Dance Education Research Articles

Dance and Social Interaction: Exploring the Role of Dance Art in Social Transformation

This article explores the significant role of dance art in social transformation, with a particular focus on its function in social interaction and communication. Initially, the article examines the historical perspective of how dance reflects and impacts social dynamics, analyzing the evolution of various dance styles and their societal influence. It then delves into dance as a medium of communication, highlighting its role in community building, cultural exchange, and cross-cultural understanding. The article pays special attention to the use of dance in social advocacy, exploring how dance raises public awareness about critical social issues. Furthermore, it investigates the psychological and sociological impacts of dance, including its role in emotional expression, identity formation, and group cohesion. The role of dance education in social development is also explored, emphasizing its value in fostering social skills and holistic development. Finally, the article discusses the challenges and opportunities faced by contemporary dance, as well as its potential in social innovation and technological integration. The article aims to underscore the enduring power of dance as a social art form and its unique position in driving social interaction and change.

Педагогічні можливості мистецтва хореографії у творчому розвитку підлітків

The article deals with pedagogical methods that ensure the creative development of adolescent students through the art of choreography. The importance of the art of dance in working with a children's choreographic group is determined. The article notes that the modern world is characterised by a focus on digitalisation and automation, but art classes allow you to experience personal emotions, which is important for modern students to feel and understand the beauty of the work done and transform its energy into creative achievements. The main problem of our research is to study the methodological and theoretical system of prominent Ukrainian choreographic teachers and the use of effective methods in the creative activity of future choreographic art specialists. The purpose of the study is to substantiate the pedagogical possibilities of choreographic art in the creative development of adolescent students in the study of classical, folk and contemporary dance. The determining condition for success in creativity is systematic, hard work that requires mobilisation of spiritual forces and maximum concentration. The harmonious combination of dance and pantomime, music and poetry, plasticity of movements and drama of a literary work into a single whole is an important factor for the aesthetic education of the individual, his or her creative development and value attitude to reality. The authors note that in recent years, the relevant disciplines have been increasingly introduced into educational institutions, performing a number of functions, namely: educational, cognitive, creative dialogue and co-creation, which significantly affects adolescents, increases their self-esteem, and promotes the need for self-development. It has been established that the art of dance is an integral part of the culture of the Ukrainian people, and Ukrainian choreographic art has its own powerful, original voice in the world of culture and art. The pedagogical innovations of our choreographers are widely known outside Ukraine, and they are known and respected in the world. The article highlights the pedagogical methods successfully used by contemporary teachers Radu Poklitaru, Larysa Tsvetkova and others in their work. These include methods of individual approach to each student, improvisation and experimentation, use of multimedia technologies, trainings, business games, situational tasks, master classes, problem-based learning, and creative forms of work (combinations, sketches). The experience of well-known teachers has shown that the art of choreography opens up a wide scope for the development of the creative potential of the individual, allows to introduce creative elements into dance education and upbringing along with performance practice.

Research on the Promotion and Teaching Methods of Uyghur Dance in Colleges and Universities

Abstract Uyghur dance has a long history and needs to rely on education to inherit. However, the Uyghur dance education in local colleges and universities does not follow the development of the times. Aiming at the situation of Uyghur dance education in colleges and universities, a Uyghur dance pose generation network is constructed. By analyzing the main components and tasks of the autoencoder, the process of extracting music and dance movement features is explored. Combine LSTM to retain the information of dance action features and solve the problem of disappearing dance gradients. Extract the dance video as a sequence of skeletal key points and replace each joint point position with a number accordingly to improve the representation of dance action. The Uyghur dance pose generation network is used to analyze the features of Uyghur dance and propose promotion strategies based on the dance features. The results show that the amplitude and power of female Uyghur dance movements are relatively small, and the distance between joints and points is only [10,90] cm, while the amplitude of male Uyghur dance movements is much larger, and the distance between joints of the point rubbing step is [-10,100] cm. in the promotion of the dance, the degree of validity of the promotion of the combination of modern technology and Uyghur dance is 0.8546. The present study has promoted the reform of Uyghur dance education to some extent. The reform of Uyghur dance education is conducive to the preservation of national traditional dance.

