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Librarians find the search for information on dance topics time‐consuming and difficult. There are few reference works devoted specifically to dance, and a number of those that do exist are outdated and need revision. Further, because the field is so diverse, a search for dance information will frequently lead the investigator into a variety of related subject areas, each with its own complicated access problems. Reference librarians faced with dance inquiries may in the course of an hour find it necessary to consult sources in music, education, aesthetics, theatre, or physiology. On a more specific level, questions may call for information on such subtopics as ballet, folk dance, dance therapy, choreography, tap dance, and movement technique. College students may need information on famous dancers of the past; theatergoers may want an up‐to‐date evaluation of a performance of a specific ballet company; and dancers may often need information on technique and conditioning.

Export grouping schemes are a commonly used vehicle for promoting international competitiveness, but their success rate is patchy. A perennial problem is the value of continuing the formal group structure itself. In this paper we examine the nature and role of export groups using the results from two in‐depth Australian case studies. The focus of analysis is on export groups as structuring devices rather than structures. They are viewed as action learning exercises in which knowledge and resource creating and self‐organizing processes are nurtured, these processes in turn shaping the evolution of interfirm relations and networks. Building on earlier work by Wilkinson and Young the dance metaphor is extended to depict and analyze export groups as dance parties. Dance themes are used to illustrate and dramatize issues arising in the design, development and evaluation of export grouping schemes and are related to the real experience of the two case studies examined.

This article's aim is to provide an annotated bibliographic resource guide for scholars researching butoh and academic and research libraries with collection development areas specializing in modern dance and/or Asian studies. Butoh is a Japanese avant‐garde dance form developed in 1959 as a reaction against Western influence in Japanese politics and culture. Butoh's founders, Tatsumi Hijikata and Kazuo Ohno, have created a dance movement that is growing in popularity in the USA, influencing psychology, fashion, music, art and architecture.

Searches were performed using a variety of databases, catalogs and online sources in dance and videos were reviewed at the New York Public Library of Performing Arts.

Unlike most modern dance forms, butoh does not have a specific technique that can be passed down from teacher to student, yet it has characteristics (e.g. extremely slow movements) that create the butoh “look”. Butoh collections are fairly small, which will appeal to organizations with small budgets.

No other scholarly, annotated bibliography currently exists for those interested in researching or collecting information on butoh.

Many graduate attributes (such as adaptability, resilience, cultural awareness and professionalism) are often considered aspirational or invisible and conventionally go “under the radar” of standard university dance education. The purpose of this paper is to add to existing theories of dance as an academic discipline and contributes to studies identifying and mapping graduate attributes across the academy.

The research project Making the Invisible Visible contextualises this paper. It has involved a two-year, cyclical data-gathering process, involving interviews with leading dance employers and academics, and surveys of students from diverse disciplines entering and completing full-time dance degrees.

Due to the centrality of embodiment in studio learning, dance is an unusual discipline within research on graduate attributes and holds a unique place in academia. The creative, embodied, collaborative activities typical to dance learning offer fresh insight to the literature on graduate attributes – both visible and invisible – all graduates from a given institution are expected to hold.

A narrative methodology is employed to present a series of amalgam characters manifesting specific ways in which invisible graduate attributes inform pedagogies, student–teacher relationships and student understandings of their professional skills.

This article examines how spectators describe their expectations of contemporary dance by referring to action. Through discussing a qualitative audience study, the article argues that spectators always have an expectation of being affected by performances they attend. This expectation can guide their interest in attending performances of certain genres instead of other possible ones on offer. Additionally, the article points out how spectators can actively manage their expectations in order to be affected.

The study is based on 21 in-depth interviews with spectators at a dance venue, a company and a festival in Finland. The analysis of the interviews combines thematic analysis with metaphor analysis. Employing the paradigm of enaction and the concept of affordances, this article approaches expectations as embodied and dynamic, created in interactions between artists, producers and spectators.

The analysis shows that when speaking about their expectations of performances, spectators use bodily and spatial metaphors. Focusing on metaphors reveals how, for the spectators, performances afford a possibility for action that affects them. The interviewed spectators describe that contemporary dance is “not set in its ways”, and therefore it keeps them “awake” and their thoughts do “not fossilize”. This way, they understand contemporary dance as a genre that affords a possibility to be affected by allowing a freedom of own interpretation and surprising experiences if they desire such.

Concentration on the metaphors of language offers a deeper understanding of the active nature of spectators' expectations. Understanding how spectators describe their expectations by referring to action that enables the shaping of their emotions and thoughts can help the development of arts marketing and audience engagement.

The over-arching purpose of this paper is to provide a reflexive personal narrative of the inequalities experienced as the author grew up with a desire to dance; personal experiences which influenced the author to become an educator and eventually led the author to engage in some active research on the issue of boys and dance in secondary schools in the north of England.

This project is based on narrative interviews with young males, as the researchers seek to assess the current landscape of dance education within the UK. Interviews were conducted within two high school settings. Yet, this paper does not focus on the data produced in such interviews. Instead, it adopts a reflective methodology in terms of auto-critiquing the inquiry, exploring themes such as dancing negativity, homophobia and homonormativity.

The paper offers a brief critique of the literature around long-standing cultural ingrained discrimination experienced by boys who dance. Finally, and importantly, the paper offers a personal and intimate account reflecting on the author's experiences of engaging in research on male dancers in secondary schools.

