Dance Education Matters: Rebuilding Postsecondary Dance Education for Twenty-First Century Relevance and Resonance

Postsecondary dance education is at a crucial juncture in its history in academe. Emerging from women's physical education programs in the 1930s, the profession's realignment with the arts broadly and arts-based education specifically has been characterized by ambitious goals and steady growth through the 1990s. However, a number of critical developments over the past decade have displaced many previous gains and undermined the overall stability and integrity of the field. Four primary challenges are investigated in this article: curricular equity, expansive dance education programs, graduate study opportunities, and national leadership. I urge dance educators and administrators to re-envision and expand P–12 dance education in the liberal arts tradition to include private studio, commercial-sector dance in community and related teaching professions. This article provides recommendations and strategies for developing relevant and resonant twenty-first-century dance education programs beyond current confines.     

Dance and early childhood cognition: The Isadora Effect

ABSTRACT

This article proposes the existence of an Isadora Effect: the propositions that motor development plays a primal role in brain development, and the first understanding of symbolic meaning among young children occurs from an understanding of movement and gesture. Anecdotal evidence for the past few decades has demonstrated that dance education and the early use of symbolic movement greatly enhance cognitive development in young children. The author presents (a) background and historical information about dance in early childhood in the United States; (b) research in which physical, emotional, and social development has served the backbone for rationalizing inclusion of dance in early education; (c) The Isadora Effect in early childhood dance education and its relationship to cognitive development, brain development, and intelligence; (d) the 21st Century Skills in relation to early childhood development and dance education; and (e) early childhood dance education and the National Core Arts Standards. The author makes three recommendations for improving the development of American youth relative to early childhood dance education: increased inclusion of creative movement and dance in early childhood curricula, scientific study by the pediatric and neurological communities to investigate effects of motor development and early symbolic movement on brain development and cognitive growth, and ways dance educators can communicate with policy makers about the kinds of support needed to make the first two recommendations a reality.     

Dance education in Singapore: Policy,discourse, and practice

This article provides an overview of dance education in schools in Singapore with regard to physical education, co-curricular activity, initiatives by the National Arts Council's Arts Education unit, and pre-tertiary and tertiary dance programs. In an effort to gain a better understanding of how well the official discourse and the reality of schooling in dance interconnect, a meta-analysis of published articles, conference papers, committee reports, and curricula was conducted. Situated within the larger sociocultural, political, and historical contexts, Singapore presents a curious case for probing the merits and limitations of research, policy initiatives, and policy implementation. In the conclusion, the author argues that the development of a coherent dance education in Singapore requires “fixing” three dilemmas—meritocratic schooling in dance, the ill-defined and exhaustive use of the term “talent,” and the uneven research that has not kept pace with the policy initiatives.     

Merging movements: Diverse dance practices in postsecondary education

This article examines students' choices in a postsecondary dance major curriculum where students selected to study one or more of five dance practices (African and Diaspora Movement Practices, Contemporary Ballet, Movement Language Sources, Postmodern Contemporary Dance, and Urban Movement Practices) each semester along with required coursework centered on inquiry, the ability to pose and pursue informed questions, and creativity, the process of making something new. Using a qualitative research approach, the study investigated three main questions: What factors drive students' course selections?; How do students fuse information from diverse dance practices?; and What do students learn through taking courses with peers who study diverse dance practices? The study's findings suggest that the selection and study of diverse dance practices in combination with a curricular emphasis on creativity and inquiry led students to feel empowered in their dance education, develop and articulate individualized movement approaches, and increased awareness of dance and creative problem-solving ability. Postsecondary dance programs prepare future citizens, artists, educators, and administrators who may find themselves in leadership or other positions that require a re-thinking and implementation of arts policies in public schools and other settings. As such, the study's findings also speak to the potential for arts policies and their implementation to evolve in a way that situates dance as a critical component of a comprehensive education.     

Doodle-Do Board

The field of dance arts education in the United States is in an entirely different place today than it was at the turn of the century. Much of this change is due to a convergence of events that involved: federal and state legislation, policy, and funding that supported dance in arts education; a forty-year transition of dance out of departments of physical education into the colleges of fine and performing arts; and the establishment of the National Dance Education Organization, which provided infrastructure (standards, assessments, research, certification, teacher training, professional development, and programs and services) that was needed to support dance taught as an art form. This infrastructure has become an integral component to building, nurturing, and sustaining strong arts-based programs over the years at local, state, or national levels.     

Nations of The World to Sign Roerich Treaty to Protect Culture

This article synthesizes current dance education research that demonstrates connections between the culturally relevant pedagogy and student academic achievement, details why the arts are exponentially important and valuable to all communities, and provides practical solutions for the everyday teacher. Through a pointed focus on culturally relevant reading materials the research presented herein supports and advocates for educational policy designed to diversify arts curricula. Only when the diversity in our curricula reflects the diversity of our communities can our educational system affirm a multicultural world.     

