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Idrottsämnet i skolverksamheten innehåller mängder av olika aktiviteter. Bakgrunden till denna studie grundar sig i tidigare forskning som bekräftar att dansundervisningen kommer i skymundan för mer populära aktiviteter och bollspel. På grund av dansens påvisade svaga genomslag i undervisningen samt att en ny läroplan har implementerats i skolan, finns vetenskapliga tomrum kopplat till dansundervisningen över tid. Syftet med denna studie är att fokusera på dansen och uppmärksamma tre olika dansformer såsom de träder fram i samtliga kursplaner mellan 1962-2022. Denna studies tillämpade metod är en kvalitativ innehållsanalys av dokument, vilket har möjliggjort granskningen av LGR62, LGR69, LGR80, LPO94, LGR11 och LGR22. Textinnehållet i samtliga kursplaner är i sin tur avgränsat till idrottsämnets centrala innehåll och betygskriterier. Resultatet visar att dansen har haft ett varierat genomslag i kursplanerna och att framställningen av dansformerna har förändras över tid. Vidare jämförs likheter och skillnader i hur dansformerna träder fram, för att då kunna synliggöra mönster. Den kulturella formen tenderar att avta med tiden medan den expressiva formen synliggörs mest och finns med i alla kursplaner. Träningsformen träder i sin tur fram minst, men kan tänkas få ett ökat utrymme i framtiden. I diskussionen redogörs en sammanfattande tolkning av denna studies resultat. Genom att utgå från studiens syfte och frågeställningar ställs dessa i relation till tidigare forskning. Med hjälp av läroplansteorin motiveras tolkningar och ställningstaganden där förklaringsmodeller i första hand kopplas mot bland annat samhället och dansens genomslag i undervisningen. Physical education in school contains many different activities. The background for this study is based on previous science and research, which confirms that dance lessons are reduced by more popular activities and ball games. Since the dance demonstrated as a weak impact in school, there are scientific gaps connected to dance lessons over time. The purpose of this study is to focus on dance and then pay attention to three different forms of dances, as they appear in all curricula between 1962-2022. This study´s method is a qualitative content analysis of documents, which made it possible to review the content in LGR62, LGR69, LGR80, LPO94, LGR11 and LGR22. The content in all curricula is in turn limited to physical educations syllabuses and specific the core content and grading criteria. The results of this study confirm that dance has had a varied impact in the syllabuses and the forms of dance represents changes over time. Furthermore, did a comparison show similarities and differences of how the forms of dances appear over time, which made patterns noticeable. The culture dance tends to decline over time, while the expressive dance is most visible and the only one that is included in all syllabuses. The training dance, fore’s the least, but could conceivably get an increased space in the future. The discussion presents a summarized interpretation of the results of this study. Based on the study's propose and questions, these are placed in relation to previous research. With the help of curriculum theory, interpretations and positions are justified where explanatory models are primarily linked to society and the impact of dance in physical education.

The purpose of the articleis to formulate the basic principles of the “anti-theatre” programme of Zurich Dadaism, using the concept of “expressive dance” by Rudolf van Laban as a form of their approbation. Theresearch methodologyis based on a basic combination of historical-reconstructive, structural-analytical and comparative methods. Results.The article presents the practice of Hugo Ball’s Cabaret Voltaire in Zurich, from which the history of the most radical art movement of the “historical” avant-garde began in 1916, and artistic searches in the field of performing arts, which marked the activities of Tristan Tzara’s DADA Gallery in 1917. The author has also focused his attention on the stages of formation of the “expressive dance” concept by Rudolf van Laban, the world-famous Hungarian choreographer and the participation of the graduates of the Zurich Choreographic Institute in stage experiments of Dadaists. A comparative analysis of the artistic practice of the most radical art movement of the “historical” avant-garde, presented in particular at the Cabaret Voltaire and the DADA Gallery, and the Hungarian artist’s experiments in “free choreography” at the Zurich Choreographic Institute allowed describing the ways of organisation of “another stage reality” proposed by Dadaists and identifying their consonance with ideological and artistic grounds of the “dance grammar” developed by Rudolf van Laban. The scientific novelty of the studyis that the artistic results of the little-studied stage practice of the Zurich Dadaists (including simultaneous poetry and sound poetry) are emphasized through the use of conceptual provisions of Rudolf van Laban’s theory of “expressive dance” and methodology of “dance architecture”.