This paper is a semi-autobiographical reflective inquiry which assesses the current issue of masculinities and dance, within adolescent educational settings. It is important in generating an awareness of the importance of individual and subjective reflective starting points for conducting research and the paper concludes how ethnographic research is never really neutral.

This paper seeks to explore the concept of dance as a metaphor for relating to the challenges of management and human relations within the organisational space. It asks in what way can the art‐related concept of dance be applied to the benefit of a dominant science‐led management learning and practice.

The paper explores its topic through counter‐factual argument, drawing on a recently published theory of art‐related management practice. It invokes dance as an application of the theory to further explore that theory's relevance to management and organisational thinking.

The concept of an organisational dance is explored by considering the notions of presence and rhythm. A definition for social presence is derived in order to present an ability of the individual to perceive a socially constructed reality, against which collective movement – aligned within a concept of organisational rhythm – permits a form of dance to emerge. The organisational dance sets up a form of social constructionism in which new forms of knowledge might arise through creative play.

The paper argues that the metaphor of dance can usefully provide new insight into thinking about management, by providing an intellectual basis for writing about organisational dance. The paper concludes that the research question is not (empirically) “what dances are being practiced” but, in order to better support managers in practice, “how do we make the organisation dance?”

The purpose of this paper is to outline one innovative Australian initiative to harness creative, often intangible, knowledge, and reap the benefits of the intellectual capital of dance artists both during and post performing careers – the project Securing Career Opportunities and Professional Employment (SCOPE) which has been running for the last three years in conjunction with the Australian Institute of Sport (AIS).

Unlike much of the work in the field of knowledge management that concentrates on individual organization knowledge management processes and practices, this paper takes an industry‐sector‐wide perspective, utilizing written, and oral data sources.

International focus on innovation, entrepreneurship, creativity and knowledge management has led to a growing recognition of the role of the creative industries for our post industrial economic well being. Dance plays a central role as a unique way of knowing and learning, with both intrinsic and instrumental value. Whilst there is diversity among dance artists, one unifying feature is short careers as performers. Having amassed an array of special attributes and competencies that are beneficial, it is crucial for artists to manage the knowledge gained through their training and careers in order to sustain and reap the benefits of their intellectual capital. The creative value of dance artists' capabilities can be a beacon in the link between creativity and economic outcomes. SCOPE is especially innovative as, unlike other programs, it moves beyond the notion of a transition program to emphasizing that of career development and sector knowledge management.

The research case study approach contributes to a fuller understanding of a very under researched area – first, that of management in the performing arts; and second, in knowledge management within an industry sector.

The purpose of this paper is to present the design and evolution of the Dancing Computer project. Dancing Computer is an ongoing research project at the Michigan State University, which is developing a system that aims to increase computer literacy in elementary-aged children by teaching them first to read code before they write it. The main objective is to educate children on basic concepts of computer science.

Children are given tablet computers that present a simple program line-by-line that they execute as they pretend to be a computer. The programs are acted out on a portable dance floor consisting of colored tiles, and the program statements instruct the child to move, turn and act out dance poses and terminology.

The Dancing Computer prototype was tested in six different locations in 2016, reaching approximately 250 students. Learning was demonstrated by significant improvements in both task duration and error performance as students performed the activities. The most common errors were movement errors, where participants failed to move the correct number of squares.

This project has the potential to increase the level of computer literacy for thousands of children. This project’s goal is to increase understanding of what a computer does, what a program does and the step-by-step nature of computer programs.

This is a unique and a different approach – the norm being to start students off writing code in some language. In Dancing Computer stages children as readers of programs, allowing them to pretend to be a computer in a fun and engaging activity while also learning how computers execute real programs.

Systematic organization of domain knowledge has many advantages in archiving, sharing and retrieval of information. Ontologies provide a cushion for such practices in the semantic Web environment. This study aims to develop an ontology that can preserve the knowledge base of traditional dance practices.

It is hypothesized that an ontology-based approach for the chosen domain might boost collaborative research prospects in the domain. A systematic methodology was developed for modeling the ontology based on the analytico-synthetic rule of library classification. Protégé 5.2 was used as an editor for the ontology using the Web ontology language combined with description logic axioms. Ontology was later implemented in a local GraphDB repository to run queries over it.

The developed ontology on traditional dances (OTD) was tested using the dances of the Rabha tribes of North East India. Rabha tribes are from an indigenous mongoloid community and have a robust presence in Southeast Asian countries, such as Myanmar, Thailand, Bangladesh, Bhutan and Nepal. The result from HermiT reasoner found the presence of no logical inconsistency in the ontology, while the OOPS! pitfall checker tool reported no major internal inconsistency. The induced knowledge base of traditional dances of the Rabha’s in the developed OTD was further validated based on some competency questions.

In the growing trend of globalization, preservation of the cultural knowledge base of human societies is an important issue. Traditional dances reflect a strong base of the cultural heritage of human societies as they are closely related to the lifestyle, habitat, religious practices and festivals of a specific community.

The current study is exclusively designed, keeping in mind the variables of traditional dance domain based on a survey of the user- and domain-specific needs. The ontology finds probable uses in traditional knowledge information systems, lifestyle-based e-commerce sites and e-learning platforms.