CONTENTS DANCE TUNING DOCUMENT

Tuning Dance Education

2.1 Introduction to the subject area
2.2 Degree Profiles
2.3 Learning outcomes and competencies – level descriptors
2.4 Consultation process with stakeholders
2.5 Workloads and ECTS
2.6 Trends and differences within the European Higher Education
Area in Dance
2.7 Learning, teaching and assessment
2.8 Quality Assurance and Enhancement
 TUNING DOCUMENT DANCE EDUCATION
This tuning document has been produced by the ELIA Dance Section
(EDS) within the framework of the inter}artes thematic network, strand 2.

2.1 INTRODUCTION TO THE SUBJECT AREA

Dance is the physical language of the human experience celebrating the

core experiences that have motivated people to participate in dance
across all ages and cultures.

Before one can summarise the subject area of Dance it is essential to

recognise that Dance is a diverse and often a multi disciplinary art form
that embraces a range of subsidiary disciplines (e.g. performance,
choreography, teaching, scenography, research, writing, and criticism).
Although possible, few of these areas are studied individually with most
being taught as part of a broad spectrum of classes in a multi-disciplinary
environment. Dance requires a knowledge and understanding of all the
arts it embraces.

Dance education in Europe is provided by a range of institutions including:

universities, specialist academies and colleges of higher or further
education. The manifold approaches to dance education mirror the variety
of the art form. The variety in teaching of Dance runs from the traditional
vocational model with its emphasis on intensive practical training, tutor
directed learning, high teacher and student contact, an emphasis on the
acquisition of technical skills to the academic tradition that implies student
led study, tutor/student contact and with an emphasis on individual self-
expression and creativity (e.g. coaching and monitoring). The key of all
the different learning & teaching models is fostering creativity, which
requires a great deal of investment of the student as well as from the
educator. Along this continuum there exist many approaches that combine
the two methods in a variety of ways.

Dance can be seen as a barometer of social change. Of all art forms dance
is most responsive to changes in social conditions, the street dances of
one decade are likely to be absorbed into the art dance of another. Dance
programmes play an active role in providing the necessary creative
human capital.

While Dance has a long history and is in many cases built on practical,
philosophical, theoretical and cultural traditions, it is not based in an
ossified body of knowledge and skills but is characterised by changing
social, political and artistic values and practices. It is the dynamic nature
of these cultural practices and their frequently contested nature that
sustains the vitality of dance. Taking into account the variety and
dynamism of the subject, it is vital that any definition of the subject does
not constrain or restrict future innovation. The continuation of well
established methodologies and engagement with traditional subject
matter should not be endangered.
Dance education involves an holistic approach to training the body (to
develop dance technique), choreography, composition, making,
performing, improvisation, professional work placement, teaching
methods, technical support (sound, site, lighting, costume), critique
(articulating critical views and ideas), multimedia (film and video) and
dance theory. Further it includes skills to apply dance knowledge, skills
and understanding in different contexts. It is usual for Dance programmes
to develop a specific and integrated approach to craft (non-gender specific
language), aesthetic thinking, critical reflection, making and public
manifestation. There are different traditions of teaching dance and there
are different traditions of teaching but the role of the ‘artist-teacher’ is
essential to all Dance programmes.

Career paths following the study of Dance include: dancer/performer;

choreographer; teacher; community dance artist; dance historian,
therapist; critic, scholar. The transferable skills that students acquire
during their studies (e.g. communication, ability to work effectively as a
member of a team, risk-taking, etc.) are also relevant and valued in a
range of other working contexts in particular creative and entrepreneurial
contexts and in managerial contexts.

Dance is studied as both a practical and theoretical subject and most

programmes of study will seek to provide a blend of these modes
according to the declared aims and outcomes of the specific programme.
Programmes of study that are taught in a range of institutions of higher
education that have quite discrete missions and objectives for learning
and teaching

2.2 DEGREE PROFILES

As diversity is a characteristic and a value of Dance education across

Europe, it is important that Dance programmes continue to set their own
programme philosophies. Defining study programmes and content of
Dance education is necessarily the responsibility of the individual
institutions.

In Dance there are no countries represented within the subject group

where the Bologna process is not being discussed with a view to
implementation. A range of practice is currently seen in Dance
programmes with regard to the Bologna three-cycle model. While some
countries adopted a three cycle system model many years ago, others are
at different stages of development.

