Welcome to this issue of Research in Dance Education that has articles representing the UK, USA, New Zealand, Australia, Turkey and Spain. The articles share research with various ages: young children, adolescents, Higher Education students, professional dancers and teachers. There is work that shares high-quality practice, different research methods and a systematic review. We begin the issue with reflections on a practice as research project: “I’mGonna Shake and Shimmy” or may be not: choreographing Hairspray – a Practice as Research project by Clare Lindbury that examines whether it is possible to choreograph Hairspray the Musical with adolescent dancers, while staying true to the movement principles developed by Kurt Jooss and Sigurd Leeder in the Jooss-Leeder Method. The article explores challenges a cast of 15–18-year-olds in a school where there is no dance in the curriculum at this level. It is suggested that there is value in using the Jooss-Leeder movement principles in providing a useful framework for choreographing and that Leeder’s organic teaching process is effective for novice dancers. The following article, by Longley and Kensington Miller, advocates for dance in academia as having potential to build creative, embodied, interdisciplinary and collaborative opportunities as well as professional and graduate skills. They share ways of making graduate attributes explicit through dance pedagogy inVisibilising the invisible: three narrative accounts evoking unassessed graduate attributes in dance education. Working from a New Zealand Higher Education perspective, an examination of visible and invisible graduate attributes through a narrative methodology and embedded into pedagogies is demonstrated. A framework is presented a way to make the ‘invisible’ attributes visible. It is suggested that the framework may have the potential for other art forms. An investigation of young children’s co-ordination whilst engaging in Folk dance from Turkey is the focus of the next article: Effects of Turkey’s folk dance on the manual and body coordination among children of 6–7 years of age by Elif Top, Ayse Kibris and Metehan Kargi. Children between the ages of 6–7 years engaged in either a control group or in folk dance training sessions for 10 weeks. Pre and post tests were undertaken, and it is suggested that there was a difference between the groups in relation to body coordination and that the folk dance training had a positive effect on their development of coordination. Next, analysing Afrique, one dance and three methods by Bench, Macrae and Sprudzs, shares high-quality practice in using the analysis of choreographic works to enable access and understanding of academic research and writing skills as a way of demystifying the research process. The authors suggest that it can be a challenge for students to demonstrate primary and secondary research skills. The authors take Katherine Dunham’s choreography Afrique as a case study and model to demonstrate ways of understanding RESEARCH IN DANCE EDUCATION 2020, VOL. 21, NO. 1, 1–2 https://doi.org/10.1080/14647893.2020.1740384

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社论

欢迎阅读本期《舞蹈教育研究》，其中有英国、美国、新西兰、澳大利亚、土耳其和西班牙的文章。这些文章与不同年龄段的人分享研究：幼儿、青少年、高等教育学生、专业舞者和教师。有些工作共享高质量的实践、不同的研究方法和系统评价。我们从对作为研究项目的实践的反思开始这个问题：“我要摇晃和颤抖”或者可能不是：编排发胶——克莱尔·林德伯里的一个研究项目，检查是否有可能为青少年编排发胶音乐剧舞者，同时忠于 Kurt Jooss 和 Sigurd Leeder 在 Jooss-Leeder 方法中开发的运动原则。这篇文章探讨了在该级别课程中没有舞蹈的学校中对 15-18 岁学生的挑战。建议使用 Jooss-Leeder 动作原则为编舞提供有用的框架是有价值的，并且 Leeder 的有机教学过程对新手舞者是有效的。Longley 和 Kensington Miller 撰写的以下文章提倡在学术界跳舞，因为它具有建立创造性、具体化、跨学科和协作机会以及专业和研究生技能的潜力。他们分享了通过舞蹈教学法使不可见者明确化的方法：三个叙述性的叙述唤起了舞蹈教育中未经评估的毕业生属性。从新西兰高等教育的角度工作，展示了通过叙事方法并嵌入教学法对可见和不可见的毕业生属性的检查。框架提供了一种使“不可见”属性可见的方法。建议该框架可能具有其他艺术形式的潜力。下一篇文章的重点是对幼儿在参与土耳其民间舞蹈时的协调性进行调查：土耳其民间舞蹈对 6-7 岁儿童手部和身体协调性的影响，作者：Elif Top、Ayse Kibris 和梅特汉·卡吉。6 至 7 岁的儿童参加为期 10 周的对照组或民间舞蹈训练课程。进行了前后测试，建议各组在身体协调性方面存在差异，民族舞蹈训练对其协调性发展有积极影响。接下来，由 Bench、Macrae 和 Sprudzs 分析非洲，一种舞蹈和三种方法，分享使用编舞作品分析的高质量实践，从而能够访问和理解学术研究和写作技巧，作为揭开研究过程神秘面纱的一种方式。作者认为，学生展示初级和中级研究技能可能是一项挑战。作者以 Katherine Dunham 的编舞 Afrique 作为案例研究和模型来展示理解 RESEARCH IN DANCE EDUCATION 2020, VOL. 的方法。21，没有。1, 1–2 https://doi.org/10.1080/14647893.2020.1740384 分享使用编舞作品分析的高质量实践，以实现对学术研究和写作技巧的访问和理解，作为揭开研究过程神秘面纱的一种方式。作者认为，学生展示初级和中级研究技能可能是一项挑战。作者以 Katherine Dunham 的编舞 Afrique 作为案例研究和模型来展示理解 RESEARCH IN DANCE EDUCATION 2020, VOL. 的方法。21，没有。1, 1–2 https://doi.org/10.1080/14647893.2020.1740384 分享使用编舞作品分析的高质量实践，以实现对学术研究和写作技巧的访问和理解，作为揭开研究过程神秘面纱的一种方式。作者认为，学生展示初级和中级研究技能可能是一项挑战。作者以 Katherine Dunham 的编舞 Afrique 作为案例研究和模型来展示理解 RESEARCH IN DANCE EDUCATION 2020, VOL. 的方法。21，没有。1, 1–2 https://doi.org/10.1080/14647893.2020.1740384 作者以 Katherine Dunham 的编舞 Afrique 作为案例研究和模型来展示理解 RESEARCH IN DANCE EDUCATION 2020, VOL. 的方法。21，没有。1, 1–2 https://doi.org/10.1080/14647893.2020.1740384 作者以 Katherine Dunham 的编舞 Afrique 作为案例研究和模型来展示理解 RESEARCH IN DANCE EDUCATION 2020, VOL. 的方法。21，没有。1, 1–2 https://doi.org/10.1080/14647893.2020.1740384