The modular delivery of these units of study is compliant with the Bologna Agreement that facilitates for students the transferability of degrees and credits between most European countries. In industry he performed with Cycles Dance Company (UK), as well as companies in Canada and Australia and was Dance Artist in Residence at Theatr Clwyd, Wales. In commenting upon the reality of their experience in dealing with concepts such as multiple types of knowledge, one student made an analogy with popular culture: ‘It’s like Breaking Bad, if you miss one episode you’ll never get back into it, you’re constantly catching up.’. These dancers, both students and academics, constantly question the construction of their bodies through the development of a range of body technologies. Acting as a mediating body DanceHE facilitates collaboration and debate across institutions – drawing together teachers, practitioners and researchers to share information and best practice. The study will look at the adequacy of the curriculum orders for dance education, and question whether or not the physical education curriculum caters for dance or if dance is best placed within the arts in schools. Claire Somerville, Head of Children and Young People’s Dance at One Dance UK, explains more about the PE & Sport Premium and how it can be used to benefit dance in primary schools. Dance Education, a guide for Governors and Trustees Providing high quality dance education in schools. O’Shea, J. Future students and their families are able to use this data as they consider their options. The Quality Assurance Agency (QAA) delivers top-down definitions of standards of proficiency within disciplines and the quality of the ‘student experience’ of their learning. Subsequently, the National Resource Centre for Dance based within Surrey University was established in 1982 to catalogue, produce and disseminate these dance resources. In Carter, A. She has worked with a number of independent and mainstream choreographers in a range of collaborative and creative projects and performances in Kent, London and Europe. The modular delivery of these units of study is compliant with the Bologna Agreement that facilitates for students the transferability of degrees and credits between most European countries. It is the first point of contact for those seeking information on education, training and assessment in the UK. Collect, exchange and disseminate information. Through dance education experiences people of all ages imagine, create, think critically, collaborate, understand culture, shape identity, and communicate meaning about human experiences. Bachelor of Education degree courses (teacher training) and subsequently Bachelor of Arts degrees in dance were established in the late 1960s and 1970s. These processes require students to read symbol systems, use critical thinking skills, excel in nonverbal reasoning and communication, exchange ideas, work cooperatively and collaboratively with others, and interact within a multicultural society. Both of these organisations will signpost teachers to resources and specific CPD for … This article has not been published, submitted or accepted for publication elsewhere. This emphasis reflects the construction of dance as a practice and subject area in the A Level Dance qualification offered as part of post-16 education in the UK (AQA, 2014). This new level of cost for tuition together with students having to fund their living expenses brings with it new levels of financial burden that many families may find difficult to justify without an absolute guarantee of subsequent employment. Lorna Sanders wrote in her article in Research in Dance Education that the syllabus at this level defines what dance ‘is’ and does not reflect an independent reality, but a constructed one (Sanders, 2008, p. 228) and a fixed body of pre-existing knowledge (Sanders, 2008, p. 229). They stand next to each other in the various hierarchies of excellence that are underpinned by commonalities of the various statures that they accrue in learning, teaching, research and a host of cultural and social impacts as are measured regionally, nationally and internationally. PE is represented by the Association for Physical Education (AfPE). Keywords: UK higher education dance, World Dance Alliance—Europe. Such training would prepare dancers to care for themselves and those with whom they work with regard to health, safety, self-knowledge, and artistic criticality, and thereby potentially securing the sustainability and longevity of their careers and that of those with whom they work. A Level dance constructs dance and dance knowledge in a very particular way, providing little scope for embodied ways of knowing, or many other concepts and practices that are central to a significant proportion of dance education and practice. This article is part of refereed conference proceedings that have been published according to international academic research standards with double blind refereeing of full papers followed by an editorial process of revisions. By the 1980s a model