Dance education comes from a situation where two educational systems

exist next to each other. In a vocational system, education pupils start at
a relatively early age and finish when they are 18/19 years old. In a
higher education system students start when they are around 17/18 years
old and are being educated in a three or four years bachelor’s system.
As a result significant differences in qualifications and recognition of
diploma’s and degrees still exist between Higher Education and vocational
schools. Although gradually solutions will be found to bridge the gap
between these two types of education it makes it difficult to present a
coherent picture of Dance education in Europe.

Masters’ programmes are in development in some European countries, not

yet in all Bologna countries. These programmes focus on specialised areas
in the field of dance and on a synthesis of practice and theory. Some
countries accept dancers into Masters’ programmes, or even distinctly
focus on dancers with a long standing professional working experience. In
other countries, notably Germany this is still a problem, even though
there is a definite need for such programmes as identified by the
professional field.

It has been a tradition in dance education to offer post-graduate

programmes focusing on personal deepening of practice and/or theory as
well as specialised courses (e.g. repertoire, choreography, and teaching).
Some of these post-graduate programmes have already been developed
into Masters’ programmes.

Third cycle programmes in Dance hardly exist at the moment. Some

dance practitioners/Dance teachers have acquired an influential doctoral
degree but these have been awarded by other disciplines (e.g.
philosophy). Development of third cycle degrees is seen as important for
the further recognition of Dance as an independent art form and for the
further advancement of the sector.

Typical degrees offered in dance

First Given the variety of ways that subject area is described in the
cycle titles of
programmes (for example, dance, dance: choreography,
choreography, choreography and dance, urban dance,
community dance) it is difficult to identify a ‘typical’ first
Degree cycle in the area of Dance. There are a wide range of
institutions that offer programmes, courses or pathways that
specialise in, or emphasise certain aspects of Dance. However,
typical elements of the Degree at this level include: Practical
Studio work, staff/student directed productions, the theory and
history of dance, research and professional practice.

Second The typical Degree at second cycle would also Dance with a
Cycle number of similar subject specific courses as described for the
first cycle. MA-Dance level: a wide range of specialist
programmes of continuing professional development, supported
by practical and/or theoretical research.

In many European countries MA programmes are still in

development
Third Typical Degrees at third cycle are Dance PhD level: A self
Cycle initiated and directed programme of research and practice with
a rigorous evaluation.
 In many European countries PHD programmes are still in
development

Typical occupations of the graduate in dance

Typical occupations include:

Dancer, teacher, choreographer, artist-in-residence, ballet
mistress/master, costume designer, dance notator, dance therapist, critic,
leisure & recreation instructor, artistic coordinator, accounting assistant,
fundraiser, journalist, advertising agent, arts council director, public
relations manager, rehearsal director, editor, event planner, stage
manager, college professor, financial manager, studio owner, Pilates/
conditioning instructor.

The study of dance provides students with a broad range of skills

applicable to the performing arts and beyond. A study of dance develops
her/his skills in presenting, ability to perform in public, and control of the
body. These competences allied with creativity, making skills, and
analytical and critical reflection skills, acquired and enhanced during the
study that makes them highly employable in relation to the application
skills. Dancing also helps students to learn concentrate intensely, listen,
observe, solve problems creatively, think critically, work under pressure,
meet deadlines, and process constructive feedback The transferable skills
that students acquire during their studies are also relevant and valued in a
range of other working contexts in particular creative and entrepreneurial
contexts and in managerial contexts.

First By the end of this cycle students are equipped for professional
Cycle practice or further professional development as dance artists
and will have acquired numerous transferable skills that equip
them for employment.

Dancer/performer, choreographer, teacher

It also leads to further study on a postgraduate Dance

programme, teaching qualifications or other subject areas.

Second The students develop specialisation and depth, selecting

Cycle from the core competencies mentioned above

Dancer/performer, choreographer, teacher, scholar

It also leads to further study on a PHD in Dance or other

subject area’s.

Third The students undertake further research in order to enhance

Cycle and deepen their knowledge and may aid career development.
 Academic career or Artistic career

Role of the subject area in other degree programmes

Dance may be taken as a subcomponent in other degrees programmes

such as Performance Studies, Cultural Studies, Education, Sport, Health
Sciences, Fine Arts, Film Studies or combined with another area in subject
degree Programmes.

2.3 LEARNING OUTCOMES AND COMPETENCIES- LEVEL

DESCRIPTORS

1ST CYCLE LEARNING OUTCOMES AND COMPETENCIES

Technical/Artistic Skills
Skills in the specific area
By the end of their studies, the students should be able:
- to accomplish, both intellectually, technically and creatively, the
different challenges that the techniques, knowledge, research
places at their disposal in realising his/her expression within the
context of a dance production or his/her field of specialisation;
- to collaborate in the interpretation of the ideas and/or intentions
expressed within an existing dance production or newly created
performance bringing these to an actual physical realisation in a
production;
- to respond creatively to the professional opportunities that dance
and other
- related expressive forms provide them;
- to demonstrate their awareness of the value of research, the
rehearsal process and experience of performance and/or production
as form of individual and collective development.

