A professional inquiry into movement retention and transferable knowledge within cross genre dance training. AG (2019)

Anthea Garratt MA (dist)                                                                                                                             2019

An Investigation into Dance Pedagogy: 

Methods used by teachers to develop students’ skills in movement retention and transferable knowledge within cross-genre dance training.

CONTENTS 

INTRODUCTION

LITERATURE REVIEW  

OVERVIEW OF THE ENQUIRY PROCESS  

Observations          

Interviews  

ANALYSIS OF THE TRIANGULATION OF THE DATA

Teachers experiences and influences  

Somatic influences  

Communication and vocabulary  

Repetition and development  

Tasks  

Use of mirrors

Imagery and visualisation

Transference of knowledge  

Abstract 

This article presents findings from a twelve-week professional research enquiry into dance pedagogy. The researcher explored methods of teaching and learning within two varied dance programmes by gaining insight into the development of student dancer’s skills in movement retention, adaptability and knowledge transference. The main objectives of the enquiry were to contribute to dance research and education by raising questions about how dancers develop these skills effectively. By exploring the rationale behind teachers’ personal pedagogies, the author highlights the effects of dance discourse, feedback, reflective practices and autonomy within the dance class. Further insight examines how the process of teaching and learning dance is informed by teachers’ experiences, somatic practice methods, use of mirrors, imagery and the notion of transferable knowledge. 

INTRODUCTION 

This inquiry has emerged from my interest in the development of student dancers’ skills in move-ment retention, transfer of knowledge and adaptability. I have highlighted associations between literature and personal experience alongside my development in creating and facilitating innovative learning strategies, student feedback, trans-disciplinary approaches and class observations. My progression towards and throughout the enquiry has enabled a deeper comprehension of how the foundation of dance training is viewed by teachers and how their influences have developed their personal pedagogies. 

As part of my professional practice discussed in the earlier modules of this study, I have gained a broad overview of classes through ongoing observations in the work place. However, in terms of the enquiry, my focus was more specific. 

As a teacher of contemporary dance practicing within a post-16 multi-genre performing arts programme, I observe students training within a multitude of dance disciplines on a daily basis, often considering the complexity and amount of information they process. It is evident from working closely with students that many are highly skilled and adaptable between genres, some struggle to transfer knowledge from one area to another and others fall in-between the wide spectrum of experience and ability. Within jazz dance classes for example, we might recognise techniques by pioneers such as Luigi, Horton, Mattox along with varied fusions of commercial dance. Whilst in con- temporary dance training we often see the work of Limón, Cunningham, Graham and hybrid forms of release. Also to consider are varied disciplines of ballet, tap, latin, and academic or teacher training qualifications, all of which exist on many vocational programmes. 

Interestingly, Tharp (cited in Bales & Nettl-Fiol, 2008:55) who when referring to her studies in tap, baton, jazz, violin, piano, Graham, Cunningham, Horton and ballet, realised that she was ‘suffering’ from eclectic training. She felt she had been given too many options, ‘a body with too many choices’. According to Monten (cited in Bales & Nettl-Fiol 2008:61) it is suggested that a student’s range of experiences increase as they go from class to class, ‘but so does the possibility of interference’. He considers dance training as ‘instilling instincts’ and suggests ‘having too many training tech- niques can be quite problematic’. We may consider the extent of knowledge a student dancer re- quires to enable effective transfer between genres, but how is it achieved? 

Common to most training programmes is the promise of providing knowledge and understanding of a range of dance styles and techniques, therefore the key principle underlying many eclectic curricula has become versatility, whereby the dancer has to present their skills in a variety of contexts, Rafferty & Stanton (2017:191-192). As expected in this and other fields of arts education, people who contribute to the design of curricula do so with varied ideas of what a dancer requires. They form different perspectives and express positive and negative attitudes towards training pro- grammes, at times failing to find common ground. But, as teachers and specialists in our fields we are expected to equip students with appropriate skills to enable them to find employment. 

