Ponderings on a "A Dance Education Versus a Dance Training"

I started becoming aware of the dialogue regarding the difference between a dance training versus a dance education during the sixteen years I ran a pre-professional training program school in Vancouver, BC and had many students transitioning into tertiary university dance programs, aspirant professional dance programs and companies. In the past, dance training was seen to have greater focus on skill acquisition, discipline, professionalism and creativity of the art, whilst, dance education focused more on the development of the individual as its aim, with self knowledge discovered through self expression and interpretation through movement. Dance education also encompassed a research aspect with scholars looking at various ways of teaching, the manner in which dancers learn to dance and the effect of learning differences on this learning.

Susan Koff wrote in her 2012 research on dance in childhood education, that dance training was considered extracurricular and expendable.The last decade however, has slowly started to see a shift, and wonderfully sees the two starting to become more aligned and intertwined. There has been a slow integration of holistic somatic practices into the general studios as more young teachers graduate from tertiary dance programs and integrate their dance education into how they deliver their dance training. Indeed, Petsilas et al. (2019) contends that nowadays, the idea of developing “professional self-sufficiency” should be at the heart of the learning experience for young dancers. There is rich research showing how introducing reflective skills can help enable student dancers to be more empowered through their own self-knowledge rather than relying external sources.

          My own personal teaching practices have certainly seen adjustments and inclusions over the course of twenty three years, as I continue my lifelong journey and exploration through both a dance training and a dance education.  Included in the growth of my teaching methodology, is the striving to try be "authoritative" rather than "authoritarian" in my teaching manner. By using a mantra of bidirectional communication and monitoring, rather than being the absolute central role in the studio learning experience, students can hopefully engage in their own learning. This is very important, as students should not be solely reliant on a teacher's feedback. They will require their own confidence, knowledge and systems to thrive as a professional dancer. I try to engage students in their learning by asking for contribution to their own feedback and to their peers. I moderate this contribution so it is positive and constructive and in doing so encourage students to seek, explore and develop their own "eye".

        Walsh et al (2020) just recently published a paper on how educators can help empower self confidence and resilience in their students by incorporating five key learning and teaching methods namely peer activities; reflective practice; directed study; problem based learning/enquiry based learning and experiential learning. This study led me to reflect on what I have done so far and further ways I could improve by thinking about these five key methods. Firstly, to introduce reflective practice into my teaching,  I have suggested to students to think about the idea of keeping a reflective “diary” or ballet book. The rule is however, that the reflective writing needs to include a motivation for dancing that day, a positive progress report and a "dance joy" item. They are encouraged to only include one focus area for improvement a day. At the end of reverence every class, I try remember to take the opportunity for a quick minute of reflective coaching. I also try continually to remind myself to cue both constructively and positively in a timely manner and without overloading. Students are reminded to use visualization exercises while awaiting their turn to dance during class. Secondly, peer activities can be incorporated by asking students to share feedback with their peers with careful teacher guidance and  moderation. Thirdly, directive study that is more in-depth and comprehensive on a specific topic than what is possible in the studio should be encouraged. Curiosity is the aim. Can students be inspired to research their own questions, investigate their own repertoire solo or be part of finding their own music, costume or character for a dance? Fourth, inquiry-based learningis a form of active learning  that starts by posing questions, problems or scenarios. It contrasts with traditional education, which generally relies on the teacher presenting their facts and knowledge about the subject. Dancers should be invited to contribute to discussions with opinions and observations. And lastly, dance in its natural form is experiential learning.  We just need to aspire to making this experiential learning always a positive one. 

        I thrive on being challenged to continue being inspired to endeavor how to both hold dear a respect for the traditional training of ballet, and yet, ways to to further make the learning process of a dance training also a dance education!

Koff, Susan. (2012). Toward a Definition of Dance Education. Childhood Education. 77. 10.1080/00094056.2000.10522134.

Petsilas, Phaedra; Leigh, Jennifer; Brown, Nicole; Blackburn, Catriona. (2019). Creative and embodied methods to teach reflections and support students’ learning. Research in Dance Education. 20. 19-35. 10.1080/14647893.2019.1572733.

Walsh, Pauline; Owen, Patricia A.; Mustafa, Nageen; Beech, Roger. (2020). Learning and teaching approaches promoting resilience in student nurses: An integrated review of the literature. Nurse Education in Practice, Volume 45, 102748, ISSN 1471- 5953. https://doi.org/10.1016/j.nepr.2020.102748.