Dance Technique Research Articles

Pointe Readiness in Youth Ballet Dancers: A Pilot Study on Dance Instructor Decision Making.

Introduction: Transiting to dancing en pointe is an important milestone for young dancers who wish to progress in ballet training. Various criteria exist regarding pointe readiness, including age, range-of-motion, endurance, strength, balance, and technique. However, awareness and use of these criteria by dance instructors is currently unknown. The purpose of this pilot study was to assess the awareness and use of pointe readiness criteria by youth ballet instructors. Methods: A cross-sectional web-based survey study design was used, which included questions regarding dance instruction experience, dance studio characteristics, and criteria used to assess pointe readiness. Ballet instructors were recruited for participation. Data are presented as percentages and frequencies. Results: Thirty-one ballet instructors completed the survey from 15 states (1 international). Years of pointe ballet instruction ranged from 2 to 30+ years, with 35% indicating more than 30 years of experience. Instructors reported students begin pointe at age 11.8 years (range 9-15 years). A majority of instructors require 5 years of ballet experience prior to dancing en pointe (range 2-8 years). Reported pointe readiness criteria included strength (100%), dance technique (94%), age (87%), and years of ballet experience (71%). While all instructors reported evaluating a dancer's strength, assessments of flexibility and movement quality were not evaluated by 42% and 45% of instructors, respectively. Strength, dance technique, and age were rated as the greatest indicators of a dancer's readiness to begin pointe. Finally, instructors reported low knowledge of existing pointe readiness criteria. Conclusion: Ballet instructors initiated pointe work at age 12 and required 5 years of ballet experience before beginning to dance en pointe. While strength, dance technique, and age were the top considerations for evaluating readiness, approximately 40% of instructors did not evaluate flexibility or movement quality prior to progressing to pointe, and overall, knowledge of existing criteria was low.

Expression of Culture Diversity Through Creation of Zapin Nusantara Berlenggang Dance

This article elaborates on Nusantara diversity as a phenomenon that underlies the creation of the Zapin Nusantara Berlenggang dance. In many regions, the characteristic of Zapin dance has grown through evolution that involves the unity of various ethnicities, mainly ethnics living in the coastal area. Such unity is a strong pillar that supports the Republic of Indonesia. Although the political situation is fluctuating, there is still an effort to empower local potentials to maintain diversity in Indonesia. The exploration of the Nusantara theme in the creation of the Zapin dance is powerfully relevant to the objective of this research, which is to strengthen the unity of Indonesia through its pluralistic nature. The creation of Zapin dance with the Nusantara theme will be understood through the approach of creation process experience, which, thus, is the type of this research that is explorative qualitative descriptive. In other words, this research is developmental research that emphasizes exploring the creation process. The research data are collected through three procedures respectively: interviews with Zapin dance patrons in Palembang, Pekanbaru Riau, Gresik, and Malang; dance technique exploration conducted in Malang and Gresik; and a dance trial held at the Indonesia Art Institute of Denpasar. The focus of this research is on managing the technical and aesthetical experiences of the dancers to internalize the Nusantara theme into their minds. The research question, therefore, comprises (1) What is the function of Zapin Nusantara Berlenggang dance? Moreover, (2) How is the creation process of Zapin Nusantara Berlenggang dance?

Effects of 4 weeks of foot exercise on subjective outcome and foot plantar pressure in elite adolescent dancers with hallux valgus: a pilot study

BackgroundDancers have a higher prevalence of hallux valgus (HV) than the general population. However, no reports specifically addressing treatment strategies for HV in dancers, or their effectiveness have been published. This study aimed to determine the effects of 4 weeks of foot exercises on subjective clinical outcomes, the HV angle, and change of foot plantar pressure during specific dance techniques.MethodsThirteen female elite adolescent dancesport athletes (age: 16.4 ± 3.3 years) completed the program. The HV angle was measured based on foot photographs. Clinical assessments were performed using the visual analog scale for first metatarsophalangeal (1st MTP) joint pain, and the Foot and Ankle Outcome Score. The changes in plantar pressure during two dance techniques (demi-pointe and plié) were measured. The plantar pressure was measured in six areas of the foot. All of these parameters were compared before and after the intervention by using chi-square tests and Student’s paired t-test (statistical significance: p < 0.05).ResultsThe HV angle was significantly reduced from 20.1° to 15.4° after the intervention. Participants reported an average subjective completion rate of 70.3% ± 14.6% over 3 weeks, exhibiting no significant differences despite an apparent trend toward improvement. Significant changes were noted in 1st MTP joint pain and subjective outcomes, and toe function significantly improved in the “paper” movement. The foot-exercise program changed plantar pressure distribution during the demi-pointe and plié techniques, with increased hallux pressure and decreased 2nd-5th MTP joint pressure.ConclusionsIn elite adolescent dancesport athletes, 4 weeks of foot-exercise rehabilitation reduced the HV angle and improved in subjective outcome and function during the two dance techniques. Coaches should consider utilizing foot-exercise training programs in a dancer training program for HV.