Interest-Oriented Dance Education: Goals and Implementation Pathways

With the increasing emphasis on quality education in China, learning dance has become an essential way for more and more young people to improve their quality of life. However, the traditional approach of specialized teaching of dance skills dominates the teaching practice of dance teachers. The theory of multiple intelligences should guide popular dance education to stimulate everyone's interest in dance and provide targeted support and assistance based on the difficulties encountered by students in dance learning. This will minimize the number of students giving up in the middle of their studies and shift the focus of teaching from the development of professional skills to the appreciation and experience of dance. The focus of teaching should shift from "developing professional skills" to "appreciating and experiencing the charm of dance". This article reveals the characteristics and common problems of young people's dance learning, some of the misconceptions that exist in teachers' teaching, and analyzes the target orientation and ways of achieving dance education for the public. This study is of reference value in promoting the healthy development of dance education, based on surveys and interviews with dance education practitioners and students and observation of the teaching process.

Modern Demands and Strategies of Dance Choreography

With the vigorous development of China's dance industry and the expansion of the dance market, the demand for choreographers continues to increase. Many choreographers work in areas such as dance education, dance companies, and stage theatre companies. At present, choreographers in China are facing multiple challenges and opportunities. On the one hand, they need to constantly expand their creative field and create works that are well received and recognized by the audience. On the other hand, they also need to work closely with other artists such as dancers, musicians, and stage teams to achieve artistic synergy in the dance works. The purpose of this study is to provide some effective strategies and requirements for modern choreographers to improve the choreographing ability of choreographers and teachers. With the prosperity of the domestic dance market, some choreographers have also actively participated in international exchanges and cooperation to promote Chinese dance culture and artistic image. However, more and more people are learning dance, and students who enter universities in the form of art examinations have low understanding and choreography ability of dance, and the research results show that there are many differences in the teaching of university teachers from non-professional backgrounds (the non-majors here are teachers who have begun to learn dance and engage in dance education in high school), in this regard, we put forward some strategies and requirements, how to improve teachers' choreography ability, and evaluate teachers' current choreography ability according to the current domestic teachers' test results in modern dance choreography, The significance of this study is to provide information about teachers' choreography bottlenecks and some strategies and requirements, hoping that leaders and teachers engaged in choreographic education can provide useful reference value, and finally this study is expected to help improve the creativity and bottlenecks of choreographers. Bring better better teaching and value to students.

Development of Body Movement Skills Using Illustrative Music as a Stimulus in Dance Learning

This research explores the use of illustrative music as a stimulus for skill development in the field of body movement within the Dance Education program at Padang State University (UNP). Illustrative music aids in motivation, rhythm regulation, concentration, emotional expression, memory, creativity, body mobility, and flexibility in the dance body movement courses. The research employs a qualitative methodology involving interviews, observations, and document analysis to investigate the impact of illustrative music. The findings of the study indicate that the use of illustrative music, such as Minangkabau ethnic music and classical music, during dance body movement exercises provides a positive boost to skill development, emotional expression, and movement comprehension within the art of dance. Through this approach, the Dance Education program at UNP creates a deep, holistic learning environment for body movement in the art of dance.

Investigating pre-professional dancer health status and preventative health knowledge.

Dance is a highly demanding physical pursuit coupled with pressure to conform to aesthetic ideals. Assessment of health status and preventative health knowledge of pre-professional dancers may help inform educational strategies promoting dancers' health and career longevity. The aim of this research was to establish a baseline understanding of dance students at a single pre-professional institution based on metrics focused on current health, nutrition, lifestyle, and wellbeing while also gauging knowledge of longer-term health implications. Adopting a cross-sectional study design, the Dance-Specific Energy Availability Questionnaire was tailored for Australian participants and administered online. The response rate was 59.5% (69/116 eligible students) and the survey was completed in full by 63 students. Mean BMI was 20 kg/m2, although among females, 47% had a BMI < 20 (range 16 to 25 kg/m2), and at their lowest reported weight BMI was 14 to 25 kg/m2. Over a third had either experienced (31%) or were currently experiencing (3.4%) secondary amenorrhea (period absence ≥ 3 consecutive months). Most dancers did not exclude food groups, however, 24% had been advised to exclude particular foods in the past, mostly by dance teachers. A large percentage used nutritional supplements (68%) with 60% supplementing with iron and more than half (53%) taking two or more supplements. Only 25% had ever utilised a qualified dietitian, although 16% reported a history of eating disorders and 25% reported vegetarian or vegan eating patterns. REDs risk scores ranged from -16 to +16 points with negative scores indicating LEA and higher risk of REDs. The mean score for males was 5.2 (SD = 3.9) and 2.1 (SD = 5.9) for females, with 33.3% producing a negative score. Results provide insight to health knowledge and particular issues pertinent for dancers and highlights the need for specific education strategies to promote a preventative health focus for those entering a pre-professional programme. This study also highlights the need for improved awareness of LEA and REDs among all practitioners working with dancers along with cultural and structural changes within the broader dance community to help protect and promote the wellbeing of dancers.