Group Skills
By the end of their studies the students should be able to:
- contribute to the effective realisation of a performance or project;
- work securely within a commonly understood professional
vocabulary;
- comprehend dance, in the widest sense, where the forms and
techniques of expression and creativity are realised in production.
Preparation and Rehearsal Skills
By the end of their studies, the students should be able to:
- manage their personal tasks, of establishing recognised goals, and
to define and achieve collective objectives;
- demonstrate an awareness of the techniques of rehearsal and
production which can lead to performance;
- evidence that they have engaged with the making of and
presentation of dance work.

Oral Skills
By the end of their studies students should be able to:
- know how to use the vocabulary of dance as a form of
communication between the strands of the dance medium;
- express themselves in an intelligent way in relation to the dances
they have worked in/studied.

Theoretical Outcomes
Knowledge and Understanding of the Language of Dance
By the end of their studies students should be able to:
- understand the basic elements of the dance language, and to be
able to utilise these in analysis;
- make links between theory and practice within dance.

Contextual Knowledge and Understanding

- place dance works within different historical, ethno-social and
artistic contexts;
- identify and recognise the work and thought of the key personalities
of his/her
specific area of intended practice, and of dance in general. They
should be able to contextualise the different theoretical
currents and aesthetics they represent;
- evidence that they possess a sound understanding of the
technology appropriate to their discipline and how it can serve the
theatre;
- understand the value of technological progress and its potential to
optimise
production procedures and processes, and potentially open new
approaches and
developments within their field of intended practice;
- demonstrate artistic administration skills that enables them to
successfully
develop a professional activity;
- evidence their awareness of the ethical considerations and
implications that are appropriate to their intended field of practice;
- demonstrate an awareness of the need to continually develop and
deepen their theoretical knowledge and understanding in order to
support their continued
- demonstrate the ability to be reflective practitioners.

Generic Outcomes
Independence
By the end of their studies students should be able to:
- collect, analyze and synthesize the information in the pursuit of
an investigative attitude;
- engage in critical self-reflection, develop ideas and construct
reasoned arguments;
- be autonomous, self-motivated and be able to self-manage, also
within the interest of a performance/production/project.
 Psychological Understanding
By the end of their studies, students should be able to make effective use
of:
- their capacity to think and solve problems that are presented by
production and/or performance challenges and opportunities;
- their emotional awareness, sensibility, imaginative and expressive
capacities.

Critical Awareness
By the end of their studies, the students should:
- be critically self-aware;
- be able to apply their critical capabilities to the work of others;
- have developed a broad social and civic awareness.

Communication Skills
By the end of their studies, the students should possess effective
communication and social skills, including the ability to:
- work effectively and in harmony with others on projects and/or
activities;
- demonstrate skills in teamwork, the discussion of ideas, the
organization of tasks and in their respect for established deadlines;
- present work in a clear and accessible way;
- demonstrate the appropriate information and communication
technology skills.

2nd CYCLE LEARNING OUTCOMES AND COMPETENCIES

Technical /Artistic Skills

Skills in Technical/Artistic Expression

By the end of their studies, the students must have acquired the capacity
to:
- intervene in the multiple contexts of a theatrical production
revealing themselves as creative professionals, demonstrating a
technical maturity and artistic awareness adapted to the expression
and realisation of their own expressive concepts;
- demonstrate an attentive, critical and creative commitment –
during the production process – as a means of assisting in the
development of a consistent and credible performance;
- recognise research as a form of accumulated knowledge and
reflection, using the references found as the spur to new ideas and
aesthetics.
Skills in Technical/Artistic Autonomy
By the end of their studies the students must have:
- acquired the capacity to lead others, developing leadership abilities
in an expressive and creative way, necessary to the
accomplishment of all new projects;
- the ability to organise and administer their own projects, managing
both human and material resources appropriately while also
 meeting the required deadlines for the successful execution of a
project its different stages
Oral Skills
By the end of their studies the students should:
- be able to debate and reflect upon their own artistic projects in an
articulate way;
- have the personal resources for presenting creative solutions, in
their specific area, as an integral element of the whole production
Pedagogic Skills
By the end of their studies, students whose preferred option is the
application of their dance education to broader contexts (such as,
education, community and social contexts) should have additionally
acquired:
- the capacity to intervene in educational and artistic contexts as
dance
animators and they should reveal particular artistic and pedagogic
maturity in this domain;
- secure and developed methodological competences and a mastery
of a didactic knowledge in order to elaborate and apply programs
structured for artistic educational contexts.