Timings of Dance Techniques as a Separate Lexical Component of Papping

The purpose of the work is to identify, analyse, and structure one of the understudied lexical components of papping and illusory styles. Research methodology. In the process of research, the principle of induction was used, as well as the following methods: analysis and synthesis – in the process of working with information sources; comparison – to identify identical facts and patterns; formalisation – for recording the detected timings in a single format. Scientific novelty. For the first time, in the process of analysing the dance vocabulary of popping and other illusory styles, their little-studied lexical component – timings – was revealed. A clear definition of this term is given, that is, the main characteristics of this component. Most of the used (basic) timings are identified and described, and their graphic record is also given. Conclusions. The analysis of the dance vocabulary of popping and other illusory styles made it possible to highlight their little-studied lexical component – timings. A clear meaning was also given to the term "timing", which is rhythmic after the use of dance technique (muscle control), which the dancer can impose on their own dance (dance movements, position). Research into this lexical constituent process has identified several "baseline" timings for popping and illusory styles. They are based on two basic dance techniques – pap and dime stop. Some of them correspond to individual dance movements or a specific illusory style. For a simple analysis and understanding of the timings, the article used a graphic model of their recording, which allows you to visually display the timings in accordance with the musical score. Thus, timings can be used as a separate lexical component of papping and its adjacent styles with their own characteristics and specificity. This component is closely related to music and, for the most part, a conflict for the dancer to diversify their performance by adding to its various rhythms.

Psychological Safety in the Western Concert Dance Technique Class

Psychological Safety in the Western Concert Dance Technique Class

Pendampingan Gerak Dasar Tari Tradisional Bagi Guru dalam Penguatan Karakter Pelajar Pancasila di Sekolah Dasar Ta’allumul Huda Bumiayu

Current developments greatly influence human behavior, especially elementary school children. In order for elementary school students to remain focused on positive rules, of course there needs to be good, directed and targeted provision with the aim that elementary school children can grow into students who obey the rules. Teachers provide knowledge of traditional arts to students so that students can know and preserve traditional arts culture, with the other aim of ensuring that traditional dances do not fade with the times amidst the current onslaught of modern dances. Of course, it is not an easy matter for teachers to carry out achievement targets in preserving traditional culture for students. The task of teachers and parents is clearly needed so that children do not fall into negative things, especially in the school environment. Looking at the aspect of the dance environment at Ta'allumul Huda Elementary School by strengthening the character of Pancasila students, it is necessary to provide provision, training and assistance to teachers, grades 4, 5 and 6, by providing traditional dance material and also assistance with basic traditional dance techniques. Central Java. The result of this service activity is that all class teachers can understand aspects of traditional dance by strengthening the character of Pancasila students, and teachers can learn the movements and names of basic Central Javanese traditional dance movements, and teachers can practice basic dance movements through Banyumasan dance.

Perspectives of Ballet Dancers on Causes of Their Injuries and Implementation of Injury Preventive Measures by Ballet Teachers and Masters.