had evolved that identified three central and inter-related concepts in research in dance: Professional companies used audience development arts funding to develop education and outreach literature that created a new body of researchable materials: literature and video recordings and eventually repositories of dance-related documentation and artefacts. Our Faculty of Education was created in 1999 in recognition of our increasing commitment to higher education. Dance and dance education research includes discourse concerning the philosophical and epistemological perspectives that guide this research. However, the 1926 marked the introduction of the first dance major into the college curriculum. Ms Kelly Preece is the Researcher Development Programme Manager for Postgraduate Research Students at the University of Exeter. Dance Education and BA (Combined Hons.) Of course, measuring graduate prospects on a purely statistical basis is problematic and there are a number of issues with KIS. Current inquiry is located in the contemporary spectrum of artistry, aesthetics, ethics, new technologies, performance, pedagogy and many other scholarly pursuits. It is common knowledge that there has been a decline in young people taking dance and creative arts subjects in recent years, but is this due to a lack of interest or a lack of opportunity? The QAA’s Subject Benchmark Statement for Dance, Drama and Performance discusses graduate prospects or ‘graduateness’ in creative disciplines in reference to subject specific and generic skills, with the transferable skill set of our graduates being sought after in environments such as business and commerce. Unique to the UK (and the University of Melbourne, Australia) is the system of classification of Honours degrees. Dance Education Advocacy by One Dance UK Ambassador Martha. In identifying the expectations of graduates it is the experiences of the students rather than the academics’ perceptions that are more useful as a starting point. However, those who had not studied dance in high school or further education (16-19 year olds) for GCSE, A Level or BTEC qualifications, and had primarily danced in private schools, expressed that they had very few preconceptions about curriculum content. Institutions value their autonomy in this regard as a means of making themselves distinctive in the market. As one student put it, they expected a separation between ‘dancing and writing’. Their expected areas of study were largely historical and did not reflect the more recent prominence of postmodern, release or somatic techniques. For instance the mission statement of the University of Hull says: We shall encourage and empower individuals to achieve their full potential and to make and implement well-informed decisions about their careers and continuing professional development. Roots/routes of dance studies. For example, at Coventry University it is expected that students will develop their own styles and methods of working. Proudly created with Wix.com, © 2023 by Name of Site. According to KIS (Unistats, 2014), at the institutions represented by the authors of this paper: Even though the average graduate starting salary has dropped by more than 11% since 2006, TheComplete University Guide (2014) still reports an average professional starting salary for graduates in the UK as £21,701. For university dance programmes, success in the Dance qualifications for the A Level, the Business and Technology Education Council (BTEC), the International Baccalaureate, or National Vocational Qualification are still seen as a major advantage. However, for those who work in dance this ethereal nature is perhaps one of its attractions and a subject for research in and of itself. For example, the influence of the Alexander Technique, the Feldenkrais Method, Skinner Releasing Technique, Ideokinesis, and Body-Mind Centering can be evidenced in the pages of a number of dance specialist journals from the UK and internationally: New Dance (UK), Writings on Dance (Australia) and Contact Quarterly (USA). The Higher Education Academy (HEA) is concerned with the quality of learning and teaching from the academic’s point of view. By that time theorists such as Betty Redfern (1973/1982) and Valerie Preston-Dunlop (1969) had investigated the concepts at the core of dance and were ready to develop the discourse. It’s the depth of practice of an arts degree that sets it apart and makes graduates so unique, these degrees open more doors than ever before. This text offers a theoretical and practical framework for the teaching of dance in education. Artsmark, the flagship programme which recognises schools and educational organisations for their commitment to high-quality arts and cultural education, has highlighted that less curriculum time is spent on dance than any other artform in primary schools. 