Theoretical Outcomes
Analytical Competences
By the end of their studies the students should have:
- consolidated the methodological and auto-reflexive competences
developed in the 1st cycle, and they should be able to
autonomously apply analytical tools to produce critical analysis.

Contextual Knowledge and Understanding

By the end of their studies, the students must have:
- deepened their knowledge and understanding of several genres and
styles of Dance;
- appreciating them in their historical and socio-cultural contexts as
well as
recognising the essential bibliographical references;
- the capacity to interrelate the theory and the practice in dance;
a demonstrable understanding of, and intelligent involvement with,
cognate interdisciplinary; elements, as well as to be able to apply
knowledge, practices, concepts and abilities of other disciplines or
artistic/scientific areas in an effective way.

Generic Outcomes
Independence
By the end of their studies the students must be able to demonstrate:
- an advanced capacity to work with a professional level of
autonomy;
- critical reflection and originality in their creations through the
collection, analysis and synthesis of information, and the generative
 development of ideas and concepts
Self-Knowledge
By the end of their studies, the students must have:
- advanced their capacity to make effective use of their imagination,
knowledge and emotional understanding to work creatively towards
the resolution of problems
Critical Awareness
By the end of their studies, the students should be able to:
- demonstrate a critical and self-critical awareness fully structured;
recognise their individuality as an original contributor within the work of
the group.

Communication Skills
By the end of their studies the students must have deepened their social
and communication skills so as to be able to:
- co-ordinate projects or collective activities;
- direct teams and assume the direction of collective processes where
necessary, assuring the organization and transmission of the
information;
- present projects in an articulate and original way;
- collaborate effectively with other individuals in a variety of cultural
contexts;

3rd CYCLE LEARNING OUTCOMES AND COMPETENCIES

Have not been drafted yet, as there is not yet sufficient knowledge and
experience within the sector to do this with some authority.

2.4 CONSULTATION PROCESS WITH STAKEHOLDERS

The tuning process initially involved a steering group from the ELIA Dance
Section. The steering group consulted the following documents and
papers: On the move- sharing experience on the Bologna Process; Four
Years, ELIA On the Way to a European Higher Education Area in the Arts;
the Dublin Descriptors; Milestone document 2004 – The distinctiveness of
dance education in Europe and the UK Subject Benchmark Statements.

2.5 WORKLOAD AND ECTS

In the milestone document of 2004, Four Years, ELIA On the Way to a

European Higher Education Area in the Arts, North and West Europe are
identified as the most advanced in implementing ECTS or equivalent and
compatible credit systems with the exception of some countries where
there remain concerns about the 3 cycle system and the relevance of
credits. In other countries progress was being made to convert to ECTS.

First 3 to 4 years 180 to 240 ECTS

Cycle
Second 1 to 2 years 60 to 120 ECTS
Cycle

Third 2 to 5 years
Cycle

2.6 TRENDS AND DIFFERENCES WITHIN THE EUROPEAN HIGHER

EDUCATION AREA IN DANCE

As already outlined in the introduction, diversity is both a characteristic

and core value of Dance education and programmes may have distinctive
characteristics related to national traditions and the nature of
contemporary dance. A number of trends have been identified:

• Dance practice is dynamic and constantly evolving. Greater

opportunities for dance artists now exist and there is an increased
awareness of professional practice in Dance programmes.

• There is a trend towards the study of critical theory as integrated

and directly related to students’ own developing dance practice. The
relationship between and proportion of theory and practice may be
negotiated.

• Developments in technology have impacted on the way students

learn. How exactly Dance programmes deal with this needs more
research.

• Exchanges have become a feature of the curriculum. The

universality of body language enables the student to participate in
the programmes in other countries. International dance worlds now
provide the context for their practice.

• Developments in dance are reflected in the curriculum with courses

offering projects or modules e.g. distance-learning.

A number of differences have been identified:

• Some institutions consider that traditional subject disciplines

provide students with useful contexts from which they can focus
their studies. Others have established courses/ modules where
students can engage in multi disciplinary forms of practice.
• There is a diversity of programme lengths. Many countries are
moving from a system in which the three-cycle structure did not
exist.

• Part time study is offered in a number of countries in a range of

formats and over a different numbers of years. Part time students
may swap between part time and full time modes or vice versa as
 their circumstances change. This has increased participation by
‘non- traditional’ learners.