Ballet dancers have a high injury risk. We aimed to gain insight into the causes for acute and overuse injuries in ballet dancers and the level of implementation of injury prevention by ballet teachers/masters, as perceived by dancers. An international cross-sectional online-survey was based on the Fit-to-Dance Questionnaire and literature. Adult amateur, pre-professional, and professional ballet dancers reported the perceived causes of their injuries sustained in the previous 2 years. Multiple answers per injury were possible. Also, dancers rated the level of implementation of measures to prevent injury by their ballet teachers and ballet masters based on 21 items using a 5-point Likert scale. Causes were analyzed per-injury as well as per-dancer. 188 ballet ensembles and 51 dance organizations were contacted, from which 192 ballet dancers (mean age 27 ±7.8 yrs, 83% females) responded. 119 dancers (62%) reported 203 acute and 164 (85%) reported 469 overuse injuries. Fatigue was the most frequently perceived cause for acute injuries in the per-injury (n=89, 43.8%) and per-dancer analysis (n=63, 32.8%). For overuse injuries, pressure from the teacher/master was most frequently perceived as cause in the per-injury analysis (n=240, 51.2%), specifically in pre-/professional dancers (n=233, 61.3%). In the per-dancer analysis, fatigue/overtraining scored highest for overuse injuries (n=107; 55.7%). Other causes were previous/repetitive injuries (acute-per-injury 26.1%, acute-per-dancer 22.4%; overuse-per-injury 46.3%, overuse-per-dancer 53.1%) or erroneous dance technique (acute-per-injury 24.6%, acute-per-dancer 21.9%; overuse-per-injury 47.8%, overuse-per-dancer 45.3%). With regard to perceived level of implementation of injury preventive measures by ballet teachers/masters to prevent musculoskeletal injuries, 2 items received high ratings, 12 moderate ratings and 6 low ratings. Fatigue and pressure accounted for the majority of perceived causes for injuries. Perceived support by ballet teachers/masters regarding injury prevention was moderate to low. Future research should focus on the awareness, attitudes, and the important role of ballet teachers/masters for injury prevention in dancers.

DANCE SKILLS EXECUTION HESITATION OF TERTIARY EDUCATION PHYSICAL EDUCATION (PE) INSTRUCTORS OF DAVAO DEL NORTE: A PHENOMENOLOGICAL STUDY

This research study employed a qualitative research design, specifically phenomenological approach, with the aim of uncovering and understanding the lived experiences of tertiary education PE instructors concerning dance skills execution hesitation. The study involved 14 PE instructors who were selected through purposive sampling technique in accordance with the inclusion criteria, and the data were analyzed using coding and thematic analysis. The findings of the study revealed the experiences of the participants, including difficulty in dance demonstrations, experiencing doubt and uncertainty, strengthening the foundation of dance, mastering dance techniques, poor foundation in dance education, and confidence and positivity in dancing. Conversely, the participants employed the following coping mechanisms to get through the challenges they have faced: utilization of online teaching materials, seeking help from others, nurturing dance proficiency through multiple strategies, mastering the fundamentals before instruction, and continuous learning of dance skills. Additionally, the following insights were drawn from their experiences: provision of professional development about dance skills, nurturing positive mindset and attitude, cultivate confidence and self-esteem, having constant practice for proficiency, and learning through research. The findings of the study suggest that a holistic approach to supporting PE instructors in overcoming dance skills execution hesitation should include continual training, psychological support, and pedagogical innovation to ensure effective delivery of dance education in tertiary education. KEYWORDS: Physical education, PE instructors, dance skills, execution, hesitation, tertiary education, Davao del Norte

Constructing codes of behaviour: the ‘doxic agreement’ as a force for agency in contemporary dance technique training

Utilising Pierre Bourdieu’s (1977) concept of ‘doxa’, this article proposes the notion of a ‘doxic agreement’, exploring its relationship with agency in the context of contemporary dance technique training. The discussion draws on the data gathered from two cycles of action research, which the author conducted in an undergraduate dance training setting in a British university. During this research, a ‘reflexive-dialogical’ (RD) approach to dance technique training was developed; this approach subverts dominant training structures by allowing dialogue and critical reflection to occur alongside physical dance practice. Data analysis reveals that the environment constructed through the application of the RD approach created a doxic agreement, a mutually negotiated structure that determined a code of behaviour in the training setting. Positioning the doxic agreement as a flexible structure that disrupted the recursive reproduction (Giddens1984) of the dominant training structures, the author examines the extent to which the agreement facilitated agency, leading to an expanded understanding of how agency is developed and displayed through the body-minds of undergraduate dance students.

Development and Feasibility of an Adolescent Dancer Screen.

