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The Relevance of Dance Performance in the Tertiary Education Sector in Australia

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The Relevance of Dance Performance in the Tertiary Education Sector in Australia THE RELEVANCE OF DANCE PERFORMANCE IN TERTIARY EDUCATION: AN AUSTRALIAN WORK-BASED PERSPECTIVE. Exegesis submitted by Adele Hyland AM (BEd., Grad. Dip. Computer Studies, MEd.) For the award of Doctor of Professional Studies 2018 Abstract This study and included artifact (i.e. course of study) aims to support the inclusion of dance as a legitimate area of academic study in the higher education sector and to develop an undergraduate dance performance course to include dance genres other than ballet and contemporary dance. Additionally this study recognises that dance may be legitimately categorised as a recreational activity, a sport and/or an art form depending on the intent and level of expertise of the performer. As an outcome the study presents an undergraduate dance performance course tested against the requisite Australian Qualifications Framework Level 7 criteria. The course aims towards developing dance professionals who have the skills and knowledge to pursue dance performance careers as well as related career paths and in a variety of dance genres and dance sector professions. The motivation of the project stems from an aspiration to utilise a work-based research study to further develop opportunities for dance studies within the higher education sector. Reflective practice, and subsequent research, led to an awareness of a view shared by a number of academics encountered that dance is somewhat subservient to other academic disciplines. This view holds significance for performing arts education generally and particularly for dance education. This study offers discussion on the history of dance as an academic discipline as well as providing a personal perspective on the development of dance education in Australia. Identified concerns relating to dance assessment are also discussed as well as the advantages of broadening the range of dance genres offered for study at tertiary level other than those generally accepted as legitimate areas of study. This project has evolved within a work based learning approach and includes: personal reflections developing from a working life devoted to both dance and general education an overview of identified concerns related to the perception of dance in the higher education sector a discussion regarding the history of tertiary dance courses both nationally and internationally i a review of relevant literature applicable to the development of undergraduate dance courses in Australia a comparison of dance genres including those traditionally offered in tertiary dance courses (i.e. ballet and contemporary) and suggested additions (i.e. ballroom and latin dance) a fully developed course of study suitable for the study of dance as an art form at undergraduate level that meets Australian Qualifications Framework guidelines and discussion surrounding the limitations affecting the implementation of the course developed as part of this project. This exegesis provides a critical analysis of the aims and the outcomes of the work undertaken as a result of personal reflection and research findings, and provides an artifact developed as part of the study that may be used by educational institutions for the further development of dance performers and dance educators at the tertiary level of education. ii Certification of Exegesis This exegesis is entirely the work of Adele Hyland except where otherwise acknowledged. The work is original and has not previously been submitted for any other award, except where acknowledged. Principal Supervisor: Dr Luke Van Der Laan Associate Supervisor: Dr Janet McDonald Student and supervisors signatures of endorsement are held at the University of Southern Queensland. iii Acknowledgements: Dr Luke Van der Laan and Dr Janet McDonald, staff members of the University of Southern Queensland, who have offered ongoing advice and support throughout this project. Professor Martin Dowson (Director of Academic Development, Excelsia College) who provided inspiration, input and guidance as Academic Director at Wesley Institute and who generously offered expertise and advice during the development of the Bachelor and nested Associated Degree of Dance course. Dr Herman Pretorius (ex Head of Drama, Excelsia College) who provided ongoing friendship and professional support during the development of this project. Dr Gregory Rough (ex Chief Executive Officer, Excelsia College) who supported the Dance Department at Wesley Institute and, subsequent to the closure of the Dance Department, organised the transfer of staff and students to an alternative provider. Ms Juliette Kirkwood, my personal assistant and friend, who has lived the highs and lows of my journey as