The author identifies higher order thinking as an essential component of dance training for students of all ages and abilities. Weaving together insights from interviews with experts in the field of dance education with practical pedagogical applications within an Improvisation and Composition class for talented and gifted youth, this article…

The 21st-century dance milieu demands that a dancer possess a highly diverse skill set, including effective teaching skills and a broader appreciation of a pedagogical orientation. It is vital that in preparing dance educators, we create opportunities for students to reflect on their dance learning histories and consequential beliefs about…

Drawing on more than two decades of experience refining this teaching process, as well as insights from two consecutive research studies of Hubbard Street Dance Chicago's education work, this article presents best practice strategies for teaching choreography to elementary students in schools. The article outlines the rationale behind the Prepare,…

In all of the years of training required to be an expert on any topic, teachers too often forget how to learn from the beginning. This is particularly true with regard to teaching and learning dance in U.S. primary and secondary school settings. Many P-12 dance teachers have had at least ten years of formative dance technique instruction in…

This research highlights a K-5 dance artist-in-residence as a form of democratic and exemplary dance education that ignited collaboration, promoted equity, fostered student autonomy, and demonstrated rigor in school curriculum. Through examining observation, interview, and performance-based data and calling upon critical, democratic education…

Dance faculty members come from a variety of backgrounds, which lead to varied knowledge bases and varied teaching practices. More information is needed about the current pedagogical practices of higher education dance faculty. This study sought to provide a description of four faculty members' pedagogical approaches to a dance technique class in…

The field of dance education is not immune to conflicted discourses about race in the United States. This article investigates the subject of race, education, and dance, and problematizes current postracial discourses in postsecondary education. It examines the implications of race and ethnicity in a number of critical areas, such as faculty and…

Technique classes are often viewed as a purely physical part of dance training, one in which the student voice is silenced. This article demonstrates the principles, teaching strategies, and assessment tools that endeavor to change the power dynamic and allow students to own their learning in technique class and rehearsal. Assessment in this dance…

Although contemporary dance improvisation techniques and comedy improvisation are seldom linked, the two forms evolved around the same time and have many similarities. Both forms exist in the moment, share a highly ephemeral nature, and make use of physical games and structures. Both forms teach students the skill of being present, so essential to…

The battement tendu is introduced early in dance training, remaining integral to a dancer's vocabulary. Although appearing relatively simple to execute, the tendu aesthetic takes years to master. One reason might be that efficient performance requires complex coordination of postural balance. Known as postural control, this coordination appears in…

In this first article as the new editor of this column, the author discusses issues in the private sector for students with goals of pursuing degrees in higher education and aspirations for performance careers. She is well aware that several areas comprise teaching in the private sector, many of which focus on far different goals than these. She…

The idea of "best practices" in the performing arts is introduced as a set of progressive educational values and pedagogical strategies that attempt to not only train youth in the performing arts, but also to be transformative. This article builds on the work of educational reformer John Dewey to describe progressive performing arts…

This study reflects on teaching and learning contemporary dance in Amman, Jordan, focusing on the experiences of three contemporary dance students. Through the three case studies, various issues regarding teaching and learning contemporary dance in a Jordanian context are raised, revealing that contemporary dance can be perceived as a taboo and…

Today's dance educators enter classrooms populated by increasingly diverse students in which teachers' pedagogical knowledge necessitates heightened understandings of race, ethnicity, social class, gender, and sexuality. Uncovering taken-for-granted assumptions, dominant stereotypes, and educational structures that reproduce social…

This article outlines suggestions for the use of self-reflective journaling as an assessment method in dance technique classes. The use of self-reflection makes assessment a part of the learning process, not an imposed evaluation of a student's final product, particularly when it is related to personal goal setting. The article provides practical…