Is ‘touching’ essential when teaching ballet?

ABSTRACT

The purpose of this action research is to explore the value of ‘touching’ when teaching in a ballet studio-based class. This method, as part of cultural heritage, is traditionally used and preserved to correct students, but in today’s society, this could become challenging and problematic in Higher Education. Is this way of teaching still recommended and accepted by students? As a ballet practitioner and a novice researcher, I decided to assess teaching strategies to evaluate the importance of ‘touch’ for learners and to collect information in relation to their perception on this teaching style. Findings showed that ‘touching’ is widely accepted and desired as long as clear parameters were explained and understood by both teachers and students.

KEYWORDS:

• Action Research
• Ballet education
• teaching and learning in Higher Education
• teaching method
• touching

Disclosure statement

No potential conflict of interest was reported by the author.

Additional information

Notes on contributors

Eric P.J. Assandri

Eric P.J. Assandri (PGD-LTHE, FHEA) received his ballet education in Conservatoire de Nice (1st Price) and Académie Princesse Grace in Monaco, performed in France, in Salzburg (Austria) as a soloist, and as guest with the Soloists of the Royal Danish Ballet. Eric is currently a Lecturer in Performance at the Northern School of Contemporary Dance in Leeds, a member of the Society for Education and Training, a member of the International Dance Council, and a Royal Academy of Dance Examiner. Within his Post-Graduate studies at University of Leeds his research focused on developing educational approaches in Higher Education.