Children have a fundamental right to be safe while involved in dance, sport or associated activities and teachers need to be aware of their legal obligations.
Ralph Buck (National Institute for Creative Arts and Industries, University of Auckland) focuses on how we might develop sustainable dance education practice in the primary school classroom. He emphasises the importance of changing perceptions about dance in terms of the associations with femininity, ability, performance, mastery of skill and elitism.
These Safe Dance ® practice guidelines include how to set up a safe learning environment, what makes a practice or performance venue safe, the importance of cater for physical different bodies and abilities, how movements might impact on the body, and simple injury prevention and management strategies.
A checklist of skills, knowledge, considerations and practices that form the basis of good teaching methodology. Some are generic and apply to good teachers of any discipline, while others are specific to dance and artistic instruction.
The code of behaviour for parents is intended to support you to reassure your child that dance is for enjoyment and that they are loved for themselves rather than for their achievements.
Ausdance National membership information—services, fees, rights and benefits.
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Reports indicate that dance-learning experiences provided for young people in and outside schools impact positively upon young people’s learning in schools, as well as in pre-service and professional development programs for those who teach dance in various settings. Support of major dance organizations as well as the goals of the United Nations Educational, Scientific and Cultural Organisation (UNESCO) affirm the importance of dance education and encourage the research and practice to provide lifelong and intergenerational learning in, about and through dance education. This paper describes the results of a survey questionnaire, which captures the narratives and contexts from lived experiences of university students and graduates in formal, informal and non-formal settings and how those are experienced. This initial study confirmed the power of dance and the significance of dance in peoples’ lives as well as deficiencies in the provision of dance for many.
Many forms of formative feedback are used in dance training to refine the dancer’s spatial and kinaesthetic awareness in order that the dancer’s sensorimotor intentions and observable danced outcomes might converge. This paper documents the use of smartphones to record and playback movement sequences in ballet and contemporary technique classes. Peers in pairs took turns filming one another and then analysing the playback. This provided immediate visual feedback of the movement sequence as performed by each dancer. This immediacy facilitated the dancer’s capacity to associate what they felt as they were dancing with what they looked like during the dance. The often-dissonant realities of self-perception and perception by others were thus guided towards harmony, generating improved performance and knowledge relating to dance technique. An approach is offered for potential development of peer review activities to support summative progressive assessment in dance technique training.
Universities are not individually unique. They stand next to each other in the various hierarchies of excellence that are underpinned by commonalities of the various statures that they accrue in learning, teaching, research and a host of cultural and social impacts as are measured regionally, nationally and internationally. It is as we move toward closer international ties with our World Dance Alliance colleagues in higher education who work in dance that we look to our own ways and means with a view to revealing what we, in the UK, do in our delivery of dance to higher education students, and some of the constraints within which we work. With this in hand as a reference, we might then seek to discuss with our colleagues in other countries the many ways and means in which the similarities and differences have emerged from our various contexts as we all work towards inspiring the next generation of dancing graduates.
A overview of Ausdance National's key areas of publication: dance research, dance artists' voices, factsheets for Safe Dance and professional business practice.
What better way to wrap up our year in dance than to recall some of the big 2014 moments in dance.
This year dance gave us much celebrating—what a wonderful way to spend a year! We honoured the discipline and dedication of our professional dance artists. We danced to make us happier and healthier. We saw dance used for rehabilitation. We made dance that celebrated all bodies. We watched dance that challenged our ideas about what dance should be. We were excited by new choreographic talent. We were inspired by the latest Australian dance thinking on show at the 2014 World Dance Alliance Global Summit. We celebrated big birthdays and said goodbye to old friends.
Sam Small from Aon explains why Public Liability insurance is a must have for dance teachers and studios
For people with Parkinson's disease, high quality dance classes led by trained professional teaching artists are becoming internationally acknowledged and valued as both a creative activity and an evidence-based therapeutic intervention. From my own dancer’s perspective, these classes are a beautiful and satisfying way to authentically share my own experience and passion for the art form in way that also connects to community.
Australian arts and health organisations, publications, conferences, research and workshops (2014).
More than 25 Australian’s will travel to the 2014 World Dance Alliance Global Summit to talk, perform and share the latest in dance thinking and practice-led research. You’ll find some terrific tools and ideas that might change the way you approach your own creative or teaching practice, or inspire you to try something new.
These universities and colleges offer full-time, specialist, post-secondary dance courses staffed by former artistic directors, choreographers, dancers and lecturers who train some of Australia's best dancers and dance teachers.
Dean Watson from the Australian Chamber Orchestra talks about the ACO's inaugural movement and sound workshop for secondary students with disability.
A Tribute to Robert Osmotherly’s inspired intellect and vision for dance and dance education in Australia.
Some helpful advice for making good choices about dance experiences for your children.