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        <title>Nordic Journal of Dance Feed</title>
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        <copyright>All rights reserved 2026, SANS – Senter for dansepraksis</copyright>
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            <title><![CDATA[Skrivekurs: Hvordan skriftliggjøre praksis?]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2026-0005</link>
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            <pubDate>Fri, 26 Jun 2026 00:00:00 GMT</pubDate>
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            <title><![CDATA[Editorial]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2026-0001</link>
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            <pubDate>Fri, 26 Jun 2026 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
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            <title><![CDATA[Towards a Planetary Ecotherapeutic Approach: Embodied Art-Based Ethnography and Ecosomatics in a Biodiverse Forest with Ancient Trees in Helsinki]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2026-0003</link>
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            <pubDate>Fri, 26 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This article applies embodied art-based ethnography to explore how a planetary ecotherapeutic approach is present within material produced via ecosomatics in collaboration with ancient trees. It also asks what kinds of methods this approach offers in response to the ongoing ecological polycrisis. The theoretical framework of the utilised planetary ecotherapeutic approach includes (i) ecotherapeutic self-cultivation and art of loving, (ii) the revitalisation of land and forest relations alongside (micro-level) decolonial practices conceptualised in Indigenous studies, and (iii) research on both planetary health and (iv) ecosomatics. The related research was conducted in a context where the threat of forest destruction is tangible, evoking an atmosphere of ecological grief while also revealing nature’s healing and health-enhancing potential. More specifically, the research took place in the biodiverse Stansvik forest in Helsinki. The fate of Stansvik forest, which includes 400-year-old pines and old oaks, has been disputed for 20 years. The research material was generated by applying ecosomatic practices developed within the field of contemporary dance and by creating small dances together with the ancient trees. Moreover, ethnographic field notes were written, photographs were taken and transformed into photo-paintings, and a tree dress was crafted for the research. In collaboration with the ancient trees, embodied and art-based means of deepening the ecotherapeutic art of loving and multi-species empathy were articulated. A mode of Indigenous-like connection and unity with the forest emerged. This article also analyses the forms of creative imagination and the potential for developing (multi-species) perceptual sensitivity as aspects of ecosomatic practices and dance that are significant in the context of the ecological polycrisis.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[SANS dansekompani for ungdom]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2026-0004</link>
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            <pubDate>Fri, 26 Jun 2026 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Jorunn Kirkenær og Ballettinstituttet – «Dansen ut i samfunnet»]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2026-0002</link>
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            <pubDate>Fri, 26 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[The year 2026 marks 100 years since the birth of Jorunn Kirkenær (1926–2021) and 60 years since she founded Ballettinstituttet in 1966, Norway’s first institution for higher education in dance. The institution later changed its name several times, becoming Den Norske Balletthøyskole and Norges Dansehøyskole and is today part of Kristiania University of Applied Sciences. For many years, the college’s overarching goal was to bring dance into society; this article examines the strategies Kirkenær employed to achieve that aim, with a focus on her work with Ballettinstituttet between 1966 and 1985.This study draws on various types of archival material, primarily from the archives of Jorunn Kirkenær and Norges Dansehøyskole, both located at the Dance Archive at Dance Information Norway, as well as Kirkenær’s biography. The material is analysed informed by Lena Hammergren’s (2004; 2005) discussions on deconstructionist historiography, and more specifically, intertextual analysis. Examining Kirkenær’s strategies is a form of intertext that does not directly appear explicitly in the textual sources but is interpreted through interactions between different types of sources. The article identifies five such strategies: (1) building dance as an educational subject, (2) legitimising through faculty expertise, (3) navigating cultural and educational policy, (4) facilitating employment opportunities for graduates, and (5) expansion of educational philosophy.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Editorial]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2025-0006</link>
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            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
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            <title><![CDATA[The World Falls Silent – A Practice-Based Performance on Ageism and its Effects on the Dancer]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2025-0007</link>
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            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The World Falls Silent is a practice-based artistic research project that investigates ageism and its implications for professional contemporary dancers. Employing an autobiographical and improvisation-based methodology, the study examines how socio-cultural norms, institutional frameworks, and choreographic practices shape a dancer’s agency, visibility, and artistic identity across their lifespan. Drawing on age-critical theory and collaborative inquiry with five co-researchers aged 50–62, the research explores the intersection between lived experience and artistic practice. Through embodied reflection, writing, and performance, personal memories are transformed into choreographic material that problematises the youth-oriented ideals embedded in contemporary dance. The performance comprises ten interconnected parts addressing themes of agency, power structures, conflict, maturity, and the dancer’s embodied archive. The study demonstrates how improvisation and autobiographical processes can function as both artistic and analytical tools to reveal and counteract internalised ageism. By positioning the ageing body as a site of knowledge, expression, and resistance, The World Falls Silent contributes to reconfiguring the discourse on age within the performing arts. The project offers alternative narratives of artistic continuity, proposing that the ageing dancer’s body not only carries history but also generates new possibilities for creation, interpretation, and the future of dance practice.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Dans - Autismespekteret]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2025-0008</link>
