In world music ensembles such as African and African Caribbean percussion ensembles, the Gamelan ensemble, and the Latin marimba ensemble, members may sing a song, play instruments, and dance simultaneously. This practice is known as music multitasking. For musicians in Western art music traditions, music multitasking can be a challenge. This…

This practice-based article illustrates how dance education pedagogies can help refugee youth adjust to new settings. To support refugee youth in narrating aspects of belonging in their everyday lives, this article offers pedagogies for creative movement that unfold through multiple stages. As developed in the first author's dissertation study and…

This qualitative case study examined the definitions, structure and pedagogical approaches that constituted a creative movement program as part of an artist-in-school-scheme for pre-schools. Data was collated through audio-recorded interviews with teachers, the school principal and dance instructor. Creative movement classes were video recorded…

This article proposes a method for teaching jazz dance technique according to music concepts and prioritizing deep embodiment of music. This method addresses what can be seen as a disconnect between current practices and historical understanding in jazz dance today, a gap that can be bridged with education empowering students to make innovative…

The London School of Dalcroze Eurhythmics (LSDE) was established in 1913, and a significant figure in its history was the remarkable Cecilia John, one of seven Australians to complete the three-year course between 1917 and 1927. Apart from two short visits to Australia, John lived and taught in England for the remainder of her life. Following the…

Dances from African communities are gradually getting incorporated into formal education at pre-tertiary and tertiary levels in the United States. Whereas strides have been made to embrace this artistic and cultural diversity, the instructional methodologies that are applied in teaching these dances are commonly founded on Western pedagogic canons…

This article introduces a dance that blends the traditional cultural heritage of the Philippines with modern music and moves. "Hip Hop Stick Dance" incorporates Tinikling (the Philippine national dance) and Arnis (a Filipino style of martial arts) to create a contemporary combination of rhythm, dance, and fitness. It was designed to introduce…

"Standing down straight" means to stand on two feet with both stability and relaxation. Using standing down straight as the foundation of class work, Jump Rhythm Technique offers a fresh alternative to conventional systems of dance study. It bases its pedagogy on three behaviors: grounding the body so that it can move with power and efficiency,…

Group exercise leader certifications often include a written, as well as a practical, component. In order to prepare candidates for certification, some organizations offer workshops before the examination. However, candidates are expected to have prior experience in leading group exercise. Undergraduate fitness leadership classes can be an…

This book provides theoretical knowledge, practical tips, and inspiration to help prepare the next generation of dancers and meet the demands of contemporary dance. It teaches the reader to set strategies and reasonable goals; use rituals to facilitate centering; safely incorporate conditioning principles; understand the interplay between gravity…

In this paper I explore the special type of thinking, moving and dancing place which is opened up for decolonisaton when students engage in an embodied pedagogical practice in Indigenous education. I examine what decolonisation means in this context by describing the ways in which the curriculum, the students and me, and more generally the…

"Capoeira," the Brazilian dance and martial art, is now taught in many countries outside Brazil. Reflections on a year's fieldwork on capoeira teaching in the UK are used to make educational ethnography anthropologically strange. Issues of locality, noise, uncertainty and bodily contact are explored in a reflexive way. (Contains 7 notes.)

This paper is a reflection on the process of dance choreography, an assignment for pedagogical evaluation at postgraduate level in an Indian university. It is also a recapitulation and reconstruction of my experiences while undergoing a Master's course in Bharatanatyam (a style of classical dance) in the Centre for Performing Arts (CPA),…