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. The EdD in Dance Education doctoral program at Teachers College affirms dance as an essential form of embodied experience that shapes learning across diverse global contexts. 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. As one student put it, they expected a separation between ‘dancing and writing’. Working in partnership with the membership and related organisations we aim to: Represent and advocate for the interests of the dance as a subject in higher education in the UK. In C. F. Stock & P. Germain-Thomas (Eds. (1998). (Eds.). Explore and create choreography for live performance and film. To start a discussion of these variations we have taken the liberty to discuss some aspects of dance in higher education in the UK. These include everything from overall course satisfaction, to time spent in lectures and seminars, average salary within six months of graduating, and accommodation costs. In juggling this division of time and effort, dance academics join their colleagues from many fields. We aim to support dance teachers in schools to deliver high-quality education through keeping members up to date with education … 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). She specializes in ballet technique, dance pedagogy, choreography, and dance research, and is Editor in Chief for, Cathy Childs is principal lecturer and Head of Dance at the University of Chichester. I have worked with school teachers in continuing education focusing on teaching dance in schools. The influence of this report is still reverberating nearly twenty years later. This is delivered in a variety of ways according to the specialisms and research interests of the academics. Dance UK Entry Requirements. (2010, p. 8-9). 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. 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 Sara Reed is Associate Head of Performing Arts Coventry University, UK. 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. Where can I study Dance in the UK? This international, social, citation and indexed journal supports and investigates academic research on a range of issues in dance education. 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.’. It performs its role as an academic friend offering discipline-based pedagogic support and advice about best practice in the field. Angela is also Artistic Director of Canterbury Dance Company: a creative and collaborative performing company, and Programme Director for BA (Hons.) Dance Education, a guide for Governors and Trustees Providing high quality dance education in schools. As O’Shea summarises: Dance studies, in the process of studying the intentional production of identity in choreographic form, has drawn on postcolonial theory, feminist theory, queer theory and critical race theory... Dance studies puts gendered, sexualized, racialized bodies into motion, a tactic that enables further discussions about bodily inscription and agency. 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’. 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. (University of Hull, 2015). Many of these practitioners were appointed to work as dance ‘animateurs’ or community dance artists in arts venues and community settings as the driving force in the significant development of community dance programmes across the UK. KS Dance Ltd KS Dance Ltd 9A Centre 21 Bridge Lane, Woolston, Warrington, Cheshire WA1 4AW 01925 837 693 This email address is being protected from spambots. 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. 2 Back to contents Contents ... One Dance UK (the Subject Association for Dance in schools), regional and national dance organisations. Recent publications include work on ‘touch’ in dance and auto-ethnographic studies in career structures. Source: Higher Education Statistics Agency, Destination of Leavers from Higher Education 2016-17. Welcome to the Dance Education program. These much sought-after transferable skills are sometimes referred to in the context of the ‘creative graduate’. 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. Its focus upon increased sensory awareness, body/mind integration and efficiency of movement might be seen as a significant contribution to twenty-first century dance pedagogy and by extension to some professional practice in general. Dance in higher education in the UK. For dance students, the specific implications of this close examination raises concerns that most dance institutions manage with a degree of implicit preparedness. 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. Their expected areas of study were largely historical and did not reflect the more recent prominence of postmodern, release or somatic techniques. Graduates who do not work as dance teachers while they are studying usually work as freelance dance teachers once t… 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). In this context, students have become conscious of their right to ‘value for money’ with regard to the quantity and quality of their experience as a student. Bodywork Company Performing Arts Cambridge UK, Bodywork Dance Studios, 25-29 Glisson Road, Cambridge CB1 2HA 01223 314461 ... (DaDAs) and Higher Education Student Loans . Fortin, S., Vieira, A., Tremblay, M. (2009). Postgraduate student research supervision includes site-specific choreography and current developments in Thai dance. The opportunity to question different body ‘knowledges’ may perhaps be seen as a common element in dance in higher education in the UK. In the past, dance education has focused on the learning of dance, limited to Western-based societies, with little attention to how dance is learned and applied globally. It appears that nearly all UK university dance programmes deliver some elements of theory with written assessments. 7The field of dance art and dance teaching is familiar to me from my education and work as a dancer and choreographer. This shall be achieved highlighting important issues of the debate such as recognising the benefits of dance, … Typical IELTS requirements: 6.5 overall, with no lower than 6.0 in any one component. ‘Benign advice–now profoundly mistaken,’ according to Ken Robinson (2006). 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. One credit equals approximately 10 hours of learning/study. CDMT, Council for Dance, Drama and Musical Theatre, provides quality assurance for the professional dance, drama and musical theatre industries. Work in education, in schools and colleges, or as freelance dance teachers, are also common. The hope is that student dancers will continue to have the opportunity to study their art at this level and that in so doing they will realise the inherent values, skills and multiple intelligences that are studied and exercised during a degree in dance. Of course this would be the case where students with Dance A Levels applied to other subjects. With this in hand as a reference, we might then seek to discuss with our colleagues in other countries the many ways and means in which the similarities and differences have emerged from our various contexts as we all work towards inspiring the next generation of dancing graduates. After initial study and training at Laban she gained an MA in Performing Arts from Middlesex University and a PhD from the University of Surrey. 