Creative adaptations: integrating Feldenkrais principles in contemporary dance technique to facilitate the transition into tertiary dance education

Abstract

As conservatoire-style dance teaching has traditionally utilised a hierarchical approach through which the student must conform to the ideal requirements of the conventional technique, current discourse is beginning to question how dance training can develop technical acuity without stifling students' ability to engage creatively. In recent years, there has been growing interest in the field of somatics and its relationship to tertiary dance training due to the understanding that this approach supports creative autonomy by radically repositioning the student's relationship to embodied learning, skill acquisition, enquiry and performance. This research addresses an observable disjuncture between the skills of dancers graduating from tertiary training and Australian dance industry needs, which increasingly demand the co-creative input of the dancer in choreographic practice. Drawing from Action Research, this paper will discuss a project which introduces somatic learning approaches, primarily from Feldenkrais Method and Hanna Somatics, to first-year dance students in their transition into tertiary education. This paper acknowledges previous research undertaken, most specifically the Somdance Manual by the University of Western Sydney, while directing focus to the first-year student transition from private dance studio training into the pre-professional arena.

Intersections between Modern and Contemporary Dance and Yoga Practice: A Critical Analysis of Spiritual Paths through Body Movement and Choreography

“…Several Australian-based dance companies offer contemporary dance that combines ballet and modern techniques (Roche & Huddy, 2015). In recent years, a desire for increased fitness has led to the introduction of fitness classes into modern dance practice.…”

The acquisition of pedagogical expertise in dance : a constraints-led approach

“…Card (2006) reviewed the Australian dance sector and identified that major tertiary institutions in Australia follow the practices and philosophies of USA's educational trends towards choreography and performance. However, it has been argued that there is a disconnection between tertiary training and Australian dance industry needs; therefore, individuals need to acquire adaptive performance skills to be able to operate in the dance sector in Australia (Roche & Huddy, 2015).…”

“…Training individuals in the acquisition of adaptive performance skills involves re-examining current tertiary dance training practices at different levels (e.g., technical, pedagogical, and philosophical) (Parviainen, 2003) to understand how dance training can be enhanced (Roche & Huddy, 2015). Since expert performers mainly follow a 'conservatoire-style' dance teaching approach emphasising technique and steps (Fortin, 1998;Warburton, 2008), privileging dance performance and choreography over teaching in tertiary institutions might have negative consequences for tertiary dance training because expert performers, as teachers, might not be knowledgeable about pedagogical theory sustaining effective teaching (Fortin, 1993;Musil, 2010).…”

“…Their study has important implications since it has been suggested that the choreographic landscape of the 21 st century requires greater versatility amongst dance performers, in professional dance companies and in universities (Roche & Huddy, 2015). Roche and Huddy (2015, p. 145), suggested that somatic techniques could be utilised to facilitate the development of versatile dancers in higher education because they could help students to make the "transition from private dance studio training into the pre-professional arena".…”

“…Pedagogical practice in higher education in dance has changed considerably since the 1970s (Bond, 2010;Risner, 2010a;Stinson, 2010 (Roche & Huddy, 2015).…”