Re-thinking Dance Technique in Higher Education
| Date: | 29 Nov 06 |
| Venue: | Room 2.29, Clephan Building |
| Host institution: | De Montfort University, Leicester |
A report by Jayne Stevens
The seminar provided an opportunity for those involved in designing and teaching dance technique within Higher Education to meet together to discuss current practice and to identify issues of mutual interest. By ‘dance technique’ was meant studio practice primarily designed to enable learners to develop skills in execution and performance (rather than in choreography or dance composition).
Small group discussion was facilitated by members of the dance staff at De Montfort University who are undertaking research into the role of dance technique in HE. Their research is part of the activities of the Centre for Excellence in Performance Arts (www.dmu.ac.uk/faculties/humanities/cepa/). Morning discussions centred around sharing and investigating current practice; after noon discussions around identifying strategies for developing practice. 29 delegates from 17 institutions attended. Prior to the seminar 15 respondents representing 12 institutions completed an online questionnaire.
The following were discussed.
Student transition to learning dance technique in HE
Staff perceived that some students found the transition from learning dance technique largely within the private dance sector or in (some) FE settings unsettling and difficult. Some students seemed unprepared for the degree of evaluation, reflection and analysis involved in HE study. Some experienced a mismatch between student expectations and the aims and methods of HE courses.
The role of the teacher in HE dance technique classes
Whilst recognising that the technique teacher is frequently the primary resource for dance technique material and the catalyst for what happens in the studio, delegates discussed the need to establish experiential learning environments that are not teacher dependent. The contribution of somatic approaches, improvisation based techniques and peer learning was acknowledged. Small group work including self and peer assessment was becoming more commonplace in dance technique teaching in HE. Many mature teachers have changed their pedagogic approach; relying less on demonstration and direct instruction and more on facilitation and problem setting.
The relationship of dance technique to the dance practitioner’s ‘world of work’
The difficulty of identifying and anticipating just what skills and knowledge dance practitioners in the 21st century need was discussed. Reference was made to research currently underway by PALATINE and the Foundation for Community Dance to illuminate current practice and identify learning needs. It was generally felt that the dance profession was diverse and that graduates needed a broad range of skills and competencies in order to approach portfolio working. There was a perception that some professional bodies are expecting HE ‘to produce industry-ready graduates.’ This was felt to be unrealistic. In that, some might argue, a university education needs to balance employability with experimentation and innovation, it is also in some respects undesireable.
There was considerable interchange between the profession and the HE sector through the engagement of part-time, visiting teachers and the professional work of full time staff but the need for ongoing dialogue was recognised. Interest was shown in furthering dialogue between HE and FE and between HE and the private dance sector.
The place of dance technique within degree courses in dance
Despite the above and in the face of financial constraints, dance technique constituted a core, practical dance experience for many HE dance students. The amount of time devoted to technical practice and class sizes varied enormously. Large class sizes reduced the amount of individual attention teachers were able to give. In some cases, where student numbers were small, different year groups were taught together making a wide range of ability and experience difficult to deal with. The significance of dance technique within HE courses can be overstated: it is just one element within a higher education in dance. It was suggested that a hierarchical view of the dance profession – ‘the pinnacle being the performer’ – placed undue emphasis on the acquisition of technical skill. The integration of technical practice with studies such as choreography and movement analysis was seen as a potentially useful way forward.
Aims and nomenclature
There was discussion about the role of dance technique in developing, for example, self awareness, identity and individuality rather than training ‘performers’ in any traditional sense. (This was thought to be much more the case now than when many of those teaching in HE entered the profession themselves). There was discussion concerning the place of dance technique in degree level education and the extent to which transferable skills and knowledge were gained. Changing aims and methods have been reflected in changed nomenclature; ‘dance technique’ as a term being superseded by ‘dance practice’, ‘the dancing body’, ‘movement fundamentals’ for example.
Delegates expressed an interest to continue their discussions at future events. For further information about the research underway at DMU contact:
Jayne Stevens jstevens@dmu.ac.uk
Sally O’Donnell sodonnell@dmu.ac.uk
Marie Fitzpatrick mfitzpatrick@dmu.ac.uk
De Montfort University
Faculty of Humanities
The Gateway
Leicester. LE1 9BH.
Tel: (0116) 255 1551 / Fax: (0116) 257 265