Editorial

This issue of Research in Dance Education represents work from the United Kingdom (UK), Belgium, Netherlands, USA and New Zealand. The articles examine sociological aspects of dance practice as perceptions of value, social capital and meaning making. The psychological and cognitive is explored as somatic practice, imagery and improvisation and physical as a consideration of biology and adolescence. In addition, analysis of performance and teaching and learning practices in dance and arts are investigated.

Firstly, Rachel Rimmer discusses findings from first year UK undergraduate students studying dance technique, as a focus group at the end of a cycle of action research in her article, Negotiating the rules of engagement: exploring perceptions of dance technique learning through Bourdieu’s concept of ‘doxa’. Pierre Bourdieu’s (1977) concept of ‘doxa’ is used to discuss perceptions and expectations of dance technique. It is suggested that the students had pre-conceived ‘doxic’ understandings and expectations of what is valued in dance technique. The research revealed the importance of reflexivity that has led to reflective practice to explore a range of teaching and learning methods and to build a greater dialogic relationship. This is valuable work as it encourages students (and staff) to question and deconstruct cultural norms and ‘rules of the game’ (Bourdieu 1990). I can connect with this work and am reminded of the normalised acceptances of ballet dancers, perceptions of value and power relationships in my own work (Pickard 2012, 2013, 2015).

Next, Annelies Van Assche explores, through interviews and observations, the notion of precarity in relation to contemporary dance artists and working processes within a Brussels (Belguim) dance context. In her article The future of dance and/as work: performing precarity, Van Assche suggests that artists ‘perform precarity’ as expected patterns of behaviour, through working and living conditions demonstrating survival skills and creativity. The article discusses three performances that address the consequences of the neoliberal work regime and explore what can be done to shape a more sustainable future in general, and for dance in particular: Meyoucycle (2016) by Eleanor Bauer and Chris Peck, RECESS: Dance of Light (2016) by Michael Helland, and Only Mine Alone (2016) by Igor Koruga and Ana Dubljević. The article concludes that there is value and security in community building.

The next three articles examine aspects of dance science. The use of imagery in dance teaching is the subject of Fisher’s work Unfurling the wings of flight: clarifying ‘the what’ and ‘the why’ of mental imagery use in dance. A useful range of relevant literature is used particularly drawing on somatic practice and imagery as physical, psychological and cognitive. It proposes using a range of sensorial modalities that combine internal and external perspectives and that analogy is most powerful and effective. It is suggested that this changes our understanding of both bodies and world as embodied cognition. Next, Katia Savrami in the article, A duet between science and art: neural correlates of dance improvisation, draws on work by neuroscientists and cognitive scientists to examine dance improvisation and theory of enaction (mind and experience) to explore relationships of consciousness, creativity, affect and movement or mind and body. This work is useful for dancers, choreographers and teachers. Mitchell, Haase, Cumming and Malina argue for the bringing together of the biological, psychological and social/cultural in their article, Understanding growth and maturation in the context of ballet: a biocultural approach. The review explores existing biocultural models in the context of ballet to gain greater understanding and promote healthy pubertal transition of ballet dancers. I urge all those working with adolescent dancers to read this as I am sure that connections will be made. There are connections to social/cultural capital as discussed in my Ballet Body Belief (2013) work.

The final two articles in this issue examine perceptions of dance and arts practice and the landscape. Higdon and Stevens in their article ‘Redefining employability: student voices mapping their dance journeys and futures’ explore UK first and final year undergraduate dance students’ understandings of the dance landscape and employability, including their views about higher education curricula and workforce development. In the first year students were focused on immersion and gaining understanding of new environments and by the final year, students did recognise potential financial, emotional and physical challenges but viewed ‘their future in dance as diverse journeys of continuous development.’ This is refreshing to read as implications are that the future workforce of artists and practitioners value ongoing learning and development. Buck and Snook’s article ‘Negotiating meanings and examining practice of ‘arts across the curriculum’’ examines teaching and learning in arts in primary schools in New Zealand. Working with teachers, principals and curricula, they conclude that all had varying perceptions, contrary meanings and understandings of what constitutes teaching the arts across the curriculum. This work has been able to document examples of how arts are taught across the curriculum.

Dance Education is examined in this issue with Higher Education students, dance artists, ballet dancers and primary school practitioners and through a range of literature and methods. The work will enable the diverse, international readership of Research in Dance Education to connect academically and practically.

Angela Pickard
Editor in Chief
[email protected]