ABSTRACT

Many graduate dance programmes require a pedagogy course to ensure that graduate students, who are future faculty, have the capacity to successfully educate the next generation of dance practitioners. The majority of graduate dance programmes in the United States prioritise Western theatrical forms, yet increasingly there is a call to decolonise dance curricula by broadening the scope of dance forms present in degree programmes. For this to happen, graduate programmes must make space for students to rigorously develop as postsecondary dance educators. In graduate teaching courses, this requires a shift away from ‘best practices’, which may unintentionally privilege Western constructs of dance and pedagogy, and towards cultivating ethical approaches for dance teaching that reflect teachers’ personal and cultural values, the aesthetics of a given dance form, and the community of students being taught. Using an autoethnographic approach in combination with qualitative content analysis, this article examines a dance educator’s journey revising her approach from one that instills ‘best practices’ for teaching modern or postmodern dance techniques to a model that develops graduate students’ competencies as ethical dance educators and embraces a range of dance forms. This pedagogical shift is requisite for approaching equity in tertiary dance education.

摘要

许多研究生舞蹈课程需要教学法课程，以确保作为未来教师的研究生有能力成功地教育下一代舞蹈从业者。美国的大多数研究生舞蹈课程都优先考虑西方戏剧形式，但越来越多的人呼吁通过扩大学位课程中舞蹈形式的范围来使舞蹈课程非殖民化。为此，研究生课程必须为学生提供空间，让他们能够严格地发展为高等教育舞蹈教育者。在研究生教学课程中，这需要从“最佳实践”（可能无意中优先考虑西方舞蹈和教育学的结构）转变为培养反映教师个人和文化价值观的舞蹈教学道德方法，给定舞蹈形式的美学，以及所教授的学生社区。本文使用自我民族志方法与定性内容分析相结合，考察了一位舞蹈教育者的旅程，将她的方法从灌输现代或后现代舞蹈技术教学“最佳实践”的方法转变为培养研究生作为道德舞蹈教育者和包含一系列舞蹈形式。这种教学转变是实现高等教育舞蹈教育公平的必要条件。本文考察了一位舞蹈教育者的旅程，她将她的方法从灌输教授现代或后现代舞蹈技术的“最佳实践”转变为培养研究生作为道德舞蹈教育者的能力并包含一系列舞蹈形式的模式。这种教学转变是实现高等教育舞蹈教育公平的必要条件。本文考察了一位舞蹈教育者的旅程，她将她的方法从灌输教授现代或后现代舞蹈技术的“最佳实践”转变为培养研究生作为道德舞蹈教育者的能力并包含一系列舞蹈形式的模式。这种教学转变是实现高等教育舞蹈教育公平的必要条件。