Comparative Analysis of Dance Education and Teaching between Colleges and Universities in China and South Korea — Using Zhaoqing University in China and Gyeongsang National University in South Korea as Examples

With the increase in demand for art education and art culture, dance education at universities is being paid more and more attention. At present, in addition to colleges and universities majoring in dance, many comprehensive colleges and universities have quickly incorporated dance majors into their curricula, which has promoted the development of dance as a discipline, but also produced many problems. Zhaoqing University and Gyeongsang National University are two local comprehensive universities offering dance majors in China and South Korea. This paper compares the dance education and teaching levels of the two universities from the perspective of professional development history, discipline construction and education and teaching courses. It also analyzes existing problems, and proposes that we should continuously improve the training programs for dance students and encourage professional development of dance teachers, while encouraging the construction of hardware facilities and paying attention to the educational role of Folk Dance, so as to further improve the dance education and teaching quality of local comprehensive colleges and universities.

Musical Theater Dance Training and Choreography in the 1920–1930s

This chapter provides an examination of how Broadway dancers were trained, the introduction of jazz dance to Broadway, the 1920s gradual move away from unison line dancing in favor of the individuated chorus, and how a few dance directors began to consider dance in musicals in relation to the libretto as an integrated and meaningful addition to the musical play. The common practice of Black choreographers being pushed aside while white choreographers claimed credit for their work and the essential role Black dance teachers and coaches played in training white dancers for Broadway is discussed here. Examinations of choreographic works by dance directors Buddy Bradley, Charlie Davis, Seymour Felix, Sammy Lee, Albertina Rasch, and George Balanchine establish a historical basis in preparation for the radical innovations to be discussed in subsequent chapters.

Childrens' Scarf Dances

The scarf is a less used tool in the methodology of teaching folk dances. This object, however, had a crucial role both in Hungarian folk dance tradition and in the way of life of peasants. The paper presents the traditional appearances of the scarf in dances and its usage’s symbolic semantic layers with a special focus on wedding pair-choosing dances. The scarf has a privileged role in these playful pair-swapping games, on the one hand as the realisation of improvisation, on the other hand as a means of creating an equal relationship between dance partners. These structural and conceptual conclusions could be translated and applied in the process of dance teaching: the scarf as a tool of methodology eases communication, reveals the dynamism between dance partners and the emotional aspects of dance. The present study is followed by a supplement of 12 scarf games, which provides new ideas for practising dance teachers on how to use the scarf in teaching folk dances.

Online Dance Therapy for People With Parkinson’s Disease: Feasibility and Impact on Consumer Engagement

Background Therapeutic dancing can be beneficial for people living with Parkinson’s disease (PD), yet community-based classes can be difficult to access. Objective To evaluate the feasibility and impact of online therapeutic dancing classes for people in the early to mid-stages of PD. Methods Co-produced with people living with PD, physiotherapists, dance teachers and the local PD association, the ‘ParkinDANCE’ program was adapted to enable online delivery during the COVID-19 pandemic. Participants completed 8 one-hour sessions of online therapeutic dancing. Each person was assigned their own dance teacher and together they selected music for the classes. A mixed-methods design enabled analysis of feasibility and impact. Feasibility was quantified by attendance and adverse events. Impact was determined from individual narratives pertaining to consumer experiences and engagement, analysed with qualitative methods through a phenomenological lens. Results Attendance was high, with people attending 100% sessions. There were no adverse events. Impact was illustrated by the key themes from the in-depth interviews: (i) a sense of achievement, enjoyment and mastery occurred with online dance; (ii) project co-design facilitated participant engagement; (iii) dance instructor capabilities, knowledge and skills facilitated positive outcomes; (iv) music choices were key; and (v) participants were able to quickly adapt to online delivery with support and resources. Conclusions Online dance therapy was safe, feasible and perceived to be of benefit in this sample of early adopters. During the pandemic, it was a viable form of structured physical activity. For the future, online dance may afford benefits to health, well-being and social engagement.