Adolescent dancers are at high risk for injuries due to the physical demands of dance training and the physiological changes that occur during adolescence. Though studies report high injury rates, there are few standardized screening tools available for adolescent dancers. To develop and describe a standardized, feasible, evidence-based, and clinically relevant screen for adolescent dancers. Descriptive Epidemiology Study. Dancers at two suburban pre-professional dance studios, in two cohorts, participated in the Columbia Adolescent Dancer Screen (CADS) that includes dance injury history, health questionnaires (EAT-26, SF-36, DFOS), aerobic capacity, range of motion, strength, balance/orthopedic special tests, and dance technique. Participants were asked to complete a weekly injury surveillance questionnaire derived from the Dance-Specific Oslo Sports Trauma Research Centre Questionnaire on Health Problems for 14 weeks following the screening. Feasibility was assessed using process and content analysis in four areas: practicality, demand, implementation, and adaptation. Descriptive data were collected from 32 female dancers aged 11-17 with cohort one averaging 18.57 dance hours per week and cohort two averaging 10.6 dance hours per week. The screen was practical, able to screen seven to eight dancers per hour utilizing nine assessors and requiring a one-hour commitment from dancers. Cost and space requirements were considered and kept to a minimum while utilizing portable equipment. All screening slots were filled with all dancers agreeing to follow-up injury surveillance, indicating high demand. The screen was implemented with two cohorts with revisions to improve efficiency applied for the second cohort. The CADS is a feasible screening tool for adolescent dancers that overcomes barriers by being pragmatic, evidence-based, and efficient. Screening can be implemented to obtain baseline values, inform wellness recommendations, and establish relationships with medical professionals. Level 3b.

“Can I really be authentic?” A co-created critical autoethnography on whiteness in dance/movement therapy education

As a cultural force, Whiteness is insidious in dance/movement therapy (DMT) education. In the process of learning, East Asian international students and educators may aspire to White, middle-class, able-bodied, heteropatriarchal norms of what constitutes healthy movement and relational styles while excluding others, particularly within a group dynamic that privileges modern dance technique and overt emotional and verbal expression. The reach of educational neocolonialism in East Asian countries further perpetuates this force. As the foundational form of the discipline of DMT, “modern dance” is the standard of the expressive practice. And although “other” dance forms are starting to be welcomed, there is still a gap regarding how these are included into DMT education and applied in practice. This co-created critical autoethnography emerged from an embodied reflexive dialogue between two East Asian former international students on their experience of Whiteness in DMT education. Through counternarratives, we illustrate ways towards a decolonizing praxis of DMT that is situated within the educational environment and with the students with whom we work as educators and supervisors.

Higher artistic education in ballroom choreography: Forecast of educational trends

The objective of this article is to analyze higher art education in ballroom choreography through an examination of current educational trends and a forecast of their utilization. The work employs methods such as comparative analysis, generalization, corporate-pedagogical analysis, analytical-interpretative method, and forecasting modeling. The results assess the specificities of the American experience in teaching ballroom dancing within higher education, European experiences in ballroom dancing instruction, and the primary trends in the development of this choreographic field. Using the gathered information, a theoretical model for teaching ballroom choreography in higher education institutions is formulated, aiming for demonstrably high training outcomes. Innovative stimulation technologies have proven effective, suggesting that their ongoing evolution will significantly impact the advancement of higher choreographic education overall. These cutting-edge sports fitness technologies are poised to play a pivotal role in the training of ballroom dancers, serving as a potent resource to enhance the physical fitness levels of choreographers. The effectiveness of fitness techniques is demonstrated through various aerobic methods, including cardio training and cyclic exercises, as well as distinct dance techniques like Latina, Zumba, oriental dance, among others. Additionally, neurohumoral methods contribute to their effectiveness. In conclusion, it is emphasized that further somatic training, currently utilized in leading European countries, will play an important role.

The Technical and Aesthetic Characteristics of The Pirouette as Applied in Classical Dance

As the core part of technical training, rotation skill has a very important training value and status. "Spin" is one of the most important kinds of Chinese classical dance technique, as the Chinese classical dance teaching training content and the teaching material system, in constant teaching practice, Chinese classical dance rotation technology from single to diversified development, and gradually in the teaching and training show a unique aesthetic attributes and style. In the training of technical skills of Chinese classical dance, "the technology of body rhyme, technology and rhyme" and "training body with body" are the main thoughts, which run through the teaching of Chinese classical dance, and accurately interpret the needs of aesthetic and style characteristics of Chinese classical dance culture. In the classical dance teaching, the rotation skills are more difficult. Through the research of this paper, we can provide new ideas and directions for teaching, and help teachers to form new teaching thinking and teaching methods. Secondly, the study in this paper can deepen the understanding and understanding of teachers and students on the rotation skills in dance, guide students to establish correct thinking and learning attitude, which is conducive to obtaining an ideal learning effect and improving the level of classical dance.