7The field of dance art and dance teaching is familiar to me from my education and work as a dancer and choreographer. In the late 1990s, dance medicine and science became recognised areas of dance education and research with foci on dancers’ health, safe practice and well-being. Be aware that freelancing and self-employment is common, as are what is termed 'portfolio careers' – having several part-time jobs or commissions at once, and networking can be very important for dance students to find their first job, so be prepared to work on your people skills. Each institution designs its own modules and degrees; therefore, there are many versions of modular designs across the sector. Where can I study Dance in the UK? (University of Hull, 2015). Its participants, through their successes in higher education, are versed in the sophistications and complexities of time and space and as such are educated persons, able to interact in many fields wherein they might dance or they might take these experiences elsewhere. Power in operation: a case study focusing on how subject-based knowledge is constrained by the methods of assessment in GCE A Level Dance. These features are critical to the development of the creative industries and other sectors (Wareham, 2008). What changes this will bring to dance in higher education remains to be seen. Source: Higher Education Statistics Agency, Destination of Leavers from Higher Education 2016-17. The influence of this report is still reverberating nearly twenty years later. Duncan Holt, MA, DC, FMCA, SFHEA (Panel Chair) a Senior Fellow of the Higher Education Academy is a freelance lecturer and researcher in Dance in the UK. There is a desire amongst a community of dance academics in the UK to define a future for dance somatics. Rees, C., Forbes, P., & Kubler, B. Early formal dance education was heavily influenced by Western dance styles and, as a consequence, was a highly technical discipline, focusing on specific routines and requiring set steps. Unregulated KIS data overload will baffle, not enlighten, students. Other research organisations such as the World Dance Alliance, Dance and the Child International and publications including Contact Quarterly, Writings on Dance, the Journal of Dance and Somatic Practices and the Journal of Choreographic Practices all give significant national and international perspectives as well as prominence to this research. Synopsis This is a book about falling as a means of reconfiguring our relationship with living and dying. Home › The importance of dance in secondary education The importance of dance in secondary education We asked the U.Dance 2019 representatives for the West Midlands, Our Lady & St. Chad Catholic Academy , to summarise why dance is important to them at school. & O’Shea, J. Faculties of universities as departments or subsets of schools such as the dance programme within the School of Arts at DeMontfort University. Similarly, certain aspects of dance are the subjects of research using dance-specific methodologies which reach dance-specific outcomes. Some members of staff only teach on specific modules, and your course might not feature every member shown here. Ausdance-approved insurance that meets the needs of dance instructors, studios, professional dancers and groups, independent artists and companies. She has held senior posts at a number of higher education institutions and dance organisations including; the University of Surrey, Dartington College of Arts, The Northern School of Contemporary Dance, Dance and Theatre Cornwall and the Jerwood Dance House, Suffolk. We are fortunate in the UK to have some of the best training available in the world, producing top-class dancers. This combined new trend in dance began to have a significant influence on many practitioners across the UK, as a source of innovation. One credit equals approximately 10 hours of learning/study. The interpretation of dance as politics of identity remains a significant field of investigation. Fortin, S., Vieira, A., Tremblay, M. (2009). Dance at Liverpool Hope looks at the bodies, techniques, performances and histories that make up dance practice today both from an embedded perspective - as a source for developing material - and from a reflective position, combining both theoretical and practical approaches to learning. Dance medicine and science are multifaceted and align with general medicine, sports science, somatics, body therapies, physical therapies, dance education, anatomy, physiology, psychology, kinesiology, biomechanics, movement analysis and nutrition (Minton, 2000, p. 110). In tandem with other subject areas located with: Arts, sometimes with: music, or drama, or fine art. The dance staff are all professional practicing artists from the fields of performance, choreography, dance pedagogy, dance on screen and dance research. Explore and create choreography for live performance and film. Kelly has been a Fellow of the Higher Education Academy since 2010, and holds a Postgraduate Certificate in Learning and Teaching in Higher Education. As such, it reflects in practice the high words of many university mission statements. 