Teaching Dance as a Multi-Spatial/Multimedia Practice: Reflections on De- vising Contemporary Dance Pedagogy in University Spaces

The last ten years have seen a remarkable rise in the number of art and dance degree programs in universities worldwide. This essay originates in my experience of having taught for three years (2019–2022) on an ad-hoc basis at one such program in a private Indian university. I describe some of my pedagogic methodologies and creative teaching experiments devised during my tenure and that were dedicated to questions of space and multimedia in dance and performance research. I examine how these methodologies and experiments were not just creative in nature but also triggered by: a. the output- driven approach of private-university systems, and b. the precarity of my own status as an adjunct teaching faculty and a “contemporary”—by which I mean non- classical, non-traditional—dancer in the Indian context. Dance scholar Janet O’Shea, in her essay Decolonising the Curriculum? Unsettling Possibilities for Performance Training, critiques the structure of the university as both “colonial and corporate” (750), and points at its links with the “precarity of neoliberalism” (750). I resonate with O’Shea’s position and acknowledge the neocolonial and neoliberal tendencies of private universities in India that idolize Euro-American university models in their approach to higher education. However, I also argue that these universities, with their advocacy for the interdisciplinary and transdisciplinary forms of research, mostly aimed at claiming the “cutting-edge” in the liberal art and education industry, inadvertently generate scope for upsetting the traditional hierarchies and trajectories of dance pedagogy and challenging the exclusive notion of dance itself.

УРОКИ КЛАССИЧЕСКОГО ТАНЦА: ТЕХНИКА ПРЫЖКА В КЛАССИЧЕСКОМ ТАНЦЕ. ВОПРОСЫ МЕТОДИКИ И ПРАКТИКИ

Galina Konstantinovna Polishchuk – a teacher of classical dance, is known by our teachers and students as the author of the book "The History of Karaganda Ballet". As a teacher of classical dance, she once received training from representatives of the Moscow and Leningrad schools in the GITIS internship assistant (Prof. R. Struchkova, E. The Pearl) There she also got acquainted with the methodology of European schools from trainees from the Danish and English Royal Ballet, which provided a huge material for independent pedagogical work and the development of her practical techniques for different classes from junior and experimental to senior. Working at the Odessa Choreographic school next to the famous teacher Yu. She became interested in his experience of retraining students, and then ballet dancers who received insufficient training for the academic stage, developed her own methodology and later applied it in the practice of working with students and with theater artists. She has worked abroad, taught at ballet schools in Japan. Her students took part in International ballet competitions in Italy, Hungary, Russia, Korea, and Kazakhstan. They have danced and taught in Russia, Ukraine, the USA, Germany, Poland, and Japan. In 2020, G.K. Polishchuk published a textbook "Classical dance lessons". In this issue, a continuation of this work is published – a fragment of a chapter devoted to the methodology of work on teaching the technique of jumping classical dance. The results of many years of work on the training of ballet dancers are summarized and systematized at a high professional level. The author typologizes the types of jumps, explains in detail the physiology of the jump, gives a comparative analysis of the methods of teaching jumping in classical dance. The style of writing the article is recognizable: the abundant use of ballet terms alternates with excursions into the history of ballet pedagogy, interspersed with comparisons of different choreographic schools, and, without weighing down the text, allows both a novice teacher and a teacher with experience to understand the essence of the problem.