Evolution of the forms of sources on classical dance technique in the methodological literature of the second half of the 15th – first half of the 20th centuries

The article is devoted to the study of the evolution of the forms of literary works on classical dance technique of the second half of the 15th – first half of the 20th century, among which are educational and methodological manuals, dance notations, theoretical, historical and critical works, and classical dance curriculums. The creation of the first theoretical works on the art of choreography determines the upper temporal boundary of the chronological framework of the research. The development of the first classical dance curriculums determines the lower chronological limit. Until now, curriculums have not been regarded as an autonomous source, allowing to objectively assess the level of performing skills in their historical development. The research is aimed to identify the prerequisites for the emergence of this form of explanation and description of classical dance technique. It is hypothesized that already in the earliest theoretical works, the programmatic approach of the choreographic mindset can be traced. Using the historical method, the article makes a retrospective analysis of literary sources to reveal this pattern. The novelty of the research shows the importance of the classical dance curriculum not only in the evolution of professional ballet education but also in the development of the theory of choreographic art. It is concluded that there is a conventional form of classical dance curriculum in the content of the analyzed works. It was found that the methods of many outstanding teachers (P. Beauchamp, F. Taglioni, O. Vestris, E. Cecchetti) were described by their students, as they did not leave behind any published theoretical works. Other specialists in the field of choreographic art (R. Feuillet, A. Bournonville, E. Theleur, A. J. Zorn, V. I. Stepanov), on the contrary, combined several competences at once in writing methodology, theory, curriculums, and notations.

Research on Teaching and Dance Creation of Chinese Folk Dance in the Information Age

Abstract In this paper, we use motion capture technology to collect typical movements of Chinese folk dances and establish three-dimensional character models with the characteristics of human motion continuity and bone length invariance to discriminate the trajectory of skeletal movements. Video is used to export the data of Chinese folk dance. Design methods for extracting folk music and dance features to form a model for creating dances. Suppressing the noise of the original dance music, improving the accuracy of the fundamental frequency extraction of the music signal, and manually scoring the dance creation generation program are all benefits of using the Chebyshev filter. We propose the teaching method of Chinese folk dance in online broadcasting mode and carry out teaching experiments to compare the cooperative learning effect and dance technique evaluation effect between traditional dance teaching method and online broadcasting video lecture teaching method. The dance creation and generation program proposed in this paper is able to achieve a dance movement similarity of 0.92, which is able to preserve the original dance posture of Chinese folk dances to a greater extent. The results of the technical evaluation show that the teaching effects of the two teaching methods present significant differences in the four methods of basic technique, pair cooperation, dance expression, and total score, i.e., P&lt;0.05, which shows that the online live video explanation method is more suitable for the teaching of ethnic folk dance in the information age.

Historical Development and Cross-Cultural Influence of Dance Creation: Evolution of Body Language

This paper delves into the historical evolution of dance creation and its cross-cultural influences, with a particular focus on the transformation of corporeal language. Commencing from the dance traditions of ancient cultures, the article retraces the dances of Ancient Egypt and Ancient Greece, as well as the religious and courtly dances of the medieval and Renaissance periods. Subsequently, it scrutinizes the emergence of modern dance, encompassing the American modern dance movement and European expressionist dance, along with the evolution of dance techniques and forms. The article delves into the varied manifestations of dance, including pure dance, narrative dance, and experimental dance compositions. It also analyzes the impact of cross-cultural influences and globalization on dance, encompassing dance's role as a medium for cultural dissemination, as well as the internationalization of dance education. Finally, by examining the evolution of corporeal language, it underscores the connection between dance and emotional expression and social corporeal language, including trends in dance creation and interdisciplinary research in the digital age. This article encapsulates the metamorphosis of dance as a form of corporeal language, emphasizing its significance and forthcoming challenges.

