Taking an ethnographic turn, this paper does not offer any definitive contemporary solutions towards decolonising dance teaching and training practices in South African but offers instead, as the title suggests, ruminations on an embodied and personal dance journey that reflects on two distinct pedagogical arenas; the first is a need to re-evaluate and assess the viability of chosen dance training methods (or what we might call technique) and secondly, the cognate teaching practices. Potentially what I journey into proposing is an attempt to create a critical dance pedagogy that does not always look at Western/Northern based models as the only ones viable – often defined as ‘universal training methods’. I go back to Ngûgî wa Thiong’o (1981) and his call to mitigate the effects of the ‘cultural bomb’ and think about what this means for dance training and teaching practices in South Africa (and any contemporary post-colonial context). The paper also looks at my work as the artistic director of the Durban-based FLATFOOT DANCE COMPANY (now 26 years old) as an example of the contested possibility to re-learn (as dancer, choreographer and teacher) and to re-turn to my body, my skeleton, my blood and bones as the primary way of being and knowing the world – a decolonsied territory of meaning and storytelling.

转向民族志，本文没有为南非的非殖民化舞蹈教学和培训实践提供任何明确的当代解决方案，而是如标题所示，提供了对体现和个人舞蹈之旅的反思，反映了两个不同的教学领域；首先是需要重新评估和评估所选舞蹈训练方法（或我们可能称之为技术）的可行性，其次是同源教学实践。我提出的可能是尝试创建一种批判性的舞蹈教学法，它并不总是将基于西方/北方的模型视为唯一可行的模型——通常被定义为“通用训练方法”。我回到 Ngûgî wa Thiong'o (1981) 和他呼吁减轻“文化炸弹”的影响，并思考这对南非（以及任何当代后殖民背景）的舞蹈训练和教学实践意味着什么。这篇论文还以我作为德班 FLATFOOT DANCE COMPANY 艺术总监（现年 26 岁）的工作为例，作为重新学习（作为舞者、编舞者和老师）并重新转向我的身体、我的骨骼、我的血液和骨骼是存在和了解世界的主要方式——一个意义和讲故事的非殖民领土。