This paper describes a teaching model, The Teaching Artist, developed to address the pedagogical and cultural divide between the traditional dance teacher and the dance artist who teaches: traditionally, one teaching about dance and the other, teaching through dance. The Teaching Artist model was developed through the Q150 Project. The Q150 Project provided an opportunity to meld these cultural idioms. It involved pre-service secondary dance teachers in their second year of teacher training at the Queensland University of Technology. The Project's design involved three components: artistic development, pedagogic development and implementation. The participants researched social and artistic dance histories and practices across Queensland towns. From their research, they created dance works specific to those local communities. The works created formed the basis for primary and secondary school workshops taught by the participants. By their participation in the Project, the pre-service teachers created tangible links with the schools in which they will practise and experienced the nexus between artist and teacher in an authentic teaching and learning environment. IntroductionIn dance, teaching has long been an adjunct profession for professional dancers and choreographers. Many augment their income by teaching in private dance schools, in community cultural development positions or in educational settings as artists-inresidence. Traditionally, this work is carried out regardless of formal teaching qualifications; only those choosing to work as high-school dance teachers are required to navigate the Australian tertiary dance education environment. The Queensland University of Technology (QUT) diverse research and study portfolios are underpinned by its long association with Teacher training.This paper describes a teaching model, The Teaching Artist, developed to address the pedagogic and cultural divide between the traditional dance teacher and the dance artist who teaches: traditionally, one teaching about dance and the other teaching through dance. It discusses the unfolding and ongoing development of a university teaching model for dance teacher training across a one-semester unit of work. The paper was developed in response to student, classroom teacher and
Despite tertiary institutions acknowledging that reflective practice is an essential component of undergraduate dance teacher training, there is often a disparity between the tertiary students' reflective skills and the more sophisticated reflective ability needed to navigate the twenty-first-century workforce. This paper charts the evolution of a dance teaching reflective pedagogy within a suite of three units across a three-year undergraduate dance teacher-training course for school, community and studio dance teachers. This reflective pedagogy based on exploration, collaboration, critical questioning and connections with community forms the basis of a model of tertiary dance teacher training; the Performance in Context Model (PCM). Over the past four years, through four cycles of action research, the PCM pedagogy, context and engagement with community has developed into a successful model integrating practical dance teaching skills, artistry and community engagement. The PCM represents a holistic collaborative approach to dance teacher education: the marrying of 'teacher-as-artist' , 'teacher-as-performer' and 'teacher-as-researcher' . More specifically, it emphasises the need for mature, reflective, receptive and flexible approaches in response to dance teaching and learning. These are enacted in a variety of contexts, with tertiary dance teaching students identifying as teaching artists, as well as researchers of their own practice.
This study identified a range of pedagogies developed to promote global citizenship within a university Latin American dance unit. It implemented changes to teaching and learning approaches in the unit using the Biological Sciences Curriculum Study (BSCS) 5E Instructional Model, supporting learning that privileges transcultural connections to Latin America. The action research used a range of dance teaching pedagogies that were adapted, and evaluated, using the Structure of Observed Learning Outcomes (SOLO)Taxonomy, to support a culturally enriched student learning experience. The findings challenge traditional dance teaching pedagogies through meaningful engagements with the local Latin American dance community and a range of student and teacher reflective approaches.
Latin Dance Party refers to a tertiary cultural dance unit in Brisbane, Australia, that combines technical/social Latin American dance with cultural perspectives. This article explores the recommendations from two research projects carried out in this unit, over two years, to investigate team-building and cultural authenticity within teaching and learning pedagogies. As a result of these recommendations, the researchers have explored approaches that enhance teacher-student relationships, the development of online contextual resources, and reflective teaching and learning strategies. These approaches have implications for future research into the integration of cultural contexts into dance teaching methodology in university settings. Cultural connection: Approaches to cultural education through Latin American danceUniversity dance teachers need a new agility in how they connect cultural understandings to teaching and learning approaches in the current global milieu (Ashley & Lines, 2016). Shapiro (2008) explains that the changes wrought by globalisation "help us rethink how we value one dance form over another" and require of teachers that they "have the knowledge that enables them to illustrate to their students what these changes might mean" (p. vii). McCarthy-Brown (2017) finds that teachers need to acquire skills that connect authentic cultural practice to the university dance classroom through two pedagogical approaches. In the first approach, "diversifying curriculum", "educators provide students with multiple perspectives of dance", which is crucial for challenging "students from the dominant culture" in their pre-conceptions of dance as predominantly a Western cultural artefact (McCarthy-Brown, 2017, p. 11). "Culturally relevant teaching", the second approach, "is a method of teaching that adapts instructional tools and content to relate to the cultural affinity of students" and is relevant to "students
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