Articulation of Findings

In order to synthesize research with practical outcomes and contribute to my own definition of “good dance practice,” I am referencing Chapter 22 of Dance Teaching and Learning: Shaping Practice to suggest a baseline for good practice. From there, I will integrate research gained through Hermeneutic Analysis of podcast transcripts to provide insights that work to build meaning. Shaping Practice identifies “good dance practice” as having the following elements: inclusive, coherent, purposeful, and progressive (Sanders, 2016, p. 232).

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"Inclusive"

During interviews, podcast guests consistently referenced instances of inclusivity within teaching practice, whether or not we explicitly discussed inclusivity. In the cases of Joss and Anna, they specifically talked about their work in the inclusive dance sector. Joss embeds accessibility considerations at the onset of projects while Anna works directly with inclusive companies such as Dance Syndrome. Jenny, however, emphasized the importance of simply seeing students as individuals and “meeting them where they are.” Lindsay discussed utilizing imagery as an alternate mode of learning for students whose cultural identities do not resonate with historical ways of teaching. Maria explained her work in creating “safe spaces” for students to be themselves by learning about individuals and curating environments.

Based on the emphasis of inclusive values in each resource, as well as my personal experiences, I believe inclusivity is a significant indicator of good dance practice. Regardless of differentiating factors, good practice is “relevant, challenging and achievable” for all students (Sanders, 2016, p. 232). I would also add that inclusivity encompasses curating appropriate spaces, as discussed by Maria, in terms of psychological and emotional safety.

"Coherent"

In fostering coherency within practice, Lindsay’s conversation contributes to a crucial point regarding the experience of different roles within teaching and learning, and thus questioning the hierarchy of a typical classroom. Viewing herself as a perpetual student, Lindsay carries exploratory values into her practice by allowing students to give feedback to themselves, others, and eventually to the entire class. “There is this old kind of antiquated way that the teacher is the ‘master of knowledge,’ and they’re the only person that can be giving this information,” she explains, “but I just don’t think that’s entirely true.” Shaping Practice suggests students take on roles such as “creator, performer, leader, and critic” (Sanders, 2016, p. 232), linking with Lindsay’s ideas about self and peer assessment. I feel as though collaboration, a value heavily present in Joss’s work, would further enhance coherency and contribute to a fuller sense of good practice. Artists who can work well with all others are more successful and employable, so embedding that sense of cooperation and teamwork through teaching practice is invaluable.

"Purposeful"

Jenny is a champion at designing classes where “creative responses, autonomy and decision-making are encouraged” (Sanders, 2016, p. 232), placing an emphasis on students’ “young adult opinions” and ensuring their voices are heard. Maria contributes to purposeful practice through her clear and high expectations, as well as guidance for students who are making choices about their pathways and personal futures in dance. While both aspects of purposefulness are certainly important in dance practice, I believe it is valuable to distinguish that the empowerment piece should be present in all aspects of dance training; clarity, however, in terms of expectations and future plans is most helpful for those pursuing further education and may not be relevant in some contexts (such as community contexts where the expectation is to enjoy the session).

"Progressive"

Progressive considerations, according to Shaping Practice, encourage students to “achieve their potential, broaden their horizons and raise their aspirations” (Sanders, 2016, p. 232). Maria’s practice resonates with these values, evidenced by conversation about “failing successfully,” creating resilient students, and considering different ways of studying movement such as viewing “dance as language.” Anna tackles these values as well, adding another piece to progressive practice through use of reflection when teaching. I believe reflection is a valuable tool that should be present in every educator’s practice. This furthers the meaning of “progressive” to implementing reform when necessary, and re-evaluating often by engaging in critical thinking skills that ultimately bring personal practice forward to meet the needs of an ever-changing world.

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Conclusion

Through investigations of relevant dance research, creation of a virtual podcast resource, analysis of interview transcripts, and finally my personal experiences, I have identified “good dance practice” as a practice that is inclusive and safe. Once that first and very important need is met, practitioners will be able to construct an environment in which students feel they can articulate their own creativity. This can be done by allowing students to explore various roles and responsibilities within the classroom, including evaluating themselves and others. By utilizing collaboration, students can build teamwork and problem-solving skills, which contributes to increases in individual creativity. However, dance practitioners cannot begin to foster creativity or build these skills until they allow students to use their voices, and genuinely hear what those voices have to say. Just like the process for articulation of creativity in adult artists, students must be given empowerment through realistic creative expectations, yet receive lack of pressure (and perhaps gentle nudging) when simply exploring and making art. Finally, good dance practice as well as successful articulation of creativity must acknowledge these two key considerations: constant reflection and the support of a community. Reflection enables artists and educators to reassess the aspects of their practice that are no longer effective and replace those with new and exciting ideas. But without the support of a community, artists would not be able to discuss and discover innovative concepts. That is why building this community through the creation and distribution of my podcast episodes is so important: now my guests, listeners, and I are thinking, talking, and reflecting in ways we haven’t done before.

Leave a comment below to tell me what "good dance practice" means to you. How do you carry these values forward in your own practice? Is there anything you would add, or change?

After reading all my posts, have your thoughts about articulation of creativity changed? Why?

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References

Sanders, L. (2016). Dance Teaching and Learning: Shaping Practice (3rd ed.). London, United Kingdom: One Dance UK.

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