an advocate for dance in the tertiary sector of education in Australia. Wesley Institute Dance Department staff for their continuing course evaluation and without whose loyalty and support I could not have survived the destabilising influences experienced in my endeavours to maintain the existence of the Wesley Institute Dance program. Particularly I would like to thank my loyal team of lecturers, some of whom have contributed to this project, and the students who put their faith in me on a daily basis. I am deeply humbled by your confidence and commitment. iv Table of Contents PART 1: Introduction 1 a) Project Introduction 1 1 b) Problem Statement i) Dance in Higher Education 7 ii) Performing Arts and Academic Ability 11 iii) Australian Perspective 12 iv) Limitations of Current Tertiary Dance Education 15 v) Tertiary Dance Advocacy in Australia 18 vi) Research Question 21 vii) Conclusion 21 1 c) Project i) Project Significance 23 ii) Project Research 25 1 d) Methodology i) Aims 25 ii) Description 27 iii) Paradigm 29 iv) Research Design 31 v) Data Collection 33 vi) Potential Problems and Overcoming Issues 34 vii) Bias and Limitations 35 viii) Ethical Considerations 37 1 e) Framework and Format of an Exegesis 39 v 1 f) Conclusion 40 PART 2: Situating Concepts 2 a) Introduction 41 2 b) Dance as a Performing Art, Sport or Show 48 2 c) Dance as an Academic Discipline 53 2 d) Dance Assessment 57 2 e) Dance Genres 61 2 f) Conclusion 66 PART 3: Results and Discussion 3 a) Introduction 69 3 b) Factors Affecting the Project 74 3 c) Project: Bachelor of Dance & Associate Degree of Dance 79 3 c) i) Program Rationale 79 3 c) ii) Program Objectives 80 3 c) iii) Program Structure 82 3 c) iv) Program Aims 83 3 c) v) Unit Overview 84 3 e) Unexpected Outcomes 88 3 f) Conclusion 98 vi References 102 Audio Visual References 121 Bibliography 122 Appendices A) Bachelor of Dance and Associated Degree of Dance Units of Study B) Wesley Institute Graduate Attributes C) Wesley Institute Assessment Policy D) Assessment Tasks Analysis E) Interview Responses i) Dean of Quality ii) Assistant to the Head of Dance iii) Dance Academic iv) Dance Student v) Faculty Members F) External Advisors Report G) Student Case Study vii PART 1: INTRODUCTION 1. a) Project Introduction The following ‘work-based’ research project has been undertaken specifically to address curriculum development needs observed while acting as Head of Dance within a tertiary institution. The focus of this project was to develop a course of study to be implemented at the undergraduate level of higher education aimed specifically at the development of dance performance and dance as an art form. To ensure that the course would: 1) be adopted by educational institutions charged with the authority of implementing such programs and 2) be accredited by the relevant higher education accrediting authority it was necessary to consider some of the problems associated with the perception of dance as an academic discipline as well as the financial implications of presenting a course of study that requires studio space. Information included in the following discussion and associated documentation (other than that which is cited) is substantially based on personal knowledge and reflection developed as a result of broad exposure to many facets of both general education institutions (e.g. public and private schools and colleges) and dance sector organisations both in Australia and internationally (e.g. Ausdance, DanceSport Australia, World Dance Council, International Dance Organisation, World DanceSport Federation). Over a period of fifty years I have been involved in ‘Dance’ - as a professional performer, dance studio teacher and proprietor, dance organisation director and national president, and international organisation delegate. Concurrently, I have pursued a career as a teacher in schools, colleges and universities commencing as a 1 New South Wales Department of Education classroom teacher and subsequently as a school principal in the primary sector. This experience was followed by classroom teacher and year co-ordinator roles in the private secondary sector, and subsequently as lecturer and Head of Department in the tertiary sector of education. Having been responsible for the delivery of undergraduate dance programs in three private tertiary institutions over the past twenty years, the continued debate relating to the legitimacy of dance as a discipline worthy of study in the higher education sector has become an ongoing personal disquiet. Subsequent research indicates that my experiences in Australia, and those of peers employed in tertiary institutions in both the United States and the United Kingdom, are similar, and deserve to be investigated critically with the intent of making an original contribution to the knowledge base underlying the notion of dance in the higher education sector
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