Body without Organs Model of Corporeality as a Productive Corporeal Paradigm in Steve Paxton’s Concept of Contact Improvisation

The purpose of the article is to reveal the features of postmodern dance through the prism of the concept "body without organs" and to analyse the defined model of corporeality as a productive bodily paradigm in S. Paxton's contact improvisation. Research methodology. The analytical, typological, historical and cultural method, the method of cultural analysis (to understand the cultural meanings of the "body without organs" model of corporeality, which are revealed and constructed by postmodern dance practices), the phenomenological method, which contributed to the understanding of dance as a special type of socio-culturally oriented bodily practices, were applied, as well as generalisation method. Scientific novelty. The concept of "body without organs" is studied in the theoretical works of A. Artaud, as well as within the framework of the philosophy of postmodern corporeality of J. Deleuze and F. Guattari; the question of the body and dance as a possible overcoming of its automatisms is considered. The concept of postmodern dance along the lines of the "body without organs" model was analysed and its features as a productive bodily paradigm in the paradigm of contact improvisation by S. Paxton was revealed. Conclusions. In accordance with the specifics of postmodernism, the concept of "body without organs" is positioned as the result of a meaningful application of the fundamental idea about the immanent creative potential of the rhizome (a decentralised semantic environment to the phenomenon of corporeality. In the dimension of postmodern dance, the "body without organs" model has become the most productive bodily paradigm in Steve Paxton’s contact improvisation. S. Paxton’s concept, within which contact improvisation is considered as a specific formation of "spherical space", the result of a change in spatial-kinaesthetic orientation within a short time, involves focusing on the boundaries of body space, understanding its inner essence in relation to external space, the birth of movement in the process communication. Like most postmodern dance practices, contact improvisation is not focused on the final result, but is focused on the continuity of the process and the transformation of the aesthetic experience. According to S. Paxton, sustained movement and spontaneous movement are the poles of the spectrum of possibilities that define his research, as technical dance provides a basis for thinking about improvisation – dance techniques provide information about how movement affects the structure of the body. The model of the "body without organs", which is not limited by any standards of movements, in a duet is revealed in a variety of relationships with the partner’s body. Both bodies balance on the rules of continuous contact, weight transfer, and balance to ultimately acquire newly formed capabilities. Keywords: corporeality, postmodernism, "body without organs" model, A. Artaud, J. Deleuze, F. Guattari, contact improvisation, S. Paxton.

Towards Designing Choreography Curriculum Template for African Contemporary Dance Using Dayo Liadi’s Olori-Oko Dance Performance

Modern dance techniques such as choreography gives the genre a unique language that can be used to expand the dance technique and dance composition as used by choreographers. Dayo Liadi as a choreographer and study in this article has used contemporary dance genre of body gestures to communicate his message through signs and cultural symbols, towards the appreciation from the audience. However, there are many thematic areas including space, shapes, images, body movement, and other paraphernalia employed in the style called contemporary dance type of choreography. Thus, all of these must be preserved and replicated as unique dance techniques. Therefore, the need to study and propose an indigenous choreography curriculum that emanates from Dayo Liadi’s creative work i.e. Olori Oko performance. The study is anchored on Michael Forkine’s Perspective of Adorno Theodor’s Philosophical Aesthetic theory. This is with the view to incorporate home-grown curriculum contents into dance studies in theatre schools in Nigeria and in Africa. The study adopted quantitative research method, involving participants’ observation, transcription and content analysis of lyrics and video using a checklist to conduct thorough video pre-view and review of the choreographic work. Major findings revealed a need for collaboration and performances to sharpen and widen the horizon of the artistic and creativity appreciation, with the view to incorporate new dance techniques into the Nigerian and African dance techniques such as incorporated in Dayo Liadi’s creative work. The study recommend direct implementation or adoption of the proposed curriculum template as part of choreography dance studies in theatre curriculum among departments in higher institutions Nigeria and Africa.

This is a Course in Translation Not Imitation

ABSTRACT In this student reading, I use examples from dance technique classes to bring attention to the choices that students make when learning new movement via observation and repetition. Based on these examples, I frame learning in technique class not as a process of imitation but a process of translation. In doing so I hope to advocate for the intellectual practices and opportunities for student agency embedded in dance technique learning.

Aging Out of Studio Dance: What Happens Next and Transitioning to Postsecondary Education

This article provides private-sector and secondary school dance teachers with recommendations and strategies to help students effectively transition from studio dance training to an undergraduate dance program. I identify four areas in which certain introductory experiences and supplementary opportunities would better prepare high school dancers to bridge the gap between their current training and what collegiate dance will entail: nonperformance experiences, expanded exposure and understanding of dance techniques, reading and writing about dance, and conversations about artistry and future careers.