Mary skeaping, M. B.C. (1902–1984)

This article reviews the pitfalls and benefits of teaching and learning in summer school and identifies the lack of student interest as the key factor affecting the effectiveness of learning in the summer. The primary goal of this research is to investigate the impact of active learning strategies on generating student interest and improving their learning in summer school. This article presents results of the study embedded into the classroom curriculum of a summer course. The study consisted of a series of active learning interventions, surveys of students, and observations of their academic performance. The scores of students enrolled in the summer class were compared to academic results of those students who took a similar course during the regular terms. The evidence examined in the study demonstrates that active learning strategies can increase students' situational interest in the summer school setting and can improve the quality of their learning.

The 12-year collaboration between Greifswald and Cairo Universities in Neurosurgery has recently reached stable steps in post-graduate education represented in the bi-institutional fellowship of Neuro-endoscopy. We present our new experience of upgrading the level of bi-institutional collaboration to serve for highly skilled undergraduate training. we started a summer school program for the Egyptian medical students, with the target of allowing better orientation with the specialty Results: 10 candidates (6 males and 4 females) were selected to participate in the program. All candidates successfully finished the summer school and stated they would recommend this activity to their colleagues. We recommend the summer school activities either within the host university or abroad in a collaborate university to the students that would be preselected to fit in the planned program. It is our opinion this would assist the young generations in choosing the suitable career and help in improving the quality of the working teams in Neurosurgery in the future.

This paper presents a robotics summer school concept involving teaching methods like peer tutoring and teaching in order to meet the demand of robotics summer courses at the University of Applied Sciences Technikum Wien and benefit from its didactical possibilities.

Nijenrode Castle in Breukelen, the Netherlands, situated between Utrecht and Amsterdam, was home for seventeen days during August of last year to more than sixty physicists, chemists, and advanced students from sixteen countries. These people gathered to attend an intensive course on Fundamental Problems in Statistical Mechanics, held under the auspices of NUFFIC (the Netherlands Universities Foundation for International Cooperation) with support from NATO. Statistical mechanics seemed most appropriately chosen as the subject of the first summer school in theoretical physics in the Netherlands in view of the long tradition, begun by Van der Waals and continued by Ehrenfest. of Dutch research in this field. The lecturers at Nijenrode representing that tradition as it is active in Holland today included N. G. van Kampen, B. R. A. Nijboer, L. van Hove, N. M. Hugenholtz. E. G. D. Cohen, and P. Mazur. Visiting lecturers from abroad were K. Huang of the Massachusetts Institute of Technology. H. Wergeland of the Norwegian Technical High School in Trondheim, and G. E. Uhlenbeck of the Rockefeller Institute in New York.

Science and progress thrive on an open mind and a transnational exchange of ideas and experience. That's why, in 2005, two scientists with a vision launched the biotechnet Summer School on Advanced Biotechnology. This year, too, the Summer School - now held at ZHAW in Waedenswil - is attracting researchers from all over the globe, and is also celebrating its 10(th) anniversary.

Professor Mats Karlsson is a world-renowned scientist in the field of clinical pharmacology and pharmaco-metrics, and he has made extraordinary contributions with a strong commitment to develop the field. In the following, some of his contributions will be highlighted: Mats Karlsson was born in Sweden in 1959. He graduated as a pharmacist from Uppsala University and earned his PhD in pharmacokinetics in 1989 from Uppsala University with the thesis: “Novel methods for estimation of ligand binding kinetics and drug absorption”. Subsequently, he had several post-doc positions, the last of which took place at the University of California San Francisco from 1992 to 1994. This resulted in a long-lasting collaboration with professor S.L. Beal and professor L.B. Sheiner and in several key publications. In 1994, he started the Pharmacometrics Research Group (PMG) at Uppsala University, and he was appointed the first (worldwide) professorship in Pharmacometrics in 2001. The PMG has now grown to the largest academic research group in this area, globally comprising approximately 45 members (7 faculty, 2 system developers, 7 post-docs, >20 PhD students, visiting scientists and several part-time employees). By providing an impressively generous, open and dynamic atmosphere in this cross­disciplinary area, researchers with different backgrounds have been attracted both with respect to competence (pharmacy, medicine, engineering, statistics and computational sciences) as well as origin (past and present researchers represent >20 nations from all parts of the world). While developing his own research, he has allowed younger researchers to grow and become independent scientists in their own right, and so far, two of his PhD students have become full professors and two have become associate professors. Mats Karlsson has outstanding achievements in the education of pharmacometricians. He has enthusiastically supervised 27 students to PhD degree as main supervisor and 29 students as co-supervisor. In addition, he has mentored more than 40 post-docs. The students and post-docs are now in positions at academic institutions, the pharmaceutical industry, contract research organisations and at drug regulatory authorities worldwide. He has developed several courses for PhD students and professionals, including the popular courses on covariate model building and PKPD modelling in NONMEM. He has also established the annual Uppsala Pharmacometric Summer School (UPSS), a free two-week summer course attracting PhD students from around the world. Mats Karlsson has successfully kept a uniquely broad research profile in both development of methodology for analysis of clinical data using non-linear mixed-effects modelling and applied modelling in several therapeutic areas. He has published in more than 300 peer-reviewed research articles, has an h-index of 48 and the top three publications are cited more than 300 times. Methodology improvements include new methods for covariate model building in non-linear mixed-effects modelling, efficient clinical trial design and model diagnostics. The developed methodology is widely available via free and open-source software. He has developed several platform models, now commonly used in drug development of drugs in diabetes, oncology, TB and inflammatory disease (e.g. RA and MS). He has also developed approaches for analysis of categorical type data, enabling efficient analysis of adverse event records. Mats Karlsson is partner of several European research consortia (PreDiCT-TB, Orbito, IDEAL and U-PGx) and was the academic principle investigator of the European research consortium DDMoRe, within which modelling standards, a modelling environment and a library of drug/disease models for the pharmacometrics community were developed. He is also on several editorial boards of scientific journals including being the European Editor of Journal of Pharmacokinetics and Pharmacodynamics.