The purpose of the article is to formulate the basic principles of the “anti-theatre” programme of Zurich Dadaism, using the concept of “expressive dance” by Rudolf van Laban as a form of their approbation. The research methodology is based on a basic combination of historical-reconstructive, structural-analytical and comparative methods. Results. The article presents the practice of Hugo Ball’s Cabaret Voltaire in Zurich, from which the history of the most radical art movement of the “historical” avant-garde began in 1916, and artistic searches in the field of performing arts, which marked the activities of Tristan Tzara’s DADA Gallery in 1917. The author has also focused his attention on the stages of formation of the “expressive dance” concept by Rudolf van Laban, the world-famous Hungarian choreographer and the participation of the graduates of the Zurich Choreographic Institute in stage experiments of Dadaists. A comparative analysis of the artistic practice of the most radical art movement of the “historical” avant-garde, presented in particular at the Cabaret Voltaire and the DADA Gallery, and the Hungarian artist’s experiments in “free choreography” at the Zurich Choreographic Institute allowed describing the ways of organisation of “another stage reality” proposed by Dadaists and identifying their consonance with ideological and artistic grounds of the “dance grammar” developed by Rudolf van Laban. The scientific novelty of the study is that the artistic results of the little-studied stage practice of the Zurich Dadaists (including simultaneous poetry and sound poetry) are emphasized through the use of conceptual provisions of Rudolf van Laban’s theory of “expressive dance” and methodology of “dance architecture”., Мета статті – сформулювати основоположні принципи «антитеатральної» програми цюрихського дадаїзму, використовуючи як форму їхньої апробації концепцію «виразного танцю» Рудольфа фон Лабана. Методологія дослідження базується на елементному поєднанні історико-реконструктивного, структурно-аналітичного та компаративного методів. Результати. У статті представлено практику цюрихського «Кабаре Вольтер» Хуго Балля, з якої 1916 р. починається історія найрадикальнішого напряму «історичного» авангарду, та художні пошуки у сфері сценічного мистецтва, які ознаменували діяльність «Галереї Дада» Трістана Тцара 1917 р. Увагу також акцентовано на етапах формування концепції «виразного танцю» всесвітньовідомого угорського хореографа Рудольфа фон Лабана та на участі випускниць Цюрихського хореографічного інституту в сценічних експериментах дадаїстів. Компаративний аналіз постановок «Кабаре Вольтер» і «Галереї Дада» й експериментів угорського митця у сфері «вільної хореографії» у Цюрихському хореографічному інституті сприяв опису запропонованих дадаїстами способів організації «іншої сценічної реальності» та виявленню їхньої суголосності ідейно-художнім принципам «граматики танцю» Рудольфа фон Лабана. Наукова новизна статті полягає у тому, що художні результати малодослідженої сценічної практики цюрихських дадаїстів (зокрема «симультанна поезія» та «звуковий вірш») унаочнюються засобами концептуальних положень теорії «виразного танцю» та методології «архітектури танцю» Рудольфа фон Лабана.

The purpose of the article is to characterise the dance and pedagogical activities of G. Bodenwieser and to identify the features of the development of expressive dance of the first half of the twentieth century. Methods. The biographical method is applied to study the "history" of the formation of the personality of G. Bodenwieser, the phenomenon of expressive dance is studied by the method of system analysis; the typological method helped to identify the attributive characteristics of the Viennese school of Ausdruckstanz; the analytical method, the method of logical and theoretical analysis are used for the study of scientific literature, etc. Results. G. Bodenwieser was a part of European modernist movements and belonged to the first generation of expressive dancers in Vienna. Modernist dance sought to explore social, emotional, and political issues by focusing on body movements rather than elaborate props or costumes. The features of G. Bodenwieser’s ideas and philosophy of the dance movements are introduced into the domestic scientific circulation, little-known and unknown materials on the history of Austrian free dance are described, as well as new historiographic sources. The principles of improvisation of an outstanding dancer are considered, in particular the approach to the speed and dynamics of the dance movement "game in the game. The article outlines the prospects for applying G. Bodenwieser’s philosophy of movement in the context of the evolution of modern dance at the beginning of the third decade of the 21st century. It is found that in the philosophical vision of Bodenwieser, the movement of dance should be full of smoothness and rhythmic subtlety, showing a perfect sense of music and the body's delicate reaction to it — the movement is strong in pulse, subtle in rhythm and full in its connection with the dance text. The principles of improvisation, set out by Gertrud Bodenwieser and her followers, are relevant to modern choreographic theories and practices. Scientific novelty. The article examines the dance and pedagogical activities of G. Bodenwieser, one of the leading representatives of the Austrian dance Ausdruckstanz.

