Student Development and Diversity in Dance Education

Content

Introduction and Summary of Ideas

Scarcity of Resources

Key Aspects and Teaching Methods in the Dance Curriculum

On Multiculturalism and Social Change

Selected Literature review

Relevant Articles

Introduction and Summary of Ideas

The main challenge is that many students come into the field of dance in higher education thinking it will further their professional careers, either as a performer, choreographer or dance teacher, however the reality is a university degree is not a standard that these areas tend to call for when hiring new applicants. So why do dancers still attend college programs? Why is there an upward trend of increasing dance programs in post-secondary studies and why are more teacher training track programs including dance and performance in their repertoires? The purpose of my survey in this field is two-fold (much like the degree track I am in requires levels of comprehension, being an educator who teachers future educators how to educate students in dance); first, we must look at the training programs which exist for dance educators and how they align with (or stray from) dance programs which are not on the education track. There is a divide between each of these ideals, and they are creating some interesting and obvious diversions in the field of dance that can I will address a little later on.

In order to understand the depth of the issue regarding the state of dance education programs in America, I will reveal some relevant statistical data. Educational statistics are somewhat hard to track due to its exclusion from large national assessments and reports, however the National Dance Education Association (NDEA) uses information that it collects from several sources to compile the statistics that I will be using here (Risner, 2010, p. 128). The Higher Education Data Services (HEADS 2009) reported a 33% increase in the amount of BFA degree programs in dance between 2004 and 2009 (as cited in Risner, 2010, p. 125). During this same period, the amount of dance education programs (both BA and BEd) have reported a decrease by 13% (Risner, 2010, p. 125). Moreover, in this same period (2004-2009), HEADS has reported a 22% decrease in general initial masters programs (MA, MEd, MS), whereas MFA programs have increased by 15%. MA dance education programs, however, have reported a 50% decrease (as cited in Risner, 2010, p. 128). This means that half of the MA dance education programs in America have been shut down since 2004. Of the 62 masters degree programs in dance which are currently operated in the US, MFA degree track programs account for 53% (for a total of 33 programs); MA (non-education) degree track programs account for 37% (for a total of 19 programs); whereas MA (education) degree track programs account for only 10% (for a total of 6 programs).

The only masters programs in dance education which exist today are offered at New York University, SUNY Brockport,Temple University, University of Hawaii at Manoa, University of Idaho and University of North Carolina-Greensboro. As for degrees awarded, between 2004 and 2009 MFA degrees rose by 39%; MA, MEd and MS degrees dropped by 26%; and MA dance education degrees were down by 100%. (Risner, 2010, p. 134) (See Figure 3). Also, of the four - yes four - doctoral programs in dance which are offered in America, none are offered in the field of dance education (Risner, 2010, p. 128).

Scarcity of Resources

As demonstrated above, the field of dance in higher education is significantly less populated than many other degree track programs nationwide. Low numbers result in lack of resources: less funding available for tenure track positions, smaller classes, and lack of credentialing program for educators to exist in this area. Often, dance programs consist of one or two full time faculty who take on the bulk of the administrational work, with several part-time adjunct faculty to provide additional classes and expertise (Risner 2010, p. 5). For the field of dance to expand and begin to take a closer look at the social and developmental issues which are prevalent within (which I will discuss in more depth a little later on, but include being female dominated, primarily white and exclusionary of the lower class), we need to understand the concepts in teaching that current programs have, and what room there is for change.

Key Aspects and Teaching Methods in the Dance Curriculum

In nearly every dance program in North America, there are only five main areas of focus that nearly every class and specification of study can fall into. Whether you are studying to become a performer, a choreographer, a teacher or a scholar, the track and class availability is incredibly similar and does not allow much room for growth in other areas. Examples of the five areas (in order of what I believe the frequency of existence) are:

Performance Based Dance Studies

Typically, these classes are knows as “Technique” classes and often follow a predetermined set of movement principals and canon (like a ballet or modern class), which requires student participation and attendance in order to receive a grade. There are usually very little lecture or information based ideas given, and little to no physical homework/assignments.

