Teaching dance

This is a working paper in process. It is concerned with the changing status of disciplinary knowledges, in dance and performance, in Australian universities. Although I have been working as an academic within the fields of dance and performance studies for some twenty years, it is only relatively recently that I have begun to reflect critically upon the disciplinary identity of dance studies and dance research, and with some more concrete sense of how these endeavours might be engaged differently.

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The NAAE affirms that learning in and through the arts is crucial in any learning environment designed to develop a culture of innovation.

Early childhood professional have long recognised that the arts offer very young children significant ways of knowing about themselves, others and the world.

Boundary crossing is the first step towards transdisciplinarity. In this paper, Alison discusses the act of academic boundary crossing, of ‘dancing’ across or between the disciplines. She explores the potential role of dance within the relatively new and evolving research paradigm of transdisciplinarity (TD).

The second Safe Dance report presents research into adolescent health issues during intensive dance training.

Professor Sue Street presented the eighth Dame Peggy Van Praagh Memorial Address alongside David McAllister Artistic Director of The Australian Ballet. She explores some of the major challenges faced by the dance sector and reflects on some of the achievements.

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.

This study looks at how incorporating a somatic approach into dance training can provide an aesthetic experience that engages the whole person and establishes the concepts of feeling and artistry as integrated components of dance education. The research advocates for somatic education to be a feature of dance pedagogy by assisting dancers to differentiate between the tone and texture of feelings on a phenomenological level.

We devised this code with leading representatives of Australia's studio teachers. It will help teachers understand the ethical standards expected of dance teachers by the dance profession.