Students in many vocational colleges are assessed over nine terms in a number of dance genres along with syllabus exams, acting, singing, academic studies and performances. I consider if pre- determined targets enable students to reach their true potential in all subjects within this time frame, or could they be they focusing on an end product without fully appreciating the process? Rafferty & Stanton (2017:195) propose we have to think beyond facility, technicality and mind-body integration, and consider how dancers learn. They refer to a skilled teacher as being able to differentiate and identify the needs of student dancers by sharing ‘their own embodied bibliography’ and ‘professional experiences’. Perhaps we could therefore consider reducing pre-ordained goals and prescribed points of arrival to encourage more autonomy, Stanton (2011:88) thus enabling students to learn and retain knowledge on a deeper level. 

As part of my research investigating pedagogical practices and the background from which they emerge, I contemplate my experience as a dance student at LABAN. A highly influential teacher who specialises in the work of José Limón offered methods of practice that encouraged me to feel and understand movement on a much deeper level than I had been used to previously. My skills in ‘picking-up’ and retaining movement vocabulary were what I believed to be average at the time. However, I improved significantly as I became more ‘in-tune’ with my body. With this in mind I delved deeper into my personal experiences to examine significant learning incidents that stimulated career progression and professional development. 

LITERATURE REVIEW 

I have gained new perspectives on the phenomenon of movement retention since the discovery of Hanna, (1988:20) who talks about internalised versus externalised perceptions of ourselves and how we can learn more effectively from the inside out by applying a thought to a movement. In relation to this, Shilling (2005:12) states ‘the mind and body are inextricably linked as a result of the mind’s location within the body’. Consequently, it could be said that both theories suggest proprioception, visualisation and the concept of muscle memory, which I would presume many dancers recognise from early stages of training. 

In terms of knowledge transference, I acknowledge Monten (cited in Bales & Nettl-Fiol 2008:55) who refers to blending or fusing elements of dance as the ‘combining of ingredients’. He mentions Alvin Ailey’s Revelations with its distinctive blend of Horton, Graham, Jazz and Ballet techniques, and how they all fuse together along with highly charged emotional intensity throughout the dancers performance. Although Monten suggests that the blend of each discipline in this work is not eclectic, could it be suggested they are working towards the same outcome? Eclecticism is the practice of obtaining ideas from a broad range of sources, and fusion is the process of joining two or more items together to form a single entity. I am interested in a dancers ability to recall skills from a number of disciplines and techniques - how did they learn them, and how do they learn to distinguish a personal sense of artistry and identity in their performance? Batson (cited in Bales & Nettl-Fiol 2008:136) asks a similar question and provides an interesting answer. 

‘How can a dancer with a potentially infinite number of neuromusculoskeletal
combinations configure the right movement solution for a given technique command or choreographic problem? The teachers role is to provide just enough direction to facilitate body-level problem solving but not too much as to impose his or her personal movement strategies on the dancer or suffocate the dancers autonomous processes of self-organisation’. 

A dance teacher’s role has become much more complex in finding a meaningful curriculum that meets the needs of different groups of dancers, Stanton (2011:88). By encouraging contexts beyond the studio, Akinleye & Payne (2016:147) and addressing the development of the whole per- son, Stanton (2011:96), then surely an embodied approach to learning dance offers a more holistic experience that is retained on a deeper level throughout a dancer’s training and career, enabling greater adaptability; as opposed to learning steps to justify a grade, Akinleye & Payne (2016:146-147). 

THE ENQUIRY PROCESS 

Data collection took place in the form of class observations and semi-structured interviews at two research settings including a university and a vocational dance college. An ethnographic research approach involved myself as the researcher participating directly in the setting, Brewer (cited in Bell 2005:16). My task as a qualitative researcher was to gather data through observation (experiencing), interview (enquiring) and examining literature, Wolcott (1994:10). All participants and gatekeepers gave consent for data to be collected and utilised, therefore pseudonyms* are being used to protect their identity. With regards to the ethics application, slight changes occurred when I was advised to avoid student focus groups or discussions. With this in mind, and with consideration to the quantity of data being collected through two other methods, I understood why this would have complicated matters. In addition to field data, varied forms of literature and artistic sources provided a theoretical framework to support my findings. Ongoing reflection, analysis of my per- sonal practice, feedback, colleague discussion, journal entry and blogging were also contributing key elements. 