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. Steps, style and sensing the difference: transmission and the re-contextualisation of Molyneaux’s traditional set dances within the Irish traditional dance competitive arena Catherine E. … Synopsis This is a book about falling as a means of reconfiguring our relationship with living and dying. If the role of dance in higher education is to broaden and deepen students’ understanding of themselves, their art and their community then the somatic proposal may be a significant way forward. 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. It is the first point of contact for those seeking information on education, training and assessment in the UK. Working in partnership with the membership and related organisations we aim to: Represent and advocate for the interests of the dance as a subject in higher education in the UK. The approaches vary, from programmes delivering a standard view of dance history as the theoretical content to others that teach elements of somatic theory, phenomenology, aesthetics or choreology as their theoretical underpinning. We wondered how dance in higher education in the UK might differ from that across Europe. 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. Further information can be found in the following sections: DanceHE, represents the interests of its HEI members to organisations such as the funding councils, Office for Students formally known as HEFCE and Higher Education Academy in areas concerning funding, policy and processes. 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. Anthropological studies (cultural creation of meaning) began to integrate with bodily practices and the study of culture (O’Shea, 2010, p. 3) leading to investigations of the political representations in dance. As a dance scholar and academic, she has taught on a range of dance and performance degrees at undergraduate and postgraduate level. 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 text offers a theoretical and practical framework for the teaching of dance in education. 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. In current generations it is clear that the value of an education in dance cannot be directly measured in immediate monetary terms and that the employment prospects for dance graduates are wide ranging; they include employment in the industry, in the community and in a variety of other fields in the same way as for students from many other disciplines. Furthermore, academics engaged in analysis and shared practice in dance education launched in 2000 the Journal of Research in Dance Education based at Canterbury Christ Church University. 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. Subsequently the landscape of dance and all undergraduate disciplines in higher education has seen a significant shift following the introduction of £9,000 tuition fees in the UK in 2012 (Coughlan, 2010). This, versus the statistical approach, paints quite a different picture. © 2015, Duncan Holt, Angela Pickard, Kelly Preece, Sara Reed, Cathy Childs, To cite from this article Many of these practitioners and others from this field began to have significant influence on dance pedagogy in university dance programmes through participation as guest artists and eventually as university artists/scholars. 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. The programme has a similar structure to a PGCE Dance: theoretical modules in dance pedagogy and two long teaching placements. Of course, measuring graduate prospects on a purely statistical basis is problematic and there are a number of issues with KIS. 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. Most students already work as dance teachers while they are enrolled on the programme and continue as self-employed or employed dance teachers after graduation. 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. Unit of assessment: 66 drama, dance and performing arts. What changes this will bring to dance in higher education remains to be seen. 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. Retrieved (date) from: https://ausdance.org.au. We also operate this site through which members can share information and promote events through an email list and this website. We are fortunate in the UK to have some of the best training available in the world, producing top-class dancers. His current research concerns aspects of men in dance, youth dance and his second career as a McTimoney Chiropractor. Universities are not individually unique. There are six ways to get involved with DanceHE as an educator or HEI. 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. (Also refer to Partnerships section) In tandem with other subject areas located with: Arts, sometimes with: music, or drama, or fine art. Higher education institutions are accountable for the public outcomes of research activity and these have significant funding implications for institutions. 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. In one sense … dance has been ‘studied’ throughout the ages and in most cultures. Kelly has been a Fellow of the Higher Education Academy since 2010, and holds a Postgraduate Certificate in Learning and Teaching in Higher Education. In 2015, UK universities will be at liberty to set their fees according to market forces. 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. As they become more knowledgeable they learn to make links between their dancing pasts and their experience of the somatic in a dancing context. Power in operation: a case study focusing on how subject-based knowledge is constrained by the methods of assessment in GCE A Level Dance. This would appear to be consistent with much of the thinking involved with the somatic in the dancing context. To get on a relevant degree or diploma you may need five GCSEs A-C, including maths … The introduction of the political necessity of charging student fees for their university education began with the Dearing Report (1997). We are a specialist dance education provider with 100 years experience in inspiring, cultivating and supporting dance teachers around the world. Holt, D., Pickard, A., Preece, K., Reed, S. & Childs, C. (2015). It is the case that there is a spectrum of study across dance in UK higher education institutions including universities and conservatoires. 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? Thus, the starting salary for dance graduates as reported by KIS is well below the national average. 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. CDMT, Council for Dance, Drama and Musical Theatre, provides quality assurance for the professional dance, drama and musical theatre industries. I have worked with school teachers in continuing education focusing on teaching dance in schools. These are intended to help incoming students decide where to study by comparing course data drawn from the National Student Survey (NSS) and The Destination of Leavers from Higher Education Survey (DLHE). 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.