The author is naturally a kinesthetic learner. As a child she was steeped in the wilds of seashore, fields, and woods in which she was free to roam, explore, and imagine in a deeply sensual, movement-oriented world. Because of these first experiences of freedom of movement and spontaneity in the highly intense natural world, she found the…

This article introduces a phenomenological understanding of embodiment and discusses it in relation to a somatic approach to teaching dance. The nature of bodily knowledge is scrutinized especially through Maurice Merleau-Ponty's conceptions of perception, subjectivity, and intersubjectivity. The article offers insight into the relationship…

Effective teaching of dance skills is informed by a variety of theoretical frameworks and individual teaching and learning styles. The purpose of this paper is to present practical teaching strategies that enhance the mastery of skills and promote self-esteem, self-efficacy, and positive self-image. The predominant thinking and primary research…

In this action research study, the author examines her teaching a unit of study focusing on the dance "Outside In," choreographed by Victoria Marks in 1994. Aided by an analysis of multiple forms of data collected from her high school dance students in response to the unit, the author identifies and then reflects upon two important themes, one…

The Italian philosopher Giorgio Agamben is known for his interest in the problem of "biopower," arguing that political political and philosophical questions of the moment concern the connections between life and power. He is diametrically opposed to Alain Badiou, a leading French intellectual, for whom the central question concerns not so much…

Talent identification and development processes are important components of many dance programmes, yet talent is notoriously difficult to define and its identification may rely on intuitive judgements. Taking a systematic approach to the study of dance talent could enable researchers and educators to better determine what talent actually "is," the…

This paper acknowledges the importance of a dancer's centre but likewise highlights the problematic nature of the communication of this concept from dance teacher to student. After a brief introduction of orthodox approaches in finding centre, this paper suggests a method of locating centre through the ancient somatic technique.

Why would boys want to dance? Why would anyone want to dance? The argument prosecuted in this paper is that dance educators have tended to see dance as a self-evidently good thing with self-evident benefits for children who learn to dance. In other words, dance educators tend to concern themselves with why students should dance rather than why…

Participation in physical activities, in and out of school, remains heavily influenced by social constructions of gendered behaviour. In addition, the body plays a significant part in the presentation of legitimate performances of physical practice and the construction of a physical "identity". The consequence is that in formalized…

This article investigates (i) how the structuring practices and meanings associated with dance classes at an inner-city American high school operated as institutional spaces (re)producing "dividing practices" that supported racial and classed hierarchies; (ii) how these racist structures were created and maintained relative to dominant notions of…

This topic stems from the author's experience in the technique classroom, and from her training in Laban Movement Analysis. The three fundamental branches of Laban's system--Body, Effort and Space--offer an opportunity to approach teaching through these separate, yet inextricably linked, lenses. This article defines each of the three categories in…

This article highlights the perspectives of young women who have participated in dance for many years. Their viewpoints reveal the unique multimodal nature of embodied learning; in dance classes, teachers and learners communicate through a variety of modes: visual, auditory, kinesthetic, spatial, musical, tactile, gestural, and linguistic. The…

This article provides a practical framework for infusing a body-listening or somatic approach into the dance class. Although the concept of body listening is not revolutionary or ground breaking, it has been underemphasized in the dance technique class and needs revisiting. From reflection on current research, as well as from several years of…

Based in bodily awareness, somatic education has many points of relationship with dance education. Body-Mind Centering[R] (BMC), with some of its roots in Laban Movement Analysis/Bartenieff Fundamentals (LMA/BF), has a particularly easy link to dance. When studying Body-Mind Centering, the theoretical components are often taught through dance…

Dance education experiences of boys and male youth are investigated in terms of dominant constructions of contemporary Western masculinity and the potential limitations these hegemonic discourses may place on male participation. Recent research on boys and male youth in dance, although limited, suggests prevailing social stigma, heteronormative…