Students from disadvantaged socio-economic backgrounds are under-represented in UK medical schools. Many successful interventions are also highly labour-intensive for medical schools to implement. We describe and evaluate a sustainable, low-cost strategy that provides participants with targeted support, advice and experience. Year-12 participants (29-74 annually) from schools in areas of deprivation were paired with e-mentors from the medical student population. Engagement with this programme was used as one criterion to select approximately 20 mentees per year for participation in a 1-week summer school. All participants were offered consultant-led work experience during their summer holiday and were guaranteed places at a student-led outreach conference, where they received specific help with the writing of personal statements and interview skills. Summer school participants were followed-up by questionnaire to establish their career plans. We have delivered this programme annually for 3 years. All respondents to follow-up applied to study medicine, dentistry or a related bioscience, to degree level. The success rate of these disadvantaged students was similar to that of the general population of UK applicants who applied to study medicine at this medical school. By collaboratively linking multiple activities organised by the Outreach Office, academic staff and medical students, an annual cohort of approximately 20 participants from non-traditional backgrounds was provided with sustained support in preparing for applying to medical school. The limited data available from follow-up suggests that this approach may have helped overcome the social disadvantage facing these applicants.

Bought in 1925 by Dorothy and Leonard Elmhirst, the Devon estate of Dartington Hall earned itself a place in the annals of utopian schemes through the Elmhirsts’ conviction that arts, education and work could all be integrated into an abundant life for the participation of everyone. From the perspective of the time, when dance was not necessarily given equality with other arts, they believed in dance as an art for the betterment of society. As early as 1932 a Dance School was built on the site. It offered professional training in modern dance, and acted as a base for community outreach. From the 1960s, Dartington College of Arts became a fulcrum for intercontinental exchanges and the Dartington Dance Festivals of the 1970s provided inspiration for a generation of independent and radical choreographers. After Dartington College of Arts moved from the estate in 2010, many dance artists were able to develop their work in the vacated studios. Schumacher College, Dartington’s ecological education centre, meanwhile evolved degree qualifications that combined rigorous science with discovery methods deriving from the embodied training that dancers had been developing. This new edition of the book, first published in 2007, assesses Dartington’s dance legacy in its centenary year, with insights into dance of the twenty-first century. For students of history, it provides a lens through which to view a century of change in dance and society. Enthusiasts of Dartington Hall will find here a compelling narrative about exceptional artists working within the often impossible demands of utopian dreams.

Many children dream of being a ballerina. Chin raised with purpose, arms high above head, they twirl clumsily around the living room and leap tirelessly in the air. Sooner or later they're bound to say, "I want to dance." Now what do you do? How do you know if the time is right? Where's the best place to start? In Getting Started in Ballet, Anna Paskevska draws from her training at the Paris Opera Ballet School and and the Royal Ballet School in London and her career as a professional dancer and teacher to offer a step-by-step introduction to dance education for parents with children starting ballet. Paskevska begins with a historical overview of dance and discusses the fundamental virtues and many life-long skills it imparts. Dance teaches children how to cooperate and support each other's efforts; encourages them to work in harmony with others; helps establish a child's spatial relationships; and promotes discipline and responsibility. Paskevska outlines the proper sequence for training in ballet based on a child's physical and mental development. She clearly demonstrates how ballet's early training, focusing on repetition of simple motion such as exercises at the barre and basic jumps, establish pathways for all later movements not only in ballet, but in modern dance, jazz, and tap as well. Written in a clear and accessible style and full of anecdotes from Paskevska's long professional dance-related career, Getting Started in Ballet offers helpful information on types of dance schools and how to select the right school for your child. Included is valuable information on choosing a dance instructor, the role both parents and teachers should play in a child's learning experience, and the qualities the ideal teacher should possess. Also discussed are more practical matters such as the appropriate clothing to wear while practicing, the importance of shoes that fit properly, how to secure pointe shoes, tips for avoiding injury, and how to balance training and performing experience during the formative years. A special chapter covers proper diet, eating disorders, and ways to recognize symptoms of imbalance. Finally, Paskevska touches upon the professional world of dance, attending college as a dance major, and advice on choosing careers that benefit from a background in dance. With forewords by Violette Verdy, a preeminent ballerina affiliated with the New York City Ballet and the Paris Opera Ballet, and Sybil Shearer, a pioneer of American modern dance, as well as an extensive appendix of performing arts schools and dance programs throughout the United States, Getting Started in Ballet gives parents the advice they need to make their child's dance experiences both enjoyable and constructive.