Spatial memory, navigation and dance behaviour in Apis mellifera

Navigation and dance communication in Apis mellifera have been extensively studied on the level of sensory processing, but the structure and content of the spatial memory underlying such phenomena have yet to be addressed. Here we survey new findings indicating that the memory used by bees to navigate within the range of their orientation flights is much more complex than hitherto thought. It appears to allow them to decide between at least two goals in the field, and to steer towards them over considerable distances. Two models concerning the structure of bees’ spatial memory are developed from new empirical evidence. The first one relies on the integration of at least two flight vectors, while the second assumes the existence of a ‘functional’ map based on the information available on-site. These findings also raise questions about the process of encoding and decoding information in the context of the waggle dance. We review published data and recent evidence indicating that memories of topographical features might also be involved in dance communication, and point out what needs to be addressed to elucidate the corresponding memory demands. The flight paths of recruited bees can now be traced by means of radar techniques, and thus tools are available to tackle these questions.     

Informational conflicts created by the waggle dance

The honeybee (Apis mellifera) waggle dance is one of the most intriguing animal communication signals. A dancing bee communicates the location of a profitable food source and its odour. Followers may often experience situations in which dancers indicate an unfamiliar location but carry the scent of a flower species the followers experienced previously at different locations. Food scents often reactivate bees to resume food collection at previously visited food patches. This double function of the dance creates a conflict between the social vector information and the private navigational information. We investigated which kind of information followers with field experience use in this situation and found that followers usually ignored the spatial information encoded by the waggle dance even if they followed a dance thoroughly (five waggle runs or more). They relied on private information about food source locations instead (in 93% of all cases). Furthermore, foragers preferred to follow dancers carrying food odours they knew from previous field trips, independently of the spatial information encoded in the dance. Surprisingly, neither odour identity nor the location indicated by the dancer was an important factor for the reactivation success of a dance. Our results contrast with the assumption that (i) followers usually try to decode the vector information and (ii) dances indicating an unfamiliar location are of little interest to experienced foragers.     

Rings that Flow Like Quicksilver

Preparing dance specialist teachers to successfully educate an increasingly diverse student population highlights a number of challenges within an educational policy landscape characterized by technical production, methods-centric teacher preparation, teacher-proof curriculum, and standardization. The ramifications of these policies have significantly narrowed the scope of teacher preparation and stripped curricula of educational foundations content. This article presents a praxis-incorporative approach for integrating social foundations content into dance teacher preparation based on a review of relevant national standards. Recommendations and insights, grounded in research findings from an undergraduate dance pedagogy course (n = 59) taught from critical and feminist pedagogical perspectives, are discussed.     

Rapid partner switching may facilitate increased broadcast group size in dance compared with conversation groups

Dancing is a universal human activity that involves exertive rhythmic movement to music. It is often conducted in a social environment and often involves synchronization. It has been found to cause dancers to bond socially. Like conversation, it has been suggested that dancing may be an inexpensive form of social bonding, in that both activities facilitate efficient group bonding by allowing multiple individuals to bond simultaneously. However, no previous study has systematically observed the size of naturally occurring dance groups. During unobtrusive observation of natural dance and conversation behavior, we found that the cumulative number of dance partners (cumulative group) was greater than the number of partners at any one moment (instantaneous group), whereas no such difference was found for conversation. Additionally, the length of uninterrupted engagement (bout) was negatively predicted by group size in conversation but not dance groups, and it was significantly longer in conversation groups than dance groups. Finally, instantaneous group size was significantly larger in dance than conversation groups, and also positively related to time spent synchronizing in dance groups. Together, these results suggest that dance may allow a larger number of individuals to simultaneously engage with each other than conversation does because (i) more rapid partner switching increases cumulative broadcast group; and (ii) synchrony facilitates simultaneous interaction with multiple individuals, allowing for larger instantaneous groups. We conclude that the capacity for information transfer provided by language comes at a cost in terms of social bonding, and that dance may have played an important role in bonding large hominin social groups.     

Hearing in the Asian honeybeesApis dorsata andApis florea

Summary In the dance language of the western honeybee,Apis mellifera, airborne near field sound signals and a sense of hearing are used to communicate the locations of food sources. In the Asian honeybeeApis dorsata similar acoustical signals have been found recently, whereasApis florea does not emit dance sounds to transfer information about the location of food sources. The aim of the present study was to investigate the sense of hearing in these two species. Operant conditioning experiments reveal that both species are able to detect such near field sounds. The results support the hypothesis of acoustical communication inApis dorsata. The auditory sense ofApis florea, which does not use acoustical signals in the dance language, is discussed as a preadaptation for the evolution of an acoustical dance communication in ancestral honeybees.     