75%-90% go on to work or further study, which is then broken down into what are termed professional/managerial and nonprofessional/managerial jobs. Philosophical inquiries and critical dance scholarship continues and includes recent developments in aesthetics and phenomenology that are concerned with bodily experience, ‘value’, artistic affect and effect, and the context of the embodiment of both performers and spectators. These New Dance originators added their work to a range of higher education institutions: Sarah Rubidge at Laban and later at Chichester University, Mary Prestige at the Liverpool Institute of Performing Arts, Sue McLennan at the London Contemporary Dance School, Sara Reed, Sarah Whatley and Cecilia MacFarlane at Coventry University, Jayne Stevens at DeMontfort University and Duncan Holt at the University of Hull, among others. Typical A-levels requirements: ABB. It is argued that in terms of higher education dance somatics might provide a radicalisation of or simply a resolution to the modernist/postmodernist model, and that the key concepts of dance somatics could be the vehicle for this resolution. It is also interesting to note that students expected ‘practical’ work to be codified dance technique, rather than the multitude of practices that come under this umbrella. Dr Angela Pickard has performed, created, taught and presented dance locally, regionally and internationally in her roles as dancer, choreographer, teacher, advisor, consultant and academic. Her teaching practice has encompassed choreography, improvisation, dance history, screen-dance, dance in education and community (specialising in inclusive practice). © 2015, Duncan Holt, Angela Pickard, Kelly Preece, Sara Reed, Cathy Childs, To cite from this article The average salary 6 months after the course is between £14000-£16000, well below the student loan repayment threshold. Including dance in the school curricula contributes to a well-rounded education. The Higher Education Funding Council for England (and Wales) (HEFCE) is responsible for funding higher education. (QAA, 2007, p. 3). There was intense activity in dance scholarship during the period of the late 1980s to the early 2000s. Welcome to the Dance Education program. We also offer classes for Adults from complete beginners through to advanced levels. 35: Music, drama, dance and performing arts, Graduate salaries and the professional premium, Business practice (copyright, tax, insurance), Newism - Newcastle Web Design & Development, Angela Pickard, Canterbury Christ Church University, United Kingdom, Kelly Preece, University of Exeter, United Kingdom, Sara Reed, Coventry University, United Kingdom, Cathy Childs, University of Chichester, United Kingdom. Student impressions of the quality of their learning and teaching, the resourcing of their programme of study and other aspects of the student experience are now nationally assessed through the National Student Survey, with the data made public through UniStats. Many professional dancers train at a vocational dance school, with an intensive three-year degree or diploma or a one-year postgraduate course in professional dance or musical theatre. General introduction. Many UK universities now recognise that artistic practice in dance can constitute research. High on this agenda is each student’s notion of what dance technique and somatic practice might be. The Research Assessment Exercise (1996) and Research Excellence Framework (2014) have for twenty years assessed the quality and quantity of dance research and most UK dance academics are deemed to be ‘research active’. In C. F. Stock & P. Germain-Thomas (Eds. 2:1 60%–69% (admission to postgraduate study). (Eds.). Higher education institutions are accountable for the public outcomes of research activity and these have significant funding implications for institutions. In 2015, UK universities will be at liberty to set their fees according to market forces. © Copyright 2021 Australian Dance Council-Ausdance Inc. Contemporising the past: envisaging the future, Students face tuition fees rising to £9,000. Proudly created with. Sara is a Feldenkrais Awareness through Movement teacher. ‘Benign advice–now profoundly mistaken,’ according to Ken Robinson (2006). It is as we move toward closer international ties with our World Dance Alliance colleagues in higher education who work in dance that we look to our own ways and means with a view to revealing what we, in the UK, do in our delivery of dance to higher education students, and some of the constraints within which we work. Angela is also Artistic Director of Canterbury Dance Company: a creative and collaborative performing company, and Programme Director for BA (Hons.) Strength and Conditioning for dancers (20 Credits) - Core; Performance Psychology (20 Credits) - Core; Advanced Research Methods (20 Credits) - Core; Biomechanical Analysis of the Dancer and Dance Movement (20 Credits) - Core 12 months Full time degree: £6,400 per year (UK/EU) 2 years Part time degree: £3,200 per year (UK/EU) Modules. This is delivered in a variety of ways according to the specialisms and research interests of the academics. The International Association of Dance, Medicine and Science and the Performing