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Embodying the Canadian University Dance Transition Experience: a Collective Case Study

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Embodying the Canadian University Dance Transition Experience: a Collective Case Study EMBODYING THE CANADIAN UNIVERSITY DANCE TRANSITION EXPERIENCE: A COLLECTIVE CASE STUDY JENNIFER M. BOLT A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN EDUCATION YORK UNIVERSITY TORONTO, ONTARIO July 2016 © Jennifer Bolt, 2016 ii Abstract This collective case study explores the social, psychosocial and cognitive dimensions of dance majors’ transition from multiple pre-university learning environments into their current Canadian university dance program. Three of Canada’s largest university dance degree granting programs were chosen as field sites based on their relative size, urban location and common core curriculum of classical ballet. Delimited by the in-studio first-year experience of learning classical ballet, the study seeks to posit what stakeholders in dance and related fine and performing arts might learn from this 2011-12 cohort of Canadian dance majors in transition. The research project draws upon mainstream higher education (HE) dance and transition research to evolve a conceptual framework from which to examine this unique discipline-specific transition. The multiple disciplinary, conceptual and methodological optics address a number of notable research gaps in the HE transition and dance mainstream discourse including research on discipline-specific transitions. Furthermore the study seeks to evolve a discipline-specific language to discuss the dance major’s transition experience. The project employs a qualitative research paradigm and collective case study methodology. Multiple forms of data collection include: a demographic survey of the 117 dance majors at the three sites; a series of three in-depth interviews of participants at each site; two classroom observation sessions of participants’ first-year university studio ballet technique class; field notes, reflective journaling, and an analysis of other documents in the form of school newspapers and university website information. Based on a comparative analysis of the project’s key findings including dance majors’ demographic background, pre-and current university learning contexts and pre-and current university experience, a list of recommendations is offered to members of the dance education community invested in facilitating the dance transition process. The project’s multi-disciplinary design, methodology, conceptual framework, and findings may also be relevant to researchers of other disciplines in which students transition from multiple, pre-university experiences such as music, theatre and/or sport. iii Dedication To William, this is your Mommy’s big “show and share,” and to my husband Jeremy, this is what your support helped me to create. iv Acknowledgments When I consider all the people who have been present throughout my doctoral journey I am reminded of the phrase that begins with, “It takes a village….” I have been fortunate to have had a village support me throughout my long doctoral experience. First I would like to extend my sincerest thanks to the members of my committee—Dr. Theresa Shanahan, Dr. Norma Sue Fisher-Stitt and Dr. Didi Khayatt. I thank you for your feedback, guidance and patience with me throughout this long process. You are three women whom I admire enormously and I have greatly appreciated the time, feedback and expertise that have challenged me to push the boundaries of this work. Thank you to the three university field sites who so graciously opened their doors to me to conduct this research. I am humbled by all the faculty, administrators, musicians and students who trusted me, and let me enter their academic homes for extended periods of time. The field work in this study was the highlight of this project. Special thanks to all the dance studio faculty who opened their doors for me to view their dance classes. I am especially grateful to all the dance participants who took time out of their intense academic and dance schedules to share their transition biographies with me. Students’ mutual interest and investment in this research was inspiring, especially on days when the amount of data I was generating seemed unsurmountable. A special thank you to Dr. Thomas Loebel and Dr. Norma Sue Fisher-Stitt. There are no words to express how much I have cherished your mentorship and guidance throughout the years. You have both believed in me when I have stopped believing in myself. I will forever be indebted for the time that you have given me when I know there was very little time to give. You have not only inspired the completion of this project, but you have made a lasting impression on the professional direction of my life. Thank-you to my dearest friend and editing support extraordinaire, Dr. Sarah Glassford. I am humbled by your willingness to read drafts of my work, but most importantly it was your emails telling me not to give up that came at such a pivotal time. To my dance education colleagues Maureen Consolati, Karen Duplisea, Marla Eist, Judith Garay, Mary Elizabeth Manely, Blake Martin, Carmelina Martin, Nadia Potts, Vicki St. Denis, and Claire Wootten, thank you for your support. v Thank you to all my past and present colleagues and students at the dance departure at York University. Your interest, support and patience as I worked to balance a full teaching load, grading, and writing, have touched me deeply over the years. My students are the reason I ventured into this project. Thank you for reminding me on a daily basis that this work is important to all of us in the field of dance. Finally I would like to thank my family and friends who have been exceptionally patient with my repeated absence from numerous events and gatherings. To Lauren Randolph, I do not think I could have survived this past year without you. To Janet Brace, I am indebted to you for the bi-annual visits to our home to help. To my Mother and Father and brothers, Stephen and Michael, your unwavering belief in me reminds me what unconditional love is about. And finally to my husband and six-year old son, William. This degree was absolutely unattainable without you both at my side. Jeremy, all the late nights, extra work, and extraordinary patience allowed me to do what I needed to do. Make no mistake that I know the sacrifices that you made on my behalf. To my darling little boy. You are the most remarkable person. Know that even at 6 years old, you played a huge role in helping me complete this giant show and share. vi Table of Contents Abstract ........................................................................................................................................... ii Dedication ....................................................................................................................................... iii Acknowledgements ......................................................................................................................... iv Table of Contents ............................................................................................................................ vi List of Tables ................................................................................................................................ xiii List of Figures ............................................................................................................................... xiv List of Abbreviations ..................................................................................................................... xv CHAPTER 1: Introduction .......................................................................................................... 1 Background ..................................................................................................................................... 1 Researcher’s Perspective .................................................................................................... 2 Statement of Research Problem ...................................................................................................... 3 Purpose of the Research ................................................................................................................... 4 Central Research Questions .............................................................................................. 5 Sub-Questions .................................................................................................................... 5 Rational for Research ...................................................................................................................... 6 Delimitations .................................................................................................................................... 8 Limitations ..................................................................................................................................... 10 Location of Self.............................................................................................................................. 10 Outline of Dissertation ................................................................................................................... 11 CHAPTER 2: Review of the Literature .................................................................................... 14 Transition Defined Within the Higher Education Research ......................................................... 14 A Discipline Specific, Socio-cultural Definition of Transition ...................................................
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