Choreography and Production

Often, classes in choreography and/or production are spaces which allow students to “workshop” ideas and come up with creative ideas for their own choreographic work. Production classes allow students to get a better understanding of behind the scenes concepts (like costuming, lighting, music production and staging) in order to be more self sufficient when producing work.

History, Notation, and Supplementary Studies

Usually, these classes exist as “single serving” classing during the degree to give students a brief insight into other areas of dance. (To date, I have yet to come across a program which focusses on any of these areas specifically and do not include a movement or choreography focus). Classes include dance history, kinesiology and/or anatomy, injury prevention and treatment, and dance notation.

Ethnographic Studies

Generally not a course under the “Dance” heading (or in the college), these courses focus on art and how it relates to culture and human studies. Although there are cases where classes are completely dance focused, ethnographic studies in dance is a relatively new field of interest, and so many courses just brush the surface on what could be an exciting field.

Education

As outlined by the figures above, dance education courses are the least prevalent and (generally) not required courses in dance colleges. There is a staggeringly low amount of research in the field of dance education, and so finding experts/instructors in this field is incredibly difficult.

One of the main problems that specialized fields, including dance, must face within the university spectrum is a lack of representation. Warburton and Stanek (2004) have summarized this feeling, reminding us that “of the 1.1 million faculty in postsecondary institutions in the United States, dance faculty represent fewer than one quarter of 1 percent of the total faculty population” (as cited in Risner, 2007, p. 18). A common question in many dance classes is generally: why can’t we just dance? (Risner, 2010). Why do we need to know what muscle moves what bone, or which dancer pioneered a certain style of dance. Why is it important for us to know how to do lighting and sew costumes when we can just hire someone else to do that? Why should we know how to teach, isn't portraying the movements enough? In order to grow as a field of study and take our place as a serious subject of interest, we need to be more involved in the individual differences, historical connections and the building of life long skills for students (Risner, 2010) in order to become more marketable and efficient in the future.

On Multiculturalism and Social Change

One of the main areas which dance in education certainly lacks is inclusion of multicultural dance styles (as the main source of study), and connection to current events/research. Generally, exposure to non-western forms of dance in post-secondary programs usually comes in the form of a workshop or secondary appreciation of the style. There are courses which allow students to look at “cultural dance” and the like, however majoring or studying a specific dance style outside of the norm (ballet, modern, contemporary, jazz, and theatrical) is not common (Risner, 2007). The mere fact that the aforementioned styles are considered “normal” alongside the “supplementary” cultural styles gives great insight into how dance educators tend to view outside dance styles. Not only does this alienate a very large population of dancers who wish to study at the upper education level (think, too, about break dancers - an America dance form that is highly underrepresented in higher education), but we have determined a ‘ranking’ or classification of these styles and their supposed worth. There are many forms of dance which are linked highly to social, economical and oppressive change (inclucing capoeira, african tribal dances and - yes - even hip hop) that are rich in background and ripe for studying (Risner 2007), however their status in higher education makes its participants feel like they do not need to pursue their studies beyond an individual level. Risner (2010), eloquently describes this phenomenon as existing “because we in dance education haven’t moved beyond superficial treatment of multiple cultures outside our own” (10).

Selected Literature review

Anderson, M. E., & Risner, D. (2012). A Survey of Teaching Artists in Dance and Theater:Implications for Preparation, Curriculum, and Professional Degree Programs. Arts Education Policy Review, 113, 1-16.

Risner, D. (2007). Current Challenges for K-12 Dance Education and DevelopmentL

Perspectives from Higher Education. Arts Education Policy Review. 108(4). 17-29.

Risner, D. (2010). Dance Education Matters: Rebuilding Postsecondary Dance Education forTwenty-First Century Relevance and Resonance. Arts Education Policy Review, 111, 123-135.

Risner, D., & Stinson, S.W. (2010). Moving social justice: Challenges, fears and possibilities in dance education. International Journal of Education & the Arts, 11(6).