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            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[In the spring and fall of 2025, inclusive dance classes for neurodivergent pupils have been offered at two schools in Oslo. The project has been supported by Kulturtanken’s grant scheme Inclusion in Cultural Life. Through exercises that train motor and social skills, the pupils have shown joy in dancing, as well as visible development.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Book Review: Presentation of the Book: The Dance and the Dancer]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2025-0009</link>
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            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Theories on creative dance in physical education and physical education teacher education – a narrative review]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2025-0002</link>
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            <pubDate>Wed, 06 Aug 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Creative dance, part of the teaching area of dance in physical education (PE) and physical education teacher education (PETE), has been thoroughly studied over the last decades. Creative dance risks a reduced educational impact due to unclear notions of what students and pupils learn when participating in creative dance. This uncertainty can reinforce the impression that there is nothing to learn from creative dance and that this activity merely involves directionless movement. The aim of this study is to explore the key ideas and theoretical perspectives about creative dance in PE and PETE, with the ambition to clarify what characterizes this teaching area in an educational context. A narrative review was adopted to summarize, compare, explain and interpret relevant research studies. In total, 29 peer-reviewed empirical studies of creative dance in PE and PETE were reviewed. The narrative review offers insights into the research field of creative dance in PE and PETE, where ideas about various forms of experience of movement are prevalent. It shows different educational qualities of creative dance as well, as it depicts a learning environment in which embodied exploration, aesthetic experience and subjective expression are of central concern, with numerous elaborate pedagogical considerations.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Vision of Adorée Villany: The Naked Dancer's Body as Art]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2025-0003</link>
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            <pubDate>Wed, 06 Aug 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[This article contributes to the analysis of the naked dancer's body as art in the emergence of modern dance. Using the dance artist Adorée Villany and her extensive touring in the Nordics from 1914 to 1920 as a case study, the article highlights a cultural conflict regarding the view of nude dancing as art. Villany was controversial during her time for insisting that the dancer's naked body is an artistic material and expression. In moral debates, she was accused of ‘decadence in disguise’. Despite her frequent touring in the Nordic countries, Villany is largely absent in Swedish dance history. In this article, Villany's dance work and art theory, described in her 1912 book Tanz-Reform und Pseudo-Moral, are examined in discourses of dance in the Swedish national and regional press, and her photographs are situated as part of the visual culture of modern dance. It is revealed that there was an opening for a more radical reformation of dance at the turn of the century, in which the naked body was decoupled from being primarily an object of moral indignation.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Hvordan tok norsk offentlighet i mot eurytmien i dens første tid?]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2025-0004</link>
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            <pubDate>Wed, 06 Aug 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Vanishing: Choreographing the Ephemerality of Dancing Bodies Through Archeologically Inspired Practices]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2025-0005</link>
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            <pubDate>Wed, 06 Aug 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Vanishing is a dance piece featuring the possibility of a choreographic structure of non-defined and non-classified transition spaces—from the daily cycle of dawn-nightfall to the transient spaces in between the perceptions of what is seen and who sees it. Between visibility and invisibility, virtuous and insignificant choreographed movement, presence and absence, seeing and un-seeing, there is the development of a set of ‘vanishing acts’ as representative of the ephemerality of dancing bodies. From the experience of participating in the creation process as a researcher, I present here some concepts that helped me navigate the process, from the first ideas to the public presentation.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Editorial]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2025-0001</link>
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            <pubDate>Wed, 06 Aug 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Unlearning Dance: Reclaiming the Power of Dancing]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2024-0015</link>
