Careers in dance

Helen Herbertson provides some poetic reflections about the nature of her. This results in some beautiful, powerful prose that evokes, rather than explains, the why, when and how of her devising processes.

The Fondue Set – Jane McKernan, Elizabeth Ryan and Emma Saunders – offer up a fascinating response to a set of provocations. They reveal their process in a three-part harmony that speaks to the particular concerns of this group of female artists.

Tess de Quincey expresses ideas about how and why she makes art in a stream-of-consciousness style of poetry.

Narelle Benjamin talks about how and why she makes dance for both stage and film.

‘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 feedback 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!

Cambodian classical dance once served strictly religious and ritualistic purposes. When the Royal University of Fine Arts was re-established after the fall of the Khmer Rouge, the emphasis shifted to one of entertainment in a time of renewed hope and expectations. The surviving masters maintained the time honoured practices and programs were implemented to support their efforts. The struggle between the two worlds deepens with the increase of international tours, the influx of tourism, and young artists beginning to experiment in contemporary dance. This paper will look at how the approach to dance education in Cambodia needs to adapt to these changes while maintaining and honouring its traditional values and heritage.

This paper explores challenges facing dance educators working with pre-service primary teachers in the New Zealand context. An analysis and comparison of two national curriculum documents raises the question—how should a pre-service teacher education program for primary teachers respond to the demands of recent curriculum reforms? This paper discusses changes in teacher education that have had an impact on dance educators’ responses to curriculum demands. It details this impact using one particular teacher education institution (the University of Waikato) and discusses show how a cohort of students in 2008 views the current dance education provision. In conclusion, it offers an outline of some ways forward for dance educators.

This paper acknowledges the influences that a generation Y population brings to dance training methodologies and examines this impact in a tertiary context. Over the last 4 years, Queensland University of Technology has been modifying their curriculum for new students transitioning from the private dance studio into the prevocational university environment. An intensive training program was designed to empower the student, creating effective entry points for common understandings in the learning and teaching of dance techniques with improved and accelerated learning outcomes. This paper shares these philosophies and practices in training for life-long learning that prepare the young dancer for longevity in the industry.

Starting from here explores the realm of interconnected experiences that exist in the study of dance as a site of emergent learning, embedded in the practice of ‘becoming’ and framed by the expanding field of everyday aesthetics. The paper explores a collection of ideas which frame the disciplinary condition, made evident through current practice in the UK. The paper explores some of the ongoing translations of dance as a discipline of study, and articulates potential future disciplinary intersections in the context of ongoing social, economic and political turbulence.

Professor Shirley McKechnie OAM presented the inaugural Dame Peggy van Praagh Memorial Address soon after the first anniversary of Dame Peggy's death in Melbourne on 15 January 1990. She was the first a long line of dance artists and scholars who have, and will continue to, pay tribute to Peggy van Praagh in this way.

Mary Elizabeth Anderson gives an account of Tess de Quincey’s experiments in Bodyweather training, place-based performance-making and documentation at Hamilton Downs, an old cattle station and youth camp about 100 kilometres beyond Alice Springs.

Clare Dyson illustrates her account of proximity in the relationship of audience and performer with examples from her own intriguing choreographies. How close is close? What does being a member of an audience, as opposed to being an ordinary person in an ordinary place mean?