2002-2003
The experimental cognitive psychologists on the team worked with
dance researchers and artists to develop a valid tool that
measures, in detail, the psychological responses of audience
members to contemporary dance. Rather than this being a market
research exercise, an attempt to find out what audiences want,
we asked precise and detailed questions about the cognitive,
aesthetic, and affective responses of audience members to a
particular dance work. The audience participants came from
a range of backgrounds, city and regional areas, and with varying
expertise in dance.
The study has what psychologists call 'ecological
validity', in that it was conducted in theatres with actual
audiences watching a live dance performance. It also involved
rigorous experimental design and measurement. For example,
the effect of different types of pre-performance information
sessions on response to a dance work were analysed, allowing
an examination of the way background and expertise moderate
the effects of such information sessions. Further Investigations
have allowed the validated tool to be applied to a wider range
of dance works and to differing audiences. The research project
brought together researchers, artists and experts from dance
and cognitive science – a truly inter-disciplinary team.
Performances of Anna Smith’s Red Rain and of Sue Healey’s
Fine Line Terrain produced considerable data regarding audience
responses to contemporary dance works. (Two PhD theses forthcoming)
An account of the collaborative creative process that produced Red Rain includes comments from expert critics. (See Stevens,
Catherine, ‘Chronology of Making a Dance: Anna Smith’s
Red Rain’ pp.171-189, in Grove, R., Stevens, C., & McKechnie,
S., (eds.), Thinking in Four Dimensions: Creativity and Cognition
in Contemporary Dance, Melbourne University Publishing, print
on demand, also electronic version including moving images,
Melbourne, 2005 http://www.mup.unimelb.edu.au/ebooks/0-522-85144-4/index.html Sue Healey’s Fine Line Terrain is discussed by the choreographer
in ‘Navigating Fine Lines’ (ibid) pp 57-80, and at
http://www.ausdance.org.au/connections/niche.html
For the research
investigations Red Rain was performed in the Studio Theatre
at the VCA School of Dance, and at regional centres: the Geelong
Performing Arts Centre (GPAC) in Victoria and at Earl Arts
Centre,
Launceston, Tasmania. Fine Line Terrain was performed at the
Australian Choreographic Centre in Canberra and at the Sydney
Opera House.
2004 - 2005
In 2004 the research focused on the experiential element
in audience development with particular emphasis on the experiences
and responses
of youth audiences. Central to this phase of the research
was the testing and evaluation of a nine-month ‘dance
enrichment’ program
at the Australian Choreographic Centre and the Sydney Opera
House in 2004. Of particular interest to the researchers
were
(a) the development of dance literacy, appreciation and understanding
in the broadest terms and
(b) the impact of the intensive program on the personal and collective
identity and self esteem of a group of fifty young people between
the ages of 13 and 19 years.
The Quantum Leap Choreographic Youth Ensemble was the focus of
the research.
Filmmaker
and choreographer, Sue Healey, in her role as Research Associate,
was commissioned to make a documentary
film to
accompany the qualitative and quantitative research findings
published
in other media. Healey’s film, Quantum Leapers,
was shown on National Television in 2005 (ABC, ‘Sunday
Afternoon’).
The peer-reviewed e-book Thinking in Four Dimensions:
Creativity and Cognition in Contemporary Dance, edited
by Robin Grove, Catherine Stevens and Shirley McKechnie,
was launched by Professor Malcolm
Gillies in February 2005. MUP e-book, 2005 http://www.mup.unimelb.edu.au/ebooks/0-522-85144-4/launch_speech.html
See also http://www.artshub.com.au/ahau1/news/news.asp?Id=70596&ref=0
Dance artists, researchers and associates of the
Quantum Leap Program
Throughout
2004 the team worked with Ruth Osborne, Artistic Director
of the Quantum Leap Choreographic
Youth
Ensemble, and with sevebral
young artist-teacher-choreographers (Sol Ulbrich,
Darren Green, Jodie Farrugia, Vivienne Rogis, Paul Zivkovich).
Shona Erskine,
professional dancer and PhD candidate in psychology
at the University of Melbourne acted as research assistant.
With
the cooperation
and encouragement of her
superviser, Dr D. Bretherton, Shona Erskine
has already made significant contributions to the
research. Her forthcoming thesis is provisionally
titled ‘Identity
Formation in the Adolescent Dancer’.