Observations 

I collected data from six 60-90 minute classes in ballet, contemporary and jazz techniques be- tween a vocational performing arts college and a BA (Hons) and MFA university dance programme. By arriving at each class 15 minutes early, I observed varied introductions and methods of communication between students and teachers. Some students prepared for class independently in silence, others worked collaboratively on material prior to the teacher’s arrival. In other settings students and teachers moved around the studio, some engaging in discussion or contemplating evaluation worksheets. In one class, it was interesting to observe the teacher welcoming each stu- dent into a gradually formed circle that generated collaborative discussion. In every situation, the initial stages of each class included varied elements of personal practice, reflection and discussion, with or without the teacher present. 

Students at the vocational college participate in up to six classes on a daily basis. Their classes commenced formally, emphasising a high degree of discipline and concentration, in most cases with a fairly energetic start with little (if any) reflection or discussion. During the warm-up stage, some teachers tended to verbally introduce pre-existing codified exercises to which students performed with strong technical precision and maximum effort. It was clear that students maintained prior knowledge of codified dance vocabulary and were able to pick-up movement quickly. I observed variations of content, student-centred learning tasks and communication of feedback (in most classes from the teacher to the students). Classes incorporated a strong underpinning of technique with varied amounts of codified instruction. 

In comparison, my visit to the university provided an alternative perspective. I observed two Limón based classes led by different teachers that revealed strong somatic influences throughout. The content flowed organically with a strong emphasis on movement quality and task-work. Although principles of the technique were referred to throughout with almost no codification, both teachers continually reinforced the concept of student’s trying things out for themselves, and to ‘notice’ what was happening within their bodies and personal space. Nell* spoke about a ‘somatic way in’. Her class started with students rolling slowly across the floor in their own time and space, ‘finding and releasing the weight’. In Sarah’s* class students stood in stillness, facing different directions with their eyes closed, ‘noticing and enjoying’ bodily sensations and form. They were encouraged to focus on the present, ‘I am here, this is now’, while sensing slow gravitational release of the pelvis and upper body. 

Interviews 

I conducted semi-structured interviews with each of the observed teachers to enrich and extend my understanding, and to view the topic from their personal perspective, Weiss (1994:17). Responses to my questions established whom and where practice methods had emerged from. I probed personal viewpoints of how experience and learning informed their teaching practice and how teachers felt student dancers learn, retain and transfer knowledge within and between genres. Teachers had previously trained professionally and performed within a variety and different number of genres, and their pedagogical practice methods were inspired by a variety of influences including: Bob Fossé, Luigi, Martha Graham, José Limón, Wayne McGregor & Isadora Duncan.

ANALYSIS OF THE TRIANGULATION OF DATA 

According to Fraleigh & Hanstein (1999), analysing and interpreting data to build theory requires a vast amount of complex and multidimensional ideas. They suggest the construction of theory is determining how ideas may be relayed, integrated or overlapped. In terms of a theoretical frame- work, I placed emphasis not only on field data, but literature, blogging and personal practice often raising further questions as the process developed. This proved to be valuable when constructing my visual triangulation model during the initial stages of analysis. Despite being complex, the model’s function was to maintain a sense of how data were synthesised to form a unified conception, Fraleigh & Hanstein (1999:71). Field data were transferred onto colour coded note-papers and assigned to each observation, interview and theorist. Then over a large surface, notes were organised into research categories enabling me to recognise emerging themes and patterns through sequences of colour. 

