what it means to work at an intersection of male and female paradigms and how, from this perspective, to think about the bridge between technology and humanity. The project explored the efficacy and potential for educational and creative enhancement of SMALLab, a fifteen square foot interactive space that allows students to generate changes in sonic and visual media through gesture and full body movement.
Jessica Ray Herzogenrath	Dancing Americanness: Jane Addams’ Hull House as a Site for Dance Education
	This paper explores the role and influence of dance education in Jane Addams’s Hull House from its opening in 1889 through roughly 1900. I contend that the ideology of middle and upper class women of the Progressive Era, asserted through channels like Hull House, privileged particular forms of dance over others. In effect, they denied the validity of American vernacular dance as a legitimate movement vocabulary. To illuminate these Progressive postures, I investigate the trajectory of American dance education in relation to Jane Addams’s attitudes towards diversity, the role of art and the value of dance at Hull House. I draw from women’s, race and cultural studies for this project and employ historiographic analysis. By contextualizing the elements above, I suggest that as a site of socialization and education Hull House assisted in maintaining the separation of “acceptable” and “unacceptable” dance in the United States.
Ok Hee Jeong	Reflections on Maya Deren’s Forgotten Film
	American avant-garde filmmaker Maya Deren is highly acclaimed as one of the pioneers of film dance, but her final film The Very Eye of Night (1952-55, released 1959) is largely neglected in the dance field. In that silenced, marginalized cases shed light on the discursive contour of the field, I examine not only Deren's intention of the film but also assumptions and rationales upon which dance scholars and critics ignored the film. I argue that the medium-specific and modernist concept of dance film, which Deren herself initially introduced into the field, contributes to the film's ignorance in dance scholarship. Also, the use of ballet is another impeding factor as its anti-gravitational quality and classical implication do not befit textual and sociocultural expectations of dance scholars for Deren's dance film.
	Susan Bendix is a dancer and choreographer who has done movement work in contexts ranging from corporate to inner city and incarcerated youth to refugees. She is a doctoral candidate focusing her research on creativity and learning.
	Harper Piver has a BFA in Dance from the University of North Carolina at Greensboro and an MFA from Arizona State University. She currently teaches at ASU and Scottsdale Community College.
	Jodi James was an Assistant Research Professor in Dance and Computation with the Arts, Media and Engineering Program at Arizona State University for the past five years. She also holds undergraduate and graduate degrees in Dance, Engineering and Kinesiology.
	Jennifer Tsukayama is the Performing Arts Director for the Arizona Commission on the Arts. She is also a Tenured Professor in Dance.
	Jessica Ray Herzogenrath is an MA candidate in American Dance Studies at Florida State University. She holds a BA in History from Northwestern University with an emphasis in American studies. Her thesis research explores the synthesis of African and European aesthetics in early twentieth century American vernacular performance. She continues to perform, choreograph and teach in both jazz and contemporary idioms.
	Ok Hee Jeong is currently a Ph.D. student and Presidential Fellow at Temple University. As a former dancer with the Universal Ballet Company in Korea and the Guangzhou City Ballet in China, she received the Honor Scholarship and the Graduate Research Fellowship as she pursued her B.A. and M.A. in Dance from Ewha Womans University in Korea. Jeong has received Research Excellence Award from the Korean Society for Dance Studies in 2007, and Scholarly Achievement Award from Temple University in 2008.
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