The Invisibility of Disability: Using Dance to Shake from Bioethics the Idea of ‘Broken Bodies’

Complex social and ethical problems are often most effectively solved by engaging them at the messy and uncomfortable intersections of disciplines and practices, a notion that grounds the InVisible Difference project, which seeks to extend thinking and alter practice around the making, status, ownership, and value of work by contemporary dance choreographers by examining choreographic work through the lenses of law, bioethics, dance scholarship, and the practice of dance by differently‐abled dancers. This article offers a critical thesis on how bioethics has come to occupy a marginal and marginalizing role in questions about the differently‐abled body. In doing so, it has rendered the disabled community largely invisible to and in bioethics. It then defends the claim that bioethics – as a social undertaking pursued collaboratively by individuals from different disciplines – must take much better notice of the body and the embodied individual if it is to better achieve its ends, which include constructing a moral and just society. Finally, this article considers how the arts, and specifically dance (and here dance by differently‐abled dancers), provides us with rich evidence about the body and our ability to respond positively to normally ‘othered’ bodies. It concludes that greater attention to empirical evidence like that being generated in InVisible Difference will help to expand the reach and significance of bioethics, and thereby its relevance to (and consciousness of) important questions about the status of bodies and bodily differences, which must be considered as central to its ambitions.     

What attracts honeybees to a waggle dancer?

In the vicinity of a dancer, a honeybee can become a dance follower after touching the dancer or a dance follower with an antenna. If the attraction occurs without such antennal contact, the strength of the attraction over distance depends on several factors: the kind of dance floor (empty open cells versus capped brood cells); whether dancers and dance followers stand on the same substratum or on separate substrata; the position and direction of the attracted bee relative to the dancer bee; the size of the dance group (the dancer plus follower bees); and the light conditions under which the dance takes place. Dances on open cells are significantly more attractive than dances on sealed cells. Dancers on open cells attracted 90% of all followers from within 27 mm (about five to six cell diameters). Dancers on sealed cells attracted 90% of all followers within 18 mm (about three cell diameters). The majority of bees that were attracted by the dancer were standing laterally to the dancer. Dances illuminated by artificial visible light are significantly more attractive than dances illuminated by infrared light. As a group, “glassplate bees” (bees standing mechanically isolated from the dancer bee) were least attracted. Accepted: 11 August 1998     

‘Cross-cultural’ practices: interpreting non-African-American participation in hip-hop dance

This article examines how participants interpret a cultural practice commonly associated with a race other than their own. Determining if, how and why participants experience such ‘cross-cultural’ forms in racialized terms can clarify whether these practices promote tolerance or essentialism in everyday life, and whether they enable appropriation in the field of cultural production. Through interviews and participant observation with non-African-American women learning and teaching hip-hop dance, I capture a spectrum of participant views. Most dancers see hip-hop as African American in its origins. But while novices often speak of an inherent or learned authenticity among blacks, experts rarely express racialized views of the dance's contemporary practice. Experts' views are shaped by personal ability, exposure to dancers whose ability is not racially patterned, and exposure to others who accept their skill. How dancers act on these interpretations challenges common associations of racialized views with tolerance, and non-racialized views with appropriation.     

The Significance of Odor Cues and Dance Language Information for the Food Search Behavior of Honeybees (Hymenoptera: Apidae)

Although several independent lines of evidence show that bees can make use of information provided by their dance language, there is an ongoing controversy about the significance of the dance information versus odor cues in the search behavior of recruited bees. A series of experiments was performed to assess the relative significance of dance information and odors for the site-specific search of recruit bees. In these experiments recruit bees were trapped automatically at arrays of artificial flowers at various distances from the hive. The distribution of directions in which the recruits searched for food was compared between recruitment by dancers performing well-oriented dances on the vertical side of the comb and dancers performing disoriented dances on a horizontal comb. The results show quantitatively that bees use both odor cues and the dance information. The greater the distance to the feeding site, the greater is the relative significance of the dance information.     