A Revolution in Movement is the first book to illuminate how collaborations between dancers and painters shaped Mexico’s postrevolutionary cultural identity. K. Mitchell Snow traces this relationship throughout nearly half a century of developments in Mexican dance—the emulation of Diaghilev’s Ballets Russes in the 1920s, the adoption of U.S.-style modern dance in the 1940s, and the creation of ballet-inspired folk dance in the 1960s. Snow describes the appearances in Mexico by Russian ballerina Anna Pavlova and Spanish concert dancer Tortóla Valencia, who helped motivate Mexico to express its own national identity through dance. He discusses the work of muralists and other visual artists in tandem with Mexico’s theatrical dance world, including Diego Rivera’s collaborations with ballet composer Carlos Chávez; Carlos Mérida’s leadership of the National School of Dance; José Clemente Orozco’s involvement in the creation of the Ballet de la Ciudad de México; and Miguel Covarrubias, who led the “golden age” of Mexican modern dance. Snow draws from a rich trove of historical newspaper accounts and other contemporary documents to show how these collaborations produced an image of modern Mexico that would prove popular both locally and internationally and continues to endure today.

The contemporary dance world, both in academic and professional settings, asks dancers to consistently engage with increasingly complex conceptual and physical dance work. Dancers in both settings must assimilate complex movement patterns, combine the technical nuances of multiple genres, reflect upon and critically assess their dancing, and achieve optimal expression in a frequently reduced amount of creative rehearsal. In the professional arena, budgetary constraints (the cost of rehearsal space and the cost of paying dancers for their time) impact the rehearsal process; and in the educational environment, lack of adequate studio space or accessibility to studio space impact dance programs that must share space with other programs. Somatics in Action: How “I Feel Three-Dimensional and Real” Improves Dance Training” details a pedagogical approach to preparing universitylevel dancers to become 21st Century dancers. The article focuses on incorporating multiple somatic theories, such as alignment-based yoga, Pilates, Bartenieff Fundamentals, and Ideokinesis, into one cohesive movement practice titled “somatics in action.” Further, how this movement practice is woven into the fabric of a traditional modern dance technique format allowing dancers to become cohesive, fluid, and mindful movers is illustrated.

and a Master of Divinity student at the

This is the story of three passionate choreographers and their colleagues who created European modern dance in the 20th century despite the storms of war and oppression. It begins with Rudolph Laban, innovator and guiding force, and continues with the careers of his two most gifted and influential students, Mary Wigman and Kurt Jooss. Included are others who made significant contributions: Hanya Holm, Sigurd Leeder, Gret Palucca, Berthe Trumpy, Vera Skoronel, Yvonne Georgi and Harold Kreutzberg. book weaves together the connections among these extraordinary artists, The Makers of Modern Dance in Germany contains interviews, personal recollections and translations from German publications.

In the history of modern dance, Doris Humphrey’s significance traverses performance, choreography, pedagogy, and advocacy for the emerging art form in mid-century America. Her explorations of natural movement drew on principles she identified as ‘fall and recovery’, the yielding and resistance to the gravitational pull of the body. Humphrey’s predominant concern was the creation of ensemble dances, with signature works such as New Dance and Passacaglia coming out of residencies at the Bennington Summer School of the Dance. Her choreographic emphases lay in design, form, structure and lyricism alongside fluid musical dancing. The Humphrey-Weidman Company, which she co-directed with Charles Weidman, performed extensively in New York City and nationally between 1928 and 1946, bringing this new form of dance to the American people. From 1946 until her death in 1958, Humphrey served as artistic director of the Jose Limón Dance Company. John Martin, dance critic of the New York Times, said of her, ‘Doris Humphrey is an enduring part of the dance in America, as the granite under the soil is enduring. We can turn nowhere in the art without finding her’.