2.7 LEARNING, TEACHING AND ASSESSMENT

Dance curricula and teaching and learning practices have developed in

response to the wider cultural, ethnic and social context and associated
changes in the nature of contemporary dance practice. In order for
students to be prepared for and engage in professional dance practice,
innovations in curriculum development have been required. At the same
time many educations have preserved and deepened longstanding
traditions in Dance training, protecting and revitalising cultural heritage.

Students will usually be involved in a wide range of learning activities such

as:
independent artistic work, attending lectures and seminars, classes in
technical skills; body conditioning, music, design, lighting etc, discussions
on their own and others’ performances, collective processes, producing
their own and others’ work and critical and self reflective writing about
their own and others artistic work. Although Dance more than the Art or
Theatre does rely heavily on traditional teacher student transmission,
particularly so the classical techniques of ballet or the long established
traditions of contemporary dance, different teaching styles and
approaches in response to different learning outcomes e.g. student
centred approach, tutor as facilitator are being used and further
developed.
Students in dance institutions are, to an increasing extent, expected to
take
responsibility for their own learning and artistic development. Assessment
methods that stimulate active and independent learning are used with
growing frequency, for instance via Progress File/Personal Development
Planning and the use of a virtual learning environment (where
appropriate).

2.8 QUALITY ASSURANCE

The practical and ephemeral nature of Dance makes it difficult to create

transparency in the field. Dance demands a wide range of tacit knowledge
and is derived from an oral tradition. On the other hand, after overcoming
the first obstacles, the formulation of written quality criteria has for most
parts become a welcomed knowledge developing and deepening process.

In most Dance Departments, part-time staff with ongoing artistic careers

is mixed with full time teaching staff. This merge of contemporary artistic
experience and educational teaching stability creates a foundation for a
challenging and inspiring, yet stable and secure learning environment for
students.

Teachers in Dance institutions are in different ways regularly encouraged

to
develop their educational as well as artistic skills and knowledge. This
ongoing professional and personal development combined with the vitality
and topicality of staff involvement and is directly reflected in the quality,
relevance and vitality of the learning and teaching available to students.

A wide range of monitoring and evaluation procedures provided by the

institution are fed into open systems where implications for improvement
are discussed, such as student satisfaction questionnaires; student and
external representatives discussion and focus groups, staff views, reviews
of student assessment.

Annual programme reviews that include students as well as the teaching

team and non-judgmental peer observation may occur. In some countries
(e.g. UK,
Ireland, Scandinavia, France) external examiners at all degree levels are
involved in the process and seen as an essential part of the curriculum.

In some countries periodic (5 yearly) regular monitoring by an internal

panel of external experts from Higher Education or related professional
agencies appointed by the faculty/department or institution are invited to
scrutinise and to assess performance, quality maintenance and
enhancement processes of programmes, faculties/departments and
institutions. This process is usually based on the analysis of a self-study
(evaluated) report and accumulated results, annual reports and
documentation covering the period in retrospect and plans for future
development.

Processes of quality enhancement vary considerably across Europe. A

variety of tools and participants is required. Students are increasingly
involved in quality assurance and improvement processes as part of their
development as reflective professionals.

External evaluations by national and international quality assurance

agencies are playing an increasingly important role. These processes are
usually developed on a consultative basis and utilize a self-study/analyses
process that provides a focus for faculty/departmental and personal
reflection and improvement.

Example 1

Self-managed projects:
These projects are initiated to give students a greater understanding of
the entire production process leading to performance and to gain a strong
sense of responsibility for their own artistic statements. Early in their
studies students are told to start working on their own performance that
will be presented during the final year of their dance programme. With
supervision they then have to develop a personal performance to be
presented to a public audience. They are free to base their work on
whatever stimulus is interesting to them. The result as well as the process
is thereafter evaluated and documented.
Example 2

Public performances with peer production teams:

Students from different areas of theatre; music, lighting, make up and
mask, production, set design, etc are grouped together to produce a joint
performance from a given theme under the supervision of tutors. This
allows students to know and work with colleagues from the same
generation, learning from each other and overcoming professional
boundaries. Students are learning about and strengthening the
understanding of their different skills and thereby deepening the respect
for each others’ professional knowledge. This is also a way of developing a
common aesthetic ground with future professional colleagues.

Example 3

Public performances with professional production teams:

Students take part in productions with fully professional production staff
brought in to the educational institutions. This way, students get to learn
about professional standards, expectations, qualifications etc, giving them
a chance to understand the demands for future employability. Students
are also provided with a chance to start building a professional network,
crucial for their future carer. By bringing the professionals in to the
teaching institution environment, students’ integrity and educational
development is protected.