Many of the articles that I have reviewed and used for the purpose of informing my subject were either written or co-written by a dance education advocate and professor at Wayne State University in Detriot, Michigan by the name of Doug Risner. Doug has also served on the board of directors of the National Dance Education Organization where he held the titles of Executive Secretary (until 2006) as well as Editor of Conference Proceedings. He is currently the Senior Program Consultant for NDEO’s Online Professional Development Institute and a leading researching in dance education policies and practices. M.E. Anderson and Doug Risner wrote an article for Arts Education Policy Review in 2012 entitled “A Survey of Teaching Artists in Dance and Theater: Implications for Preparation, Curriculum, and Professional Degree Programs”. In this article, the authors suggest that (1) lack of preparation, (2) workplace issues and challenges, and (3) mixed attitudes regarding teaching artist professionalization and credentialing are the biggest negative factors that exist towards dance education in schools. I believe this will be a very important resource that talks about credentialing programs and supports my argument that teacher preparation programs in dance are not only under represented, but in serious need of retuning. Similarly, the article gives an excellent overview on the direction which dance in higher education has travelled from its inception, and offers some insight onto the reasons behind this direction.

In an article entitled “Dance Education Matters: Rebuilding Postsecondary Dance Education for Twenty-First Century Relevance and Resonance” written in 2010, Risner discusses the four primary challenges within the field of dance education that exist today: curricular equity, the expansion of dance education programs, graduate study opportunities and national/international leadership and awareness. Specifically, this article deals with specific opportunities that do and do not exist in the field of dance education. It explains why these programs are underfunded and basically nonexistent (because professional development is hard to facilitate in small programs, such as dance).

Risner wrote an article in 2007 entitled “Current Challenges for K-12 Dance Education and DevelopmentL Perspectives from Higher Education” which was the driving force behind my choice of topic for this research paper. In this article, Risner discusses the current state of dance within education, and how we need to take a more top-down perspective towards fixing the issue. In this, the author discusses how fixing the state of education needs to begin at the University level and work its way down. This article is my inspiration behind the whole idea of my research, and it feeds my passion for further knowledge. It helps me to put into words why this issue is, indeed, an issue.

Carter, C. (1984). The State of Dance in Education: Past and Present. Theory into Practice: Teaching in the Arts, 23(4), 293-299.

Curtis L. Carter is a professor of Philosophy at Marquette University, focusing on aesthetics and behavior. In 1984, Carter wrote an article entitled “The State of Dance in Education: Past and Present” which, though dated in some aspects, contains relative historical and linear information that is still true to this day. In this article, the author discusses how dance in the education system has be realigned and repurposed throughout the years in ways that are detrimental to the form. Although there is a positive increase in public acceptance of dance in education, this is not reflective in the curriculum. This article is incredibly useful for background knowledge in the state of dance within the field of education, and the historical reforms which have happened.

Relevant Articles

Andrews, K. (2013). Curriculum and the aesthetic life: Hermeneutics, body, democracy, and ethics in curriculum theory and practice: A review essay.

International Journal of Education & the Arts, 14(Review 5).

Bond, K. (2010). Graduate Dance Education in the United States: 1985–2010. Journal of Dance Education, 122-135. Retrieved October 10, 2014.

Cote, P. (2006). The Power of Dance in Society and Education. Journal of Physical Education,Recreation and Dance, 77(5), 24-26.

Curl, G. (2005). The Critical And The Appreciative Attitudes To Dance In Education. Research in Dance Education, 6(1-2), 53-64.

Kinderfather, K. & Hearn, C. P. (2010). The National Dance Association. Journal of Physical Education, Recreation and Dance. 81(1). 40-44.

Manley, M. (2013, November). Interview by B Harvey . Understanding the state of dance education.

Ward, S. A. (2008). The Voice of Dance Education - Past, Present, and Future: Health and the Power of Dance. Journal of Physical Education, Recreation and Dance. 79(4), 33-36.