Dance Education in the Future—Trends and Predictions

Gray, Judith A.

doi:10.1080/07303084.1990.10604514

Cited by 4 publications

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“…Martha's three central organizing principles, variation of space and dynamism, developmental body part relationships and moving from inside out, stress individuality and variety of expression. This contrasts with the prevailing approach in dance teaching that is "based upon principles of standardization, specialization, uniformity, and conformity" (Gray 1990). Martha's three central organizing principles echoe Johnson's (1983) view of personal bodily authority.…”

Section: Bases For the Selection Of Instructional Tasksmentioning

confidence: 89%

“…Martha believed that dance learning is best accomplished when students are active participants in learning. Critics of dance education increasingly call into question whether dance students are being helped to become dancers who can take responsibility for their own bodies and deal with the changing demands of their profession (Gray 1990;Lapointe-Crump 1990;Hanstein 1990). Martha invited the students to perform the movements their own way, acknowledging the emotional component of the dance experience.…”

Section: Martha's Teaching Practice: Discussionmentioning

confidence: 99%

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The Interplay of Knowledge and Practice in Dance Teaching: What we Can Learn From a Non-Traditional Dance Teacher

Fortin¹,

Siedentop²

1995

Dance Res. J.

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Section: Bases For the Selection Of Instructional Tasksmentioning

confidence: 89%

Section: Martha's Teaching Practice: Discussionmentioning

confidence: 99%

The Interplay of Knowledge and Practice in Dance Teaching: What we Can Learn From a Non-Traditional Dance Teacher

Fortin¹,

Siedentop²

1995

Dance Res. J.

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“…Moreover, dance is developing with technologies as both (dance and technology) influence each other. (Gray, 1989: 1) and all are not only about motion caption technology. Dance on social media becomes a medium of wellbeing memory whose transmission is renewed each time Internet users 'sway to the rhythm of the motion (they) see' (Foster, 2011: 11).…”

Section: Distant Socialising Dance Shared Moments Go Viral On Social ...mentioning

confidence: 99%

Challenging live performance: Dance on Social Media for Wellbeing and to Resist Dance Quarantine during the 2020 Covid-19

Chamba Nana

2023

IJMCR

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This paper argues that the uptake of social media by the dance community due to COVID-19 challenges the conventional consideration of dance as a live performance and gratifies people with wellbeing experiences. Grounded on Digital Research Method and Theoretical sampling, findings reveal that though the dance community was seriously impacted by the COVID-19 in 2020, they challenged space by re-defining innovative strategies that fuse with the digital world to limit stress, recreate a social connection and empathy. As a strong response to COVID-19, dancers invaded the social media, stimulating various ways to observe, create, and understand space during confinement.

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“…The master-apprentice relationship has been described in the literature as a suitable model for learning (Bereiter & Scardamalia, 1993;Erkert, 2003), observation being a major aspect of the learning (Grossman, 1990). This is the case, for example, of ballet, where role modelling has a strong component in teaching (Gray, 1990;Scheff, 2005); nevertheless, a condition that needs to be fulfilled is for the teacher, as a role model, to be competent in transmitting content (Justi & Gilbert, 2002). Role modelling relationships might include mentoring functions (Carruthers, 1990); however, a critical difference between mentoring and role modelling is that in role modelling, role models might not be aware that they are a role model (Lockwood & Kunda, 1997), whereas in a mentoring relationship both mentor and protégé are aware of their status .…”

Section: Role Modelsmentioning

confidence: 99%

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

Rodrigues¹

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The aim of this PhD research program was to explore the acquisition of pedagogical expertise in dance teachers. A review of the literature on dance pedagogy and expertise revealed three limitations in relation to dance teachers' pedagogical development. First, the literature suggested that a dancer's transition to teacher was traditionally based on replication of previous teachers' behaviours.Second, the literature additionally identified that there appears to be a tendency within the dance field to accept as dance teachers those who have rich and varied experiences as expert dance performers; although they may have little pedagogical knowledge and experience. Thirdly, there is not a unified theoretical consensus on how to analyse the acquisition of pedagogical expertise in dance teachers.The majority of theoretical approaches to dance pedagogy have been based on traditional information processing theory and within the theoretical framework of cognitive psychology. This latter approach can be viewed as limited because of its exclusive focus on the individual and neglect of important ecology influencing an individual's behaviour. Some promising research in the dance and sport literature has theorised individuals as dynamical systems performing in their ecologies. The ecological dynamics theoretical approach is multidisciplinary in nature and allows theorisation of a range of factors in human performance systems, such as those found in dance. Within this approach, the constraints-led theoretical framework allows analysis of environmental, task, and individual factors. Given the lack of prior research in the field and the variety of dance experience to be studied, it was concluded that combining the constraints-led theoretical framework with a qualitative approach would be appropriate to undertake a retrospective investigation of the potential constraints influencing the acquisition of pedagogical expertise. The following research questions (RQs) guided the general enquiry. This research project included an initial data-driven thematic analysis followed by a theory-driven thematic analysis. In other words, both inductive and deductive thematic analyses were conducted and, after extensive analysis and refinement, the interpretation of rich data concerning participants' life experiences, allowed for the identification of five major themes that influenced their acquisition of pedagogical expertise. These themes were then mapped into the constraints-led theoretical framework as environmental constraints (mentors, role models, and students); task constraints (rules); and individual constraints (needs). These environmental constraints were then explored with reference to previous research related to each specific theme (i.e., mentors, role models, students, rules, and needs) as well as with reference to empirical research and the theoretical principles of the constraints-led theoretical framework.The results of this research study provide theoretical as well as potential practical contributions to the fields of e...

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Dance Education in the Future—Trends and Predictions

Cited by 4 publications

References 0 publications

The Interplay of Knowledge and Practice in Dance Teaching: What we Can Learn From a Non-Traditional Dance Teacher

The Interplay of Knowledge and Practice in Dance Teaching: What we Can Learn From a Non-Traditional Dance Teacher

Challenging live performance: Dance on Social Media for Wellbeing and to Resist Dance Quarantine during the 2020 Covid-19

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

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