Archives and the Bodily Dimension of Traditional Dance Knowledge

For a dance researcher, audiovisual recordings are the most informative part of archives. For various reasons, in Estonia, re-embodiment of traditional dances has been based more on verbal descriptions and less on film and video. Nonetheless, some analysis has been done by today, and some findings on individual, local, and temporary variability of traditional dancing in different parts of Estonia exist, and some clips have been published. Despite of availability of archival video recordings, folk dance teachers usually prefer verbal descriptions, which leads to the loss of a great deal of detailed information. In the article, I explore some of the reasons for this situation, based on my own teacher practice and a case study inquiry among teachers of high school girls’ dance groups involved in the process of the 12th Youth Dance Celebration in 2017. In this project high school girls’ groups were proposed to learn Ristpulkadetants (Crossed Sticks Dance) in an unusual way – as a supplement to verbal descriptions, an archival movie clip was provided to teachers as source material. This made it possible to investigate teachers’ interest in the use of film, as well as the facilitating or hindering factors of actual use. About a fifth of the involved teachers expressed an opinion that archival recordings contain information not yet verbalized in descriptions and could help them in adding new qualities to the bodily dimension of their own and their students’ dance. As a result of the study, it can also be said that archive videos of a traditional dance are not that available to folk dance teachers as they would like them to be.

Enhancing Early Childhood Art Development through Music and Dance Education

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수정델파이 기법을 활용한 중국 대학 무용학과 한당고전무용 교육과정 개선방안 연구

This study aims to explore operational strategies for revitalizing the education of traditional Chinese Han-Tang dance in the dance departments of nine Chinese universities with established Han-Tang dance professors and research centers. To achieve this, a survey using the Modified Delphi method was conducted with 20 experts, including participants in Han- Tang dance research projects at the selected nine Chinese universities and university instructors. The results categorized improvement factors for the Han-Tang dance education curriculum and approaches into four main areas: Administration and Finance, Organizational, Educational Environment and Facilities, and Professional Staffi ng and Educational Program. Based on these fi ndings, recommended strategies are presented for establishing an eff ective educational system for Han-Tang dance in Chinese dance departments are presented.

A Exploratory Study for Safe, Equitable, and Inclusive Dance Education After #MeToo

A Exploratory Study for Safe, Equitable, and Inclusive Dance Education After #MeToo

The Development Of Variety Dance Movement Videos To Ease Teachers In Process Of Creating Dance

The development of learning media in the form dance Movement Videos as an effort to facilitate teachers in the process of creating dance works is based on several factors, including: 1) being affected by the Covid-19 pandemic, 2) the ability of dance teachers who are not yet qualified in cerating dance works, 3) and the absence of dance learning media, so the development of learning media in the form of videos of various dance moves at SDN Palang. Based on the problems that have been described, the development aims to produce a valid Variety of Dance video media for teachers at SDN Palang. The development of this video media uses the ADDIE model with five stages including: 1) needs analysis, 2) Design, 3) Development, 4) Implementation, and 5) Evaluation. The Evaluation of the video media of various dance movments was carried out by media experts, educators as users and students of SDN Palang. The results of the research on the development of video media for various dance movements showed that the percentage obtained from the validation results of media experts with a score of 90 % was included in the very valid category and was suitable for use without revision. The results of material expert validation get a score of 75 % which is included in the very valid category and is suitable for use without revision. Judging from the response as many as 7 educators have an average of 85.57 %. Meanwhile, from the responses, 5 students had an average of 86.7 %. This means that educators and students give a positive response, then the high percentage proves that the media is said to be effective and acceptable.

Reform and Innovation of Dance Education in Colleges and Universities in the Internet Era

Abstract This paper firstly proposes the reform strategy and innovation direction of college dance education based on the Internet background of the era and adopts Webwork+Spring+Hibernate to build the overall architecture of the dance education system and designs the functional modules of the dance education system. Then, establish the dance teaching model based on association rules, use the association rule data mining algorithm to mine specific laws to improve the prediction model, and measure the standard of association rules by T test. Finally, the dance education system is tested for operation, compatibility, response time, and application analysis. The results show that the average score of students’ final exam before applying the dance teaching system is 75.23, and the average score of students’ final exam after applying it is 86.12, which is an improvement of 10.89 points, which shows that the dance education system constructed in this paper is able to improve the student’s academic performance, and promote the reform of dance education in colleges and universities effectively, and provide a new direction for the development of dance education in colleges and universities.