Der Text entstand als Weihnachtsgruß für die Mitglieder desVereins für Stadtgeschichte Halle (Saale) und reflektiert Ereignisse der Weihnachtszeit im Dezember 1920 in einem sehr breiten, dezidiert kulturwissenschaftlichen Panorama. Betrachtet wird die Entwicklung der Einkaufskultur und die Ausgestaltung von weihnachtlichen Traditionen in Zeiten des Mangels und der politischen Auseinandersetzung. Skizziert werden die im Dezember im Stadtrat verhandelten Diskussionen, die sich etwa um die Unterstützung der Kriegsverwundeten, die Schaffung von Gemeinschaftsschulen oder Spendenaktionen für ganz verschiedene politische Ambitionen und soziale Projekte. ). Zudem kam es durch die Verhaftung des Redakteurs Viktor Stern (1885-1958) selbst in der Vorweihnachtszeit zu neuen Massenkundgebungen und Streiks in der Stadt. Ein Blick auf kulturelle Veranstaltungen und die Folgen der Spanischen Grippe runden den Blick auf die gesamte städtische Gesellschaft ab. The text was written as a Christmas greeting for the members of the Verein für Stadtgeschichte Halle (Saale) and reflects events of the Christmas season in December 1920 in a very broad, decidedly cultural-scientific panorama. It looks at the development of shopping culture and the shaping of Christmas traditions in times of scarcity and political conflict. The discussions that took place in the city council in December are sketched out, which, for example, dealt with the support of the war-wounded, the creation of community schools or fundraising campaigns for very different political ambitions and social projects. ). In addition, the arrest of the editor Viktor Stern (1885-1958) led to new mass rallies and strikes in the city even in the pre-Christmas period. A look at cultural events and the consequences of the Spanish flu round off the view of urban society as a whole.

V diplomskem delu predstavljamo pomen plesa v predšolskem obdobju na primeru dveh plesnih revij, in sicer »Zavrtimo se« ter »Se igramo, pojemo in tudi zaplešimo«. Delo je sestavljeno iz dveh delov. V teoretičnem delu najprej opredelimo pojme plesa predšolskega obdobja, ki so pomembni za naš empirični del. Tako s pomočjo virov in literature opredelimo pomen plesa in njegov vpliv na otrokov razvoj. Razložimo njegov pomen v predšolskem obdobju ter oblike in metode, ki so za delo z otroki najbolj primerne. Dotaknemo se tudi ljudskega in izraznega plesa ter opredelimo pomen vzgojitelja pri tovrstni dejavnosti. V empiričnem delu smo si zastavili raziskovalna vprašanja, na katera smo odgovorili s pomočjo podrobnejše analize plesne in folklorne revije »Zavrtimo se« in »Se igramo, pojemo in tudi zaplešemo«, ki so si jih ogledali na spletni strani JSKD OI Laško, kjer sta obe reviji tudi javno objavljeni. Pri posameznih plesnih točkah smo s pomočjo opazovalnega lista analizirali posamične plesne nastope z vidika, ki temelji na gibalnem gradivu Brede Kroflič (1995) in zajema uporabo telesa, usklajenost gibanja, uporabo prostora, dinamiko, odnose v gibanju in sporočilo, ter na osnovi tega ugotavljali gibalno bogastvo plesnih izdelkov. Ko smo analizirali vse plesne točke, smo jih primerjali med seboj in ugotavljali razlike med dvema različnima zvrstema (otroški ljudski in izrazni ples). Tako smo tudi ugotovili, katera zvrst ima bolj in katera manj poudarjene posamezne segmente v gibalnem gradivu. S pomočjo rezultatov, ki smo jih pridobili z izračunom povprečnih ocen, smo ugotovili, da vzgojitelji delajo dobro in da v plese vnašajo vse pomembne sestavine ter tako omogočajo, da se otrok razvija celostno na vseh področjih. In the thesis we present the importance of dance in the pre-school period on the example of two dance shows, namely "We begin to dance" and "We play, sing and also dance". The thesis consists of two parts. In the theoretical part we first define the concepts of pre-school dance, which are important for our empirical part. Thus, with the help of resources and literature we define the importance of dance and its influence on the child's development. We explain its significance in the pre-school period and the forms and methods that are best suited for working with children. We also touch on folk and expressive dance and define the importance of educators in this kind of activity. In the empirical part we asked research questions, which we answered through a more detailed analysis of the dance and folklore shows "We begin to dance" and "We play, sing and also dance" that could be seen on the website of the Public Fund for Cultural Activities (JSKD) Laško, where both shows were also publicly released. For individual dance parts we analysed individual dance performances with the help of an observation list from the perspective based on the motion material from Breda Kroflič (1995), which covers the use of the body, the coordination of motion, the use of space, dynamics, the relation to motion and the message. Based on this observation we decided on the wealth of dance elements. When we analysed all dance parts, we compared them to each other and determined the differences between two different genres (children's folk and expressive dance). Thus, we also identified which type has more and which less emphasized individual segments in the motion material. With the help of the results obtained by calculating the average grades, we found that the educators are working well and that they bring into the dance all important components, thus enabling the child to develop fully in all areas.