Arts Medicine Association and their influential journals, seminars and conferences have disseminated a range of work in the field of dance science. Public perceptions of arts education may also have been skewed when Michael Gove, the then Shadow Minister for Children, Schools and Family, said in the London Evening Standard (Gove, 2009) that ‘our leading universities have made it clear that taking soft subjects such as media studies or dance at A Level harms candidates’ chances of admission’. To that end we, a group of academics working in dance in separate institutions, met to consider the ways in which undergraduate dance in higher education in the UK might be represented with regard to the: By the mid 1970s, when dance as a discipline entered higher education in the UK, the impact of American postmodern dance and British New Dance had been developing for a decade or more. We also operate this site through which members can share information and promote events through an email list and this website. Where can I study Dance in the UK? It performs its role as an academic friend offering discipline-based pedagogic support and advice about best practice in the field. The content of dance degrees in the UK university sector varies by the research interests and specialisms of the academics and the degree design in each institution. This diversity encourages a significant questioning among dance scholars and students and a critical approach to the development of each student’s dance practice (Fortin, Vieira, & Tremblay, 2009). Dance UK Entry Requirements. Dance sub-disciplines such as choreology, choreography, choreutics (the dancer’s use and attitude to space) and eukinetics (the dancer’s use of time) are intrinsic fields of research within a dance-specific paradigm. This shall be achieved highlighting important issues of the debate such as recognising the benefits of dance, … These developments necessitated the identification of theoretical frameworks to support a level of rigour and depth of study that would validate consideration of dance research within the academy. It is the case that there is a spectrum of study across dance in UK higher education institutions including universities and conservatoires. The study will look at the adequacy of the curriculum orders for dance education, and question whether or not the physical education curriculum caters for dance or if dance is best placed within the arts in schools. These much sought-after transferable skills are sometimes referred to in the context of the ‘creative graduate’. In juggling this division of time and effort, dance academics join their colleagues from many fields. In preparing to attend the World Dance Alliance Global Summit in Angers, France, in 2014, we were aware of efforts being made to re-establish WDA-Europe. We aim to support dance teachers in schools to deliver high-quality education through keeping members up to date with education … While a familiar objective for many dance degree programmes is to prepare graduates to be independent practitioners, most dance graduates are likely to progress to careers in a wide variety of contexts as well as performance (Burns, 2007). The range of methodological approaches, such as interpretive, participatory, critical, embodied, reflexive, mixed method, ethnographic, and auto-ethnographic research and writing, informs this scholarship in both practice and theory. (2006). As such, students often come to HE with very fixed notions about dance knowledge and curriculum, and are inclined towards a structuralist viewpoint of absolute truths in which ‘ballet is the core of everything’ rather than being open to the multiplicities of practice and theory that dance studies can offer. This international, social, citation and indexed journal supports and investigates academic research on a range of issues in dance education. (1998). It also assumes a linear career structure, which is not always appropriate where project work and short-term contracts are common for successful freelance practitioners (Rees, Forbes, & Kubler, 2006, p. 66-7). The goal is generally for undergraduate students to achieve 120 credits in each year of study that equates roughly to a forty-hour working week. There has been a developing heritage of dance study wherein western dualism has privileged the cognitive (mind) over the corporeal (body). Applicants MUST have taught both Girls PE & Dance in a UK Secondary School and be available to start in February. Jacqueline Smith-Autard seeks to bridge the gap between the theory and practice of teaching the art of dance by: examining the processes of composing, performing and appreciating dances; and analyzing how dance education can contribute towards artistic, aesthetic and cultural education. Liaise and collaborate across the sector with other professional, scholarly and governmental organisations on matters relevant to the study and teaching of dance in higher education. Promote and disseminate excellence in dance teaching, learning and research. 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