Don’t Be Afraid to Just Dance!

In my experience, the word dance in physical education has been somewhat of a taboo. Many physical education teachers either choose not to teach dance at all because they do not feel comfortable with it or they struggle to find ways to teach it properly to their students. The teaching dance for understanding (TDfU) model completely changed my perspective not only on how to teach dance but also on how I can connect it to the physical education standards and make it meaningful to students. The TDfU model helped me break down dancing into more than just teaching specific dance steps to students. Using the TDfU model to introduce dance and get students comfortable with it helped lead to more meaningful uses for dance within the curriculum. After using this model, I was able to incorporate dance in different units throughout the entire school year and not just for a couple of weeks.

Contemporary Dance: Examining Limitations and Expanding Pedagogy

This article examines limitations of teaching contemporary dance through a Eurocentric lens and proposes an expansive approach to contemporary dance pedagogy that honors students’ experiences in multiple dance forms and cultures. I question the Western pedagogy of contemporary dance and problematize the use of ballet pedagogy as a foundation of contemporary dance class. I document lived experiences and reference established approaches to provide a pedagogic framework that acknowledges differences and creates a comprehensive learning environment.

The Gender-Sexuality Continuum in K-12 Spaces: A Case Study of Five Male Educators Teaching Youth in New York City

ABSTRACT The prevalence of hegemonic masculinity praxis and heteropatriarchal normalization in the United States produces a challenging work environment for male K-12 teachers in dance-educational spaces. This interview-based case study investigates five male New York City-based K-12 dance educators’ personal, cultural, and professional identities relating to students, the education environment, and the community. Building on existing masculinity theory, gender-in-dance, and psychosocial research, this study furthers the understanding of beliefs, values, biases, and opinions of dancing men within K-12 schools. Data present (a) current gendered experiences within dance curricula, (b) community concerns related to the queerness of dance, and (c) contrarily, the frequent celebration of students’ gender-sexuality expressions. The interviewed teachers report increased acceptance of the art form and, conversely, increased binary thinking. Participants indicate that male teenagers have difficulty finding support and affirmation for engaging in a dance curriculum.

Platform Model for Teaching Dance Sport Class

Background and aims: The teaching and learning of the University Statement and the significance of problems in China are organized in many forms, especially in the current era of rapid development in China's education, causing the university to modernize teaching methods. This paper aims to create a teaching model for dance movement courses and expand the scope of dance education. Materials and methods: The study consists of four stages: reviewing relevant literature, using the Delphi technique to construct the platform, evaluating the suitability of implementing the model, and summarizing and presenting statistical data. The analysis reveals that the planned dance teaching platform includes various media such as WeChat, Mooc, Youku, Xiaohongshu, TikTok, YouTube, Line, videos, and television. Learners can search and select teaching assistants through public relations and establish admission criteria. Results: The organization involves nine different styles of teaching and rehearsal, choreography filmed from the side with feet above the scapula, and providing feedback and suggestions for students' assignments in non-traditional environments. Choreographed competitions must be completed within a specified time frame and prepared for community teaching. Other aspects include dance competitions, dance routines, dance pairings, dance etiquette, and teaching Latin and standard dances. The scoring system for Chinese Frandiamond dance on platforms such as Xiaohongshu, Youku, Mooc, and TikTok is out of 20 points. Conclusions: This study provides an applicable teaching model for dance movement courses, expanding the range of dance education.

The Development Trend of Innovative Teaching of Dance in Colleges and Universities Based on Clustering Algorithm in the Context of Big Data

Abstract This paper establishes a model for teaching dance innovation in colleges and universities based on big data. Using a clustering algorithm to obtain the characteristics of dance teaching using affiliation assignment calculation to maximize the fuzzy indicators, the dance innovation teaching indicators are divided to improve the assessment accuracy. The optimization of dance teaching assessment indicators is normalized to complete the data processing and clustering in the teaching system and combined with the user preference to divide the student group based on similar characteristics. The results show that 45.00% of the student’s performance ability of physical balance is excellent, and the dance teaching classroom question score is 93. Big data technology can effectively integrate and categorize the existing dance teaching resources in colleges and universities, thus improving the quality of dance teaching.