Teachers experiences and influences 

An interview with Dale* highlighted aspects of his training and performance career. As an ex-principal ballet dancer, he spoke about his strive for excellence by practicing endlessly in a mirror, adapting and exploring his alignment to find ways to make movement work for him. Whilst observing Dale* I felt this statement made a link to his practice by the way in which he worked with the students; ‘when a body comes in front of you that is aesthetically able, it makes things easier’ but ’forcing a body into positions are when injuries happen’. Of course the ability to utilise influences and experiences gives meaning to personal pedagogies and I agree with Dale* who stated ‘learn- ing is better when teachers bring their experiences to class’. Like any other cultivated talent, dance is a journey of discovery, of trial and error, Bales & Nettl-Fiol (2008:28). However I feel peoples’ perceptions of what did or did not work for them should be utilised with a broad, open minded perspective. 

Tara* explained her main influences originated from two Fossé style choreographers early in her performing career. They challenged her artistic interpretation by encouraging her to work without rhythmical counting. 

‘The work was about style rather than physicality... I learned to explore music and found a different way of moving... Technique is important, but artistry makes a great dancer’ Tara*26.3.19 

Consequently, it was clear that Tara’s* experiences resonated in her practice through sharing her knowledge and personal influences. Therefore it is important to motivate students into thinking about artistic and cultural values as well as technical achievement. It heightens independent learn- ing about ‘gender, class, culture’, and encourages students to ‘reach out beyond the dance studio walls’. Akinleye & Payne (2016:147). Furthermore, Nell* communicated her collaboration of borrowed movement material influenced by past teachers and dance pioneers including José Limón and Isadora Duncan, which appeared to generate a fair amount of discussion. I consider how teachers’ personal experiences link to the work of their teachers, historical dance pioneers and artistic cultures. I felt this approach initiated meaning to learning; as opposed to being shown a codified step without any reference or background. Of course this is not to suggest we should lessen codified dance vocabulary. By explaining why we are doing things, where it has come from and what the purpose is creates an embodied learning experience; and in Nell’s* case the ex- change of knowledge, experiences and ‘shared negotiation’ Stanton, (2011) enabled her to be part of the learning process. 

Somatic influences 

Somatic practices play an integral part in many movement studies and have been on occasions not knowingly integrated into my work. However, the study of new literature and recognition of somatic based practice through detailed observation has enabled a clearer perspective. Similar to myself, Bales (cited in Bales and Nettl-Fiol, 2008:92) talks about how she did not integrate somatics into her practice until later in her teaching career. Somatic based practice can open doors for ourselves and students by facilitating awareness that encourages us to understand intention be- hind movement, Fortin et al (2010:167-168). During observations, I noticed some teachers utilised embodied learning approaches more than others. Some students were continually reminded of their ‘built in monitoring device’, Stanton (2011:90). It was clear they recognised intentions behind material as demonstrated in student-teacher discussion. Approaches such as this enable students to account for new sensations whilst moving from one place to another. By encouraging dancers to discover their ‘inner landscape’, Fortin et al (2010:172) they can explore and learn the foundation of movement through their own personal experience, ‘through a somatic experience that is autonomous, integrating the mind and body’. Batson (cited in Bales & Nettl-Fiol 2008:135). 

Communication and vocabulary 

When communicating material, teachers tended to speak and demonstrate simultaneously. On occasions they used their voice as a means to create a sound, to express the dynamic quality of the movement. I acknowledged the relevance of this method and how it worked as alternative accompaniment by enhancing the visual and descriptive effect of the demonstration. 

When asked to recall a movement or phrase from a previous class, students either worked alone, in pairs or in groups with light discussion taking place. Although some teachers communicated with each of the groups in turn, I felt learning was collaborative, enabling students to appreciate peer perspectives and understand reasoning behind different viewpoints, Joyce et al (cited in Raman (2009:79). Throughout one class a build up of movement was supported by the principles of ‘art and science’ with descriptions such as ‘fall and rebound’, Stanton (2011:94). This approach en- ables dancers to notice and feel movements without codified instruction or reference to any other technique. Similarly, in a Graham based contemporary class, although recognised as a codified technique, the teacher tended to communicate accurate anatomical descriptions, dynamic qualities and principles of ballet as a means to build the technique. I felt this demonstrated strong kinaesthetic learning through skeletal and muscular relationships, Quin et al (2015:30) with strong elements of transferable knowledge. Another teacher spoke about the process of learning through codified vocabulary by explaining ’dancers should not run before they can walk’. When construct- ing a process of repeating known vocabulary it is important to pay on-going attention to description, principles and exploration tasks to enable the student to analyse and build on their learning. It could be thought of as inevitable that dancers execute movements through the communication of vocabulary. Therefore, instructions that promote critical thinking, self-discovery and frequent use of discussion enable a positive impact on learning, Warburton (cited in Raman 2009:78). 

