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the primary distinction on this dimension is that into spoken and written language" (1964, p.91).In this essay, all three motives are at play, and are at play for different speakers playing different roles: at the core of this essay is the performance work of emerging artist Cat, a Maori dancer and choreographer from Auckland, New Zealand.
As a dance artist in the academy, I am constantly code switching between two modes for the purposes of pedagogical efficacy, best practices in research, and faculty advancement.
For example, teaching in the dance studio and choreographic research requires oral and kinesthetic modes of communication.
These kinesthetic neural pathways reinforce intellectual understanding of the political system in which dancers of that period were corporeally immersed.
 As readers unfamiliar with dance terminology, you may be stretching for a complete understanding of the examples described above.
 Specifically, as a dance teacher and researcher, I often must translate specialized artistic terminologies in defense of a minority worldview that values oral/kinesthetic modes of communication, meaning making, knowledge production and dissemination.
Essay On Code-Switching Research Paper Topics In Nursing
In this essay, I offer a case study of a performance work created especially to address this question: how arts-based research, in the form of choreography, is well positioned to perform code switching using both verbal and nonverbal codes.
Introduction As a dance artist and a doctoral researcher in dance studies, I integrate creative and academic activities as part of a new wave in the academy.
This wave, modeled in New Zealand at the University of Auckland's Dance Studies Programme among others, uses qualitative arts-based methods for research in higher education.
: dance, Maori, New Zealand, orality, oral history, code switching Table of Contents 1.
Introduction 1.1 Code switching in sociolinguistics 1.2 Code switching in the academy 2.