Anglicization and Canonization of Ballroom Dance, Late 19th — Early 20th Century

The purpose of this article. The purpose of the article is to determine the specifics of the evolutionary processes in the English dance style of the XX — early XXI century. The methodology is an organic set of basic research principles: objectivity, historicism, multifactority, systemacity, complexity, development and pluralism, and to achieve the goal, the following methods of scientific knowledge are used: problem­chronological, concrete historical, statistical, descriptive, logical­analytical. The results. The evolution of the English dance style took place through professionalization. Communication at the international level between teachers­choreographers, the popularization of dance competitions and tournaments, the development of a judging system formed not only the content of new ballroom dances, but also the manner of their performance. The English style of performance has become a model for the world dance society for many years. Foreign­born dances, which were fashionable among the general public, were transformed by the British dance society in the 1920s and 1930s to form the so­called “English style” of ballroom dancing. Consistently claiming that dance is an expression of national character, the country’s professional dancers and dance teachers have sought to create a British dance form that is distinct from foreign forms. It was the process of “Anglicization” of foreign ballroom dancing that became one of the most important elements of the national dance culture of Great Britain in the 1920s and 1930s. The original British school of ballroom dancing, the style and methods of which were popularized in European countries in the early 1930s, led to the development and standardization of requirements for the conduction of competitions and championships. Improving the national rating system, the English system of training and identifying the best performers of ballroom choreography for many decades of the XX century remained the only generally recognized dance school in the world. Now the UK remains a leader in the art of ballroom choreography in many of its aspects — from pedagogical methods of training high­class performers and choreographers to the media and tournament sphere. The topicality. An attempt has been made to research the topical issues of the development of the English dance style of the XX — early XXI century. The practical significance. The research may be used in developing lectures by specialists in choreography.

THE SPECIFICS OF A DANCE TEACHER’S WORK IN THE CRISIS OF 2020

The 2020 has been a year of many challenges in many professions and also for dance teachers. The daily challenge is to replace existing dance classes with a totally different class structure, which is defined by the governmental restrictions. The dance teachers must react to these restrictions immediately and without any methodological materials and support. In the crisis the dance teachers must use such learning organizational forms as: group, individual and online, and use them as alternatives to one another. Can a dance teacher reach their professional (curriculum) goals by alternating components of the study process? How do the changing circumstances affect dancers and their attendance? The aim of this article is to analyse the possibilities of a dance teacher to reach their professional goals with group, individual and online classes and to determine the dancers satisfaction with these classes. The research is realized in terms of one dance studio and in two stages. The first stage (March-July 2020) were an experimental video-instruction independent training analysis. 40 video materials were grouped in 20 classes and sent to 20 dancers. The second stage (September-January 2020) were group, individual and online class analysis from the teacher’s and dancers perspective. In the second stage 27 dancers and 5 dance teachers were surveyed.

Environmental Conditions of Dance Rooms and Its Impact on Dance Conservatories Teachers’ Health (an Andalusian Study)

Dance teachers have to be in long hours dancing. That entails repetitive movements, loud live music, and as well as forcing their voices. These demands can implicate severe health problems and other kind of illness as discomfort, stress, etc. However, the Spanish Ministry of Health only recognize as professional disease for this line of work, the vocal nodules. For this reason, this research studies the health problems in dance teachers in Andalusia, correlating the results of a survey carried out in different conservatories from Andalusia with measurement of noise emissions levels, assessment of noise exposure, and assessment of thermal environment in the classes measuring the thermal environment variables. To the authors’ knowledge, this is the first study where the influence of several sounds, such as tapping, castanets, and live music, on the health of dance teachers, musicians, and singers during flamenco classes has been researched. Results showed a correlation between some diseases, such as stress and the high level of sound in the classes. The sound levels were well above those established by European regulations reaching values higher than 85 dB(A) as equivalent continuous sound levels during the class time. This European regulation is stablished for an 8 h/day period, five days per week. The thermal environments are no adequate for this activity, mainly for high temperatures in Cordoba during summer. To improve the current working conditions, some recommendations were given to reduce the number of class hours and establish rest shifts, provide more information on health risks, or renovate the floor of some classrooms.

How Does Pedagogy Compare between Professional Dance Education and Non-Professional Dance Education

Nowadays, dance education has been popularised at different educational levels, so dance teachers have the opportunity to teach students of different ages and backgrounds. However, this created a problem for me as, although I was teaching different people, I did not alter my teaching style. The pedagogy which aimed to foster professional dancers had no effect to non-professional students. In order to combine my experiences and resolve my problem, this paper concentrates on the difference between school-based and vocational dance pedagogy.

Dancing Practice Teaching and Thinking of Art Education Major

Dance practice teaching is an important way for college art education students to broaden their knowledge horizons and improve their overall artistic quality. At present, dance practice teaching still faces some practical problems and difficulties in teaching design, teaching methods and teaching ability. In the future, dance practice teaching should continuously optimize teaching goals and plans, innovate teaching models, and further enhance the professional practice teaching capabilities of dance teachers.