Welcome to this issue of Research in Dance Education. In the UK it is the Autumn season and this brings change in weather and colours in the environment. The theme of change is mirrored in the international dance education landscape as dance education, is not static, metaphorically or literally. This issue demonstrates how dance educators globally, are examining high-quality practice, effectiveness, impact and ways of doing things differently and making changes to practice. The articles represent work from Spain, Canada, Africa, South Africa and New Zealand. The issue demonstrates shared similar concerns and advocacy for dance education. Advocating graduate student attributes to encompass the ‘invisible’ aspects of dance work that are valued within dance pedagogies such as the creative and embodied, is the focus of the opening article by Longley and Kensington-Miller, ‘Visibilising the invisible: three narrative accounts evoking unassessed graduate attributes in dance education.’ Identifying and reflecting on the nuanced and complex pedagogies that are applied within dance teaching and learning relationships are discussed. A framework is presented to articulate how such ‘invisible’ attributes can be utilised and made more explicit with dance pedagogy. Next, the power of dance and health is examined by Beaudry, Fortin and Rochette in their qualitative case study ‘Adapted-dance intervention for subacute rehabilitation poststroke: ‘WHAT’ and ‘HOW.’The authors describe a dance intervention designed for people who have had a stroke and are in stroke rehabilitation. The intervention was different from psychotherapeutic models underlying dance therapy as rather than being ‘functional’, this dance intervention valued the experiential. The data revealed 13 rehabilitation themes that informed the dance content (the ‘what’ of the intervention), while four pedagogical categories subdivided into modalities and portrayed the ‘how’. Such ‘adapted’ dance experiences value the person as an individual and draw on ‘somatic-sensitive pedagogy’ as participants were able to engage and problem-solve at their own level and pace. The questionnaire and interview study as ‘Student perceptions regarding the command and problem-solving teaching styles in the dance teaching and learning process’ by Cuellar-Moreno and Cabellero-Julia engaged 50 students. It was found that the students preferred a problem-solving teaching style to a command style because opportunities for problem-solving enabled the students to work at their own pace and it is suggested that students were able to engage more cognitively and creatively. The next article, ‘African dances are valid knowledge’: Dance teachers’ de/construction of meanings from cultural heritage dances in Uganda’ by Alfdaniels Mabingo, examines teaching and learning of cultural heritage dances in non-academic settings in central Uganda. Constructivism theory is applied to make greater meaning of the teaching and learning processes as often constructed in an ‘Afrocentric worldview’. It is argued that rather than objectifying and drawing on the ‘exotic’, the complex range of RESEARCH IN DANCE EDUCATION 2019, VOL. 20, NO. 3, 277–278 https://doi.org/10.1080/14647893.2019.1683678

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欢迎阅读本期《舞蹈教育研究》。在英国，现在是秋季，这给环境带来了天气和颜色的变化。变化的主题反映在国际舞蹈教育领域，作为舞蹈教育，不是静态的、隐喻的或字面上的。本期节目展示了全球舞蹈教育者如何检验高质量的练习、有效性、影响和以不同方式做事并改变练习的方式。这些文章代表了来自西班牙、加拿大、非洲、南非和新西兰的作品。这个问题表明了对舞蹈教育的共同关注和倡导。提倡研究生属性包含舞蹈教学中重视的舞蹈作品的“无形”方面，例如创造性和体现，是 Longley 和 Kensington-Miller 的开篇文章的重点，“Visibilising the invisible：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”。讨论了识别和反思在舞蹈教学和学习关系中应用的细微而复杂的教学法。提出了一个框架来阐明如何利用舞蹈教学法更明确地利用这种“隐形”属性。接下来，Beaudry、Fortin 和 Rochette 在他们的定性案例研究“亚急性中风后康复的适应性舞蹈干预：‘什么’和‘如何’中检验了舞蹈和健康的力量。作者描述了一种为患有中风的人设计的舞蹈干预中风并正在中风康复中。这种干预不同于作为舞蹈治疗基础的心理治疗模式，而不是“功能性”，这种舞蹈干预更重视体验。数据显示了 13 个康复主题，这些主题告知舞蹈内容（干预的“内容”），而四个教学类别细分为模式并描绘了“如何”。这种“适应”的舞蹈体验将人视为个体并借鉴“躯体敏感教学法”，因为参与者能够以自己的水平和速度参与和解决问题。Cuellar-Moreno 和 Cabellero-Julia 的问卷调查和访谈研究作为“学生对舞蹈教学和学习过程中的命令和解决问题的教学风格的看法”吸引了 50 名学生。发现学生更喜欢解决问题的教学风格而不是命令式的，因为解决问题的机会使学生能够按照自己的节奏工作，并且建议学生能够在认知上和创造性上更多地参与。下一篇文章“非洲舞蹈是有效的知识”：Alfdaniels Mabingo 撰写的《舞蹈教师对乌干达文化遗产舞蹈意义的解读/建构》，考察了乌干达中部非学术环境中文化遗产舞蹈的教学和学习。建构主义理论被应用于使教学过程具有更大的意义，正如通常在“以非洲为中心的世界观”中所构建的那样。有人认为，与其客观化和利用“异国情调”，《舞蹈教育研究 2019》VOL 的复杂范围。20，没有。3, 277–278 https://doi.org/10。