Re-thinking the way we teach dance
The papers below focus on the changing nature of dance pedagogy; exploring questions of identity and tradition, embodied learning to teach theory in the classroom, the act of dancing as a research strategy, cultural inclusivity as the heart of curriculum development and effective applications of digital technologies.
In this section
- Linda Ashley, Metamorphosis in dance education: tradition and change a delicate dilemma
- Karen Barbour, Standing strong: pedagogical approaches to affirming identity in dance
- Vera Bullen, Developing a mind-body connection in teaching dance History
- Shreeparna Ghosal, The problematics of tradition and talent in Indian classical dance – an artist’s view
- Christina Hong; Linda Caldwell; Nicole Touzien; Valerie Alpert; Tamara Ashley, Transcultural perspectives on digital practices and the arts in higher education
- Evan Jones, Enhancing learning in dance technique through on-line mediated reflective practice
- Elizabeth Melchior, Teaching and learning dance in a culturally inclusive environment: a case study
- Maggi Philips; Cheryl Stock; Kim Vincs, Dancing doctorates down-under? Defining and assessing ‘doctorateness’ when embodiment enters the thesis
Metamorphosis in dance education: tradition and change a delicate dilemma
Linda Ashley
This paper sets out to inform both theory and practice for dance educators as they meet the demands of multiple dance heritages in today’s classrooms. It is proposed that Western dance educational practices, such as creative fusion, threaten the survival of diverse dance traditions with potential assimilation and acculturation – a potentially delicate dilemma for dance educators. Pedagogical strategies in dance education for the 21st century, that promote meaningful, ethical and sustainable learning experiences in transcultural contexts, are identified as lying at the heart of balancing culturally diverse dance traditions with the Western individual creative dance pedagogy. Following a brief overview of the metamorphosis of pedagogy in 20th century dance education zeitgeist is presented, a snapshot of pedagogy that engages with culturally diverse dance traditions that is represented by selected findings from an ethnographic investigation with teachers in New Zealand, conducted as part of doctorate research between 2004 and 2006. These findings provide a means of tracing any remaining influences of the zeitgeist prompting contemplation of the need for current pedagogy to metamorphose. In response to examination of the delicate dilemma of how to balance diverse dance heritages and change in dance education theory and practice a pedagogical matrix, emergent from the 20th century dance education and drawing mainly on the work of semiotician Charles S. Peirce (1839-1914), is finally presented. Semiotics is proposed as an appropriate foundation for the metamorphosis of pedagogy from current dance education because it offers opportunities to embrace appreciation and meaningful understanding of dance genres from diverse cultures.
Standing strong: pedagogical approaches to affirming identity in dance.
Karen Barbour
Reflecting research undertaken with third year Pakeha, Maori and Pacific Island students, I discuss issues of body, gender and culture in the tertiary dance studio. Discussions, choreographic and written assignments required students to explore their embodied experiences. Rich material drawn from students’ assignments, alongside my class plans and teacher’s reflections, are woven together in the form of an auto-ethnographic narrative. This narrative allows me to feature the students as characters and to discuss their specific experiences of masculinity and femininity, cultural difference and embodiment within their varied dance genres. Through this narrative I suggest that embodied ways of knowing may potentially support students to affirm their identity through dance.
Developing a mind-body connection in teaching dance history
Vera Bullen
In 2008, Vera Bullen undertook an intrinsic case study that asked: How can one apply a Choreological Studies framework in the teaching of a dance history subject; and, how does the choreological studies framework contribute to a mind-body connection in student learning through its blend of theory and practice within a theory-based subject area? This paper discusses applying the Choreological Studies framework in the teaching and learning of DANCE 107: Dance History at The University of Auckland.
The problematics of tradition and talent in Indian classical dance – an artist’s view
Shreeparna Ghosal
Tradition should be viewed objectively and re-evaluated. This paper explores contemporaneity of the creative arts from the point of view of a teacher-performer interested in the various functions of ‘dance’. It examines the system of classical dance training as it used to be and as it is now. Since tradition and the degree of talent are social constructs and are highly subjective, a re-examination of dance criticism becomes important. The economics, which underplay tradition and talent comes under scrutiny. This paper questions the various changes that plague the scene of classical dances in India in its global context.
Transcultural perspectives on digital practices and the arts in higher education
Christina Hong, Linda Caldwell, Tamara Ashley, Valerie Alpert
Dance artists and educators from the Asia-Pacific region, America, and Europe discuss how emerging digital technologies affect the role of dance in higher education. Topics include: the creation of long-distance choreographic exchanges, digital curation projects with artists exploring relationships between mediatised performance and site-responsive work, and the impact of distance learning on re-imagining the locations and characteristics of dance audiences. Discussion revolves around possibilities for the digital world’s affect on how, and what we teach; its capacity to transform the message, medium, and reception of dance; and its contribution to the development of higher education programs and artistic futures.
Enhancing learning in dance technique through on-line mediated reflective practice
Evan Jones
‘Practice makes perfect’ expresses the common misconception that repetitive practice without appropriate feed-back will deliver improvement in tasks being practised. This paper explores the implementation of a student-driven feed-back mechanism and shows how functional and aesthetic understanding can be progressively enhanced through reflective practice. More efficient practice of clearly understood tasks will enhance dance training outcomes. We were looking for ways to improve teaching efficiency, effectiveness of the students’ practice in the studio and application of safe dance practices. We devised a web-based on-line format, ‘Performing Reflective Practice’, designed to augment and refine studio practice. Only perfect practice makes perfect!
Teaching and learning dance in a culturally inclusive environment: a case study
Elizabeth Melchior
Dance is the fastest growing curriculum subject in New Zealand secondary schools. While this is to be celebrated, responding to the diverse needs and interests of students in the classroom is a constant challenge for teachers. In the light of current educational research concerned with student diversity and cultural identity, this paper discusses strategies implemented by one particular teacher to enhance student participation and engagement in her dance class. The focus is on a professional development process and the changes the teacher made in her practice to develop a culturally responsive teaching and learning environment for her students.
Dancing doctorates down-under? Defining and assessing ‘doctorateness’ when embodiment enters the thesis
Maggi Philips, Cheryl Stock, Kim Vincs
Assessment frames the focus of this paper, which emerges from our collaborative research, Dancing Between Diversity and Consistency: Refining Assessment in Postgraduate Degrees in Dance, funded by the Australian Learning and Teaching Council (ALTC). We examine the attributes of danced ‘doctorateness’, giving special attention to those factors in the Australian environment, which may endow resilience to concepts of excellence, independent thinking and originality when kinaesthetic knowledge becomes pivotal to research. Have the small pool of examiners and relationships between academia and the professional artistic environment shaped these doctorates in a particular way? Can these perspectives illuminate and forge parameters by which to legitimate danced insight? These and related issues are interrogated giving voice to supervisors, research deans, candidates and industry professionals across Australia who participated in this research project.