The Not-so-gentle Makassarese Fan Dance: Misperformance Challenging Indonesian-Australian Transnational Femininity

In the hands of a group of Indonesian female dancers in Perth, Western Australia, a gentle sea breeze or Angin Maimiri was recreated through the use of swaying fans. The Indonesian women's own newly choreographed dance or tari kreasi is based on the Makassarese traditional song of the same name from South Sulawesi. The women had intended to perform the dance in a ‘feminine’ manner with soft graceful movements. Yet, as illustrated in the ethnographic account of mistakes and misinterpretations that happened at the performance, as well as purposeful adaptations by the dancers, ideals of femininity are not simply transferred in a transnational context; they become inadvertently challenged. Angin Mamiri, as danced in an ‘un-feminine’ manner by an Indonesian housewife hobby group, is illustrative of who they are as marriage migrants and their often marginalised position in their diasporic community. This article is inspired by misperformance ethnography [Prendergast 2014, “Misperformance Ethnography.” Applied Theatre Research 2 (1): 77–90] of what is revealed about ideals held by those involved in a performance when mistakes and misinterpretations happen. Using an anthropology of performance approach thus provides a novel analysis at the intersection of migration and gender studies of how gender ideals such as femininity can be challenged through dance performance in a transnational context.     

Influence of flight time and flight environment on distance communication by dancing honey bees

Forager honey bees communicate the distance of food sources to nest mates through waggle dances, but how do bees measure these distances? Recent work suggests that bees measure distance flown in terms of the extent of image motion (integrated optic flow) that is experienced during flight. However, it is known that optic flow also regulates the speed of flight. Therefore, the duration of the flight to a destination is likely to co-vary with the optic flow that is experienced en route. This makes it difficult to tease apart the potential roles of flight duration and optic flow as cues in estimating distance flown. Here we examine whether flight duration alone can serve as an indicator of distance. We trained bees to visit feeders at two sites located in optically different environments, but positioned such that the flight durations to the two sites were similar. The distance estimates for the two sites, as reported in the waggle dance, were compared. We found that dances differed significantly between the two sites, even though flight times were similar. Flight time perse was a poor predictor of waggle dance behaviour. We conclude that foraging bees do not simply signal flight time as their measure of distance in the waggle dance; the environment through which they fly plays a dominant role. Received 11 April 2005; revised 16 May 2005; accepted 3 June 2005.     

Foraging in honeybees--when does it pay to dance?

Honeybees are unique in that they are the only social insectsthat are known to recruit nest mates using the waggle dance.This waggle dance is used by successful foragers to convey informationabout both the direction and distance to food sources. Nestmates can use this spatial information, increasing their chancesof locating the food source. But how effective is the bees'dance communication? Previous work has shown that dancing doesnot benefit a honeybee colony under all foraging conditionsand that the benefits of dancing are small. We used an individual-basedsimulation model to investigate under which foraging conditionsit pays to dance. We compared the net nectar intake of 3 typesof colonies: 1) colonies that use dance communication; 2) coloniesthat did dance but could not use the dance's spatial information;and 3) colonies that did not dance. Our results show that dancingis beneficial when the probability of independent discoveryof food sources is low. Low independent discovery rates occurwhen patches are very small or very far away. Under these conditions,dancing is beneficial as only a single individual needs to finda patch for the whole colony to benefit. The main benefit ofthe honeybee's dance communication, however, seems to be thatit enables the colony to forage at the most profitable patchesonly, ignoring forage patches that are of low quality. Thus,dancing allows the colony to rapidly exploit high-quality patches,thereby preventing both intra- and interspecific competitorsfrom using that same patch.     

Social mobility of ethnic minority students in Laos

Idealistically speaking, schools are engines for upward social mobility. Education for ethnic minorities in Laos was set up to achieve nationalist, political, economic and sociocultural goals of ‘equity’ and ‘equality’. It was hoped that education would shift ethnic minorities from a lifestyle based on superstitious beliefs to a modern one, so that they could participate and enjoy ‘equality’ through educational equity. The purpose of this paper is to provide a case study of how equality as a promise in education has impacted on students’ upward mobility, particularly the political discourse of the ‘big man’. This paper explores social mobility provided by national education for ethnic minorities through boarding schooling. It finds that such education has yet to reposition ethnic minorities into the ethnic Lao sociocultural hierarchy. As a result, regardless of their educational success, students are still ranked as ‘ethnic minorities’ and as being ‘poor’ in the eyes of urban students, middle class and rich students, and the ethnic Lao elite.     

The waggle dance of the honey bee: Which bees following a dancer successfully acquire the information?

During the waggle dance of the honeybee, the dancer is able to tell her nestmates the distance and direction to a rich food source (Frisch, 1967). Little is known about how waggle dance followers are able to read the waggle dance in the darkness of a hive. Initial observations showed that not all of the bees that appear to be dance followers behave the same. Some bees maneuver themselves behind the dancer, while others do not. The paths of a single dancer, trained to an artificial food source, and her followers were traced during the waggle runs. The success of these dance followers was compared to their position relative to the dancer. The results of this study show that during a waggle run a dance follower must position itself within a 30° arc behind the dancer in order to obtain the dance information. The results suggest that bees are using the position of their own bodies to determine direction.