Dance has been a part of physical education (PE) in several countries for a long time. Dance is marginalized in PE in Sweden and there is a gap between the ambitious goal in the curricula and the actually teaching in dance. Many PE teachers generally feel uncertain about the role of dance in their subject and are insecure how to teach it. PE appears to be dominated by a multiactivity model, underpinned by discourses ofhealth and fitness alongside the logic of sport as bodily movement practices aimed at competition. The aim is to discuss whether dance and aesthetical experiences can help broaden understandings of the body and the use of the body within the subject as a part of an identity process. Such a discussion can also add new dimensions to the debate on the nature and purposes of PE. The theoretical references draw on the pedagogue John Dewey's (1934/2005) concepts of experiences and aesthetical judgements. The sociologist Thomas Ziehe´s (1982/1986) concept of unusual learning processes is also used to discuss challenges for students' learning. An intervention study, consisting eight PE lessons with dance inspired by Rudolf Laban (1948/1988), was carried through in three classes on high school level in the compulsory school. The empirical material consists of videotaped lessons and students' written narratives. The results show that aesthetical dimensions of movements and dance as expression challenge students in PE and offer new learning experiences and therefor is a part of an identity process. Instead of imitating and reproducing movements the students have an intention to express feelings through dance and create unpredictable movements. The PE teachers use more student centered teaching instead of using direct teaching with specified movements as a form of social control. New dimensions of subjective experiences and the sensual body are given space in PE as a counterweight to sport-related physical activities.

Introduction It is agrued that the use of expressive dance can question gender stereotypes in physical education (PE). Dance has been a part of the PE curriculum in several countries for a long time. Inspite of this studies demonstrate that teaching dance in PE is rare and aesthetical perspectives on moving bodies are absent. The purpose is therefore to investigate PE teachers’ experiences of using expressive dance as a learning object and explore whether dance can help broaden understandings of essence and potential of physical education.Method Pre and post semi structured interviews (Thomssen, 2004) have been used to ’give voice’ to PE teachers’ experiences in combination with videotaped observations (Öhman & Quennerstedt, 2012) during a dance theme in PE. Data collection is focusing on teachers’ actions and talk but taking the whole didactic system into account: the knowledge intended to be learned, teachers’ strategies and the context (Amade-Escot, 2006). The empirical material consist of eight interviews with four PE teachers and 24 observed PE lessons.Results PE teachers describe a feeling of freedom and that teaching expressive dance have broadened their perceptions of what and how students learn. Rather than imitating movements the focus has changed to the students themselves create and reflect on their movements. Teachers have discovered new students than those who tend to dominate the sport teaching. Teachers also recognize that boys and girls co-operate and that girls take as much space as boys do. Discussion Underscoring John Dewey’s (1934/2005) thoughts of bodies in transaction with their social, cultural and physical surroundings, these are brought into conversations with feminist scholars (Sullivan 2001) to expand the thinking about the body such as the role of habit and meaning. Expressive dance as non-competition and including non predetermined movements can challenge a masculine-coded subject. Such a discussion can add new dimensions to the debate on the nature and purposes of a sustainable physical education.ReferencesAmade-Escot, Chantal (2006). Student learning within the didactique tradition. In: D. Kirk, D.Macdonald & M.O´Sullivan (eds.), The handbook of physical education. London: Sage Publication, pp. 347-365.Dewey, J. (1934/2005). Art as experience. New York: Penguin Group.Thomssen, Heléne (2004). Reflexiva intervjuer. Lund: Studentlitteratur.Öhman, M. & Quennerstedt, M. (2012). Observational studies. In: K. Armour, & D. Macdonald. Research in physical education and Youth Sport. London: Routledge, pp. 189-203.