Dance as an academic endeavor has held a place in higher education since 1926. From its beginnings as a major of study under a department of physical education, dance in academia moved into departments of fine arts and flourished as an expressive art form in the mid to late 20th century. In the 1990s, dance in K12 education similarly moved from…

This article utilizes interviews with three teaching artists to interpret their lived experiences of teaching dance classes within New Zealand prisons. Prison environments and prison cultures create a multitude of challenges, such as the physical environment itself, social dynamics and hierarchy, and interaction and relationships with incarcerated…

This ethnographic case story aims to illuminate the instructional practices and decisions of an exemplary ballet teacher, Minna Stenvall at the Finnish National Opera Ballet School. Minna is considered to be exemplary in her field because she received the Best Ballet Pedagogue Award in 2014. Spurred on by the literature on the significant role…

This article examines students' choices in a postsecondary dance major curriculum where students selected to study one or more of five dance practices (African and Diaspora Movement Practices, Contemporary Ballet, Movement Language Sources, Postmodern Contemporary Dance, and Urban Movement Practices) each semester along with required coursework…

This article is the result of an interview with Judith Nelson conducted by Madeline Cantor. Madeline is the Associate Director of the Dance Program at Bryn Mawr College and a colleague and friend of Judith Nelson. In this article, Judith offers her perspective as a dance educator who teaches students with disabilities, and as a parent of a child…

The purpose of this ethnographic study was to investigate the Montclair State University's West African drum and dance ensemble. Analyses of the data revealed three themes related to individual participants and the "lived reality" of the group as a whole, and to the social-cultural teaching--learning processes involved: spirituality,…

Dance in the U.S. university finds its beginnings in the visionary leadership of women. Since the mid-1910s, dance faculty and students in higher education have been predominantly female. Gender in postsecondary dance today remains much the same, with the exception of dance leadership, which is increasingly male. This narrative inquiry is drawn…

Speckled Egg Dance was established in Galway, Ireland, in 2013, to facilitate opportunities for learning disabled dance artists to develop semi-professional dance skills and independent choreographic practice. The company aims to contest normative perceptions of learning disabled dance ability, and to make learning disabled dance aesthetics…

This paper explores dance as literacy. Specifically, it examines qualitative case study research findings and student examples from a dance artist-in-residence that explored curricular content using dance as its primary mode of enquiry and expression. Throughout the residency, students constructed meaning through their dance experiences in dynamic…

The research behaviors and library use of dance scholars are widely unknown, particularly in regard to issues of access to historical materials and new technology preferences. In the past thirty years, college and university dance departments in the United States have developed into independent, research-based programs. Despite the lack of current…

Our understanding of the transition from school to work has traditionally been underpinned by a three-stage model. This is one in which the first stage is a preparatory one, where the focus is on school, followed by a second transition stage and ending in a third stage, the successful entry to work. This is a model that has been challenged by work…

Contemporary dance in East Africa, specifically Kenya, is a newly emerging art form informed by the political drive of a small number of choreographers. In this article, I discuss Kenyan choreographer Opiyo Okach's contribution to dance training as exemplified through the "Shift … centre Series 10" which was performed at The Place,…

Examining practice, within education, is complex and never straightforward. It is not a surprise that when we conduct research, we discover new and contrary meanings. For the last 16 months we have been examining different means for supporting teaching and learning of the arts in primary schools. Our aim was to better understand how to teach the…

Since the establishment of Acting Studies, movement has always been a part of actor training. In the current vocational training institutions in the UK, movement for actors covers a wide range of subjects, including dance, somatics and movement practices. The aim of this research was to collect information about the dance techniques considered…

Background/Context: The tradition of dance art in Finland is characterized by values such as individuality and uniqueness, and the professional practice is structured by competition and different kinds of hierarchies, which may also add color to the culture of dance teaching. One of the most noticeable elements within the dance education community…