‘Physical work is a journey which is accompanied by connections with thoughts, sensations and questions which are not easily labelled or indeed receptive to articulation in language’ Rafferty & Stanton (2017:196-197). 

Repetition and development 

Repetition in dance terms is the reiteration of particular movements in order to improve their execution, Quin et al (2015). In each class, repetition was used as a means for retaining a movement or constructing a phrase, and in many cases I observed similar variations of my own practice whereby the process of layering, exploring, discussing, repeating and building enables dancers to make their own artistic choices. When asking teachers how they viewed retention, responses that included use of repetition and development were varied: 

‘Retention is achieved by building and repeating a step. I always expect students to reverse an exercise and don't feed them too much. There has to be some independent learning’
Dale* 22.2.19 

‘We look at different angles of a technique. One week I may concentrate on breath. I start with one thing and develop it. They are all things that lead to technique’. Nell*8.3.19 

‘They work on their own and repeat a movement for a minimum of eight times, it could be more. Repetition breaks down or builds a technique’.
Ella*28.2.19 

In acknowledgement to these views and observations, a statement by Stanton (2011:89) suggests ‘repetition is an inherent feature of learning any movement skill, and in dance ‘this has to go further than mere mechanics’. Repetition could be seen as contributing to the vigour of a dance class and is essential for building stamina, flexibility and strength. However a teacher should recognise the point where repetition causes fatigue. According to Ives (cited in Quin et al 2015:115), ‘effective practice is not about repetition after repetition until perfect’. Perhaps to consider when dancers show signs of fatigue, teaching strategies that incorporate discussion and observation, Quin et al (2015:116) could take place to generate an equally beneficial learning experience. 

Tasks 

Akinleye and Payne (2016:148) explain by ‘doing feedback, communication and critical thinking, dance technique will manifest’. They talk about the value of integrating task work in pairs or groups through exploring, reversing, developing and analysing given exercises. According to Stanton, (2011:87) ‘laboratory’ type settings encourage students to find ‘interconnections’ between ‘doing, observing and verbalising’ in pairs or groups. During a small number of observations teachers were actively involved in the tasks; far removed from authoritarian teaching methods that Akinleye &Payne (2016:146) talk about, where the teacher is hierarchically positioned as the source of knowledge or ‘the only person who knows the answers’, Harrison (cited in Raman 2009:78). In some classes, teachers worked with separate groups and observed from different positions, or used intervention appropriate for each individual learner, Stanton (2011:94). On occasions a hands-on approach was used to adjust alignments, which in most cases is appropriate for safe dance practice. Interestingly, some students replicated the hands-on intervention whilst others gathered around the student and teacher while discussion took place. I felt a sense of autonomy was evident in all of the above situations, although in some classes dialogue and spontaneous task work of this nature happened less frequently. 

Although peer observation tasks were evident in Tara’s* class, dialogue was discouraged in order for students to ‘maintain focus’. They worked independently, exploring and practicing material whilst others performed in groups. In acknowledgement to Akinleye & Payne (2016:144) who raised my awareness about ‘hushed’ spaces ‘where the teacher directs students’, I consider that on occasions a quiet environment can avoid distraction, enabling focus and concentration. In relation to the development of my practice, discussion plays a vital part in exploration and tasks. How- ever, I accept that what works in one class does not always work in another. Although Tara* en- couraged a quiet learning environment throughout, it was evident progress was achieved through formative methods of feedback. In most classes, teachers communