Dance Teaching and Learning:
Shaping Practice
EDITED BY
Lorna Sanders
Dance Teaching and Learning:
Shaping Practice Edited by
Lorna Sanders
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Edition © Lorna Sanders 2016 Preface (1st and 2nd Editions) © Linda Jasper 2013 Preface (3rd Edition) © Linda Jasper & Claire Somerville 2016
Individual chapters © Louisa Borg-Constanzi Potts (11, 12, 22); Janet Briggs (14); Sue Davies (19, 20); Linda Jasper (22); Veronica Jobbins (13); Maggie Killingbeck (4); Christina Kostoula (7); Anna Leatherdale (18); Helen Linsell (25); Jo Rhodes (28); Linda Rolfe (8); Jeanette Siddall (11, 17); Lorna Sanders (1, 2, 5, 9, 15, 16, 21, 23, 26); Alysoun Tomkins (3, 6, 10, 24, 27). All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission from the publisher. First published 2012 by Youth Dance England, Unit 7G2, The Leathermarket, Weston Street, London SE1 3ER Second edition - 2013 Youth Dance England, Unit 452 Southbank House, Black Prince Road, London SE1 7SJ. Third edition - 2016 One Dance UK, Ensign House, Juniper Drive, Battersea Reach, London, SW18 1TA.
Charity registration: 801552 Company registration: 2931636
ISBN New one to be entered here
Cover designed by Laura Brannagan. Front cover: Taha Ghauri at Young Creatives (top left), Bawren Tavaziva at NDTA Conference (centre) Participants at NDTA Conference (bottom left), Participant at U.Dance 2014 (bottom right). Photographer: Brian Slater Back cover: Katie Green teaching at Young Creatives. Photographer: Brian Slater Printed and bound in the United Kingdom.
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Contents Preface Acknowledgements Notes on the Contributors Editor’s Introduction
5 7 8 10
Teaching and Learning in Dance
13
1
Learning Theories (Part 1): Overview Lorna Sanders
14
2
Learning Theories (Part 2): Motor Learning and Dance Teaching Lorna Sanders
27
3
Teaching Styles
37
Alysoun Tomkins 4
Movement Analysis in Dance
46
Maggie Killingbeck 5
Session Planning (Part 1): Breaking Down and Building Individual Tasks Lorna Sanders
59
6
Session Planning (Part 2 – macro level issues): A Planning Framework
68
Alysoun Tomkins 7
Inclusive Dance Practice: Barriers to Learning
77
Christina Kostoula 8
Fostering Creativity in Dance Education Linda Rolfe
85
9
Assessment in Dance Lorna Sanders
95
10
Evaluation of Dance Teaching Practice Alysoun Tomkins
104
Professional Knowledge of Dance Teaching
115
11
Dance Contexts (part 1): Arts, Culture and Sports Contexts Jeanette Siddall, Lorna Sanders and Louisa Borg-Constanzi Potts
116
12
Dance Contexts (part 2): Health and Youth Justice Contexts Louisa Borg-Constanzi Potts
132
13
Dance in the Formal Education System Veronica Jobbins
148
14
Dance Training (part 1): Anatomy and Child Development Janet Briggs
155
15
Dance Training (part 2): Training Principles, Hydration, Nutrition Lorna Sanders
165
16
Dance Training (part 3): Safe Practice Lorna Sanders
172
3
4
17
The Legislative Framework (Part 1) Jeanette Siddall and Lorna Sanders
182
18
The Legislative Framework (Part 2). Legal Requirements for Dance Practitioners Anna Leatherdale
188
19
The Professional Context (Part 1): Working Well with Others Sue Davies
198
20
The Professional Context (part 2): You and Your Career Sue Davies
208
Critical Reflection on Dance Teaching
219
21
Critique not Criticism: Observing Teaching Lorna Sanders
220
22
Good Practice in Dance Teaching Linda Jasper and Louisa Borg-Constanzi Potts
230
23
Models of Good Teaching Lorna Sanders
242
Dance Teaching in Practice
252
24
The Reflective Journal Alysoun Tomkins
253
25
Behaviour Management and Communication in Practice Helen Linsell
236
26
Presenting a Detailed Session Plan Lorna Sanders
247
27
Preparing for a Discussion with the Assessor (a Viva Voce) Alysoun Tomkins
253
28
Rehearsing a Session for Assessment Jo Rhodes
256
Preface Preface to the Third Edition This publication aims to support dance artists, leaders, practitioners and teachers who work with children and young people, to reflect on their practice and learn from others working in dance education, youth dance and wider education and community contexts beyond statutory education. There is a huge demand by children and young people to dance and an increasing number of dance professionals who wish to progress their skills and knowledge in teaching and leading. One Dance UK, is building upon the work of Youth Dance England (YDE) to increase access, raise standards and improve progression routes for young people in dance. As such it has published the third edition of Shaping Practice, as part of its work to support the newly revised qualification, Diploma in Dance Teaching and Learning (Trinity College London). The original qualification; Diploma in Dance Teaching & Learning (Children & Young People) was developed by DTAP which was a consortium of leading national dance organisations in England. It was created as a result of action taken by the sector to address long standing issues concerning standards of teaching / leading – beyond statutory education and the private dance sector. Trinity College London was commissioned by DTAP to produce this new dance teaching qualification, working closely with its members. YDE led on this development on behalf of DTAP and identified the need to create resources to support dance practitioners taking the qualification. One Dance UK is continuing this work and supporting the new broader qualification, which is aimed at teachers working with dancers of all ages. The publication covers a wide range of areas that are relevant to practitioners. Although it is written for those who mainly work in extra-curricular, youth dance, community, health and recreational contexts in dance, it is also relevant to a wide range of people including: independent dance artists / practitioners; employees in dance organisations; agencies and companies; students enrolled on courses at Higher Education Institutions and other training and education establishments offering undergraduate courses in dance education; postgraduate students training in applied areas such as teaching / dance development; PGCE students; undergraduate and postgraduate students in Europe and elsewhere. The third edition includes updates on the health and justice contexts in which dance is delivered, safe dance practice, and good practice and models of dance teaching. The publication provides the following:
a tool for learning by giving an overview, applied specifically to dance, of key theories, concepts and frameworks that can be applied practically by practitioners as a means to critically analyse their own practice and that of others
an articulation of the field of enquiry and introduction to its knowledge base and skills to those who may be / will be unfamiliar with it
information for practitioners on the range of theories, concepts, research in the field to ensure that they know where to seek relevant material to support their study and practice
illustrations of the range of practice that takes place within various contexts in which practitioners work with young people
a dance resource that scopes a field of practice that is not represented in other publications. 5
As there is a recognised shortage of material that adapts learning theories, concepts and frameworks specifically to dance and for the different contexts in which the artists / practitioners work, 14 leading experts in the field were commissioned to contribute to this publication, which has been edited by Lorna Sanders (an eminent dance educationalist, academic and writer). The publication was originally produced with funding from Paul Hamlyn Foundation who supported YDE to deliver a two-year research project to test out different training and mentoring models to support practitioners to take the qualification.
Linda Jasper, Former Director of Youth Dance England Claire Somerville, Head of Children & Young People’s Dance, One Dance UK
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Acknowledgements I wish to thank all the contributors who so generously gave up their time to write their chapters at short notice. And a particular word of thanks to Lucy Zidour for designing the first edition of the book and especially to Linda Jasper for her unstinting support throughout all three editions. For this 3rd Edition I wish to thank Claire Somerville at One Dance UK. And in particular many thanks to Louisa Borg-Constanzi Potts, my colleague in Learning and Participation (Dance), at Trinity Laban Conservatoire of Music and Dance, for all her invaluable help with checking and updating the information in Chapters 11, 12, 16, 22 and 23. Lorna Sanders
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