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            <pubDate>Wed, 05 Feb 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The Unlearning Dance: Reclaiming the Power of Dancing research workshops, led by artists and educators Agus Margiyanto, Ieva Ginkevičiūtė, Indrė Gin, and Retno Sulistyorini, explore the unlearning dance process. This ongoing collective research aims to reconsider institutionalised and commercialised narratives in dance across various contexts, as these narratives often restrict personal expression and marginalise diverse cultural and individual perspectives. Through workshops and collaborative inquiry, the authors explore entrenched habits in dance education in terms of the body, myths, and power dynamics. The research workshops draw attention to how participants reconnect with their embodied memories, discover movement habits, and reclaim dance as subjective and inclusive practice. Ultimately, this research expands the understanding of dance as an evolving, decentralised form of expression, with significant implications for both education and performance.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Transgressing the Borders of Art and Non-art: The Case of Elmerice Parts and Herman Kolt-Oginsky]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2024-0012</link>
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            <pubDate>Wed, 05 Feb 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Modern dance made its way to Estonia in the 1910s. By putting on stage a new woman and picturing her in a new way, modern dance challenged many members of society, sometimes even being seen as disgraceful. In 1926 and 1927, Elmerice Parts (1878–1974) and Herman Kolt-Oginsky (1902–1977) created scandals with their dance numbers in Estonia. According to reviewers, the dancers transgressed the line between art and non-art. The artists were attacked for making use of acrobatic and “erotic” elements; not surprisingly, the latter aspect was seen more critically. The aim of this article is to understand where the line between art and non-art lay in the 1920s. I come to the conclusion that artfulness was associated predominantly with spirituality and the unconscious: When the dancer focused on bodily experiences and highlighted their physical body parts, it became non-art. The main source of information is articles published in print media in 1926 and 1927. I analysed the data using qualitative methods.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Chakras and Shingles—Historical Fragments of the Chakra System in Contemporary Yoga]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2024-0016</link>
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            <pubDate>Wed, 05 Feb 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[After a few days with intense yoga training, curious red spots occurred on the back across my shoulder. Curiously, it appeared right after a period where I had been reading about the chakras. So I could not help noticing that the rash was on the left side of the back, right at the heart chakra.With the global growth of postural yoga, various concepts connected to yoga have become more visible in the landscape of movement practices. One such concepts is the chakra system. However, it can be challenging for a practitioner to fully grasp the significance of the system in a given context. In this article, I explore how a complex inheritance of ideas related to the chakra system, rooted in different cultures and periods, continues to reappear in contemporary yoga.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Art of Dancing in History/Research/Today]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2024-0008</link>
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            <pubDate>Wed, 05 Feb 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[This combined academic-artistic keynote presentation was held at the 16th NOFOD conference: The Dancer and the Dance: Practices, Education, Communities, Traditions, and Histories. As a dancer and researcher in the field of historical dance, interpreting historical sources for dance is a great part of my work. Reflections on how we can approach past dance practices from a contemporary point of view, the artist and researcher’s subjectivity, and what factors come into play when interpreting dance in history are essential parts of my work. A turning point in my research, when I realized that I could not separate the researcher from the dancer, forms the starting point for discussing the importance of the researcher’s practice knowledge and bodily experience. Through examples from findings about dance and dancers in history, I am presenting a combination of three methodological approaches that acknowledge how the researcher’s experience may affect the upshots. Hermeneutics; interpretation and sense-making in meeting with the historical source material, tacit knowledge; implicit and undefinable in a dancer/dance-literate researcher, and practice-based research; acknowledges practice and an artistic relation to the material being studied in research on past practices.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Passion och protest. Den svarte danskonstnären Claude Marchants liv och verk Af Astrid von Rosen &amp; Bo Westerholm. Makadam Förlag. Göteborg: 2024]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2024-0018</link>
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            <pubDate>Wed, 05 Feb 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[The Dancing We]]></title>
            <link>https://reference-global.com/article/10.2478/njd-2024-0017</link>
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            <pubDate>Wed, 05 Feb 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[In the 2023 intergenerational dance project Superpower Ensemble, the participants were chosen for their individual qualities to form a greater ‘we’ as a group. The children added spontaneity and playfulness, whereas the adult artists inspired the children with their artistic practice, professionalism, and direction. In this article, we aim to describe the subtle processes a choreographer initiates to achieve the intended aesthetic and ethical results. Our case story is Superpower Ensemble, and the theme investigated through the case story is ‘we-ness’. By describing these processes and this theme, we seek to demonstrate some of the manifold forms of knowledge possessed by dancers, choreographers, and artists. Their practically gained expertise in being, being together, and being in the world has the potential to reach far beyond the artistic realm. Their findings align with academic insights into metaphysical, philosophical realms. To show the latter, we outline certain theoretical and philosophical discoveries that reinforce the findings unearthed and explored through the bodily–affective dance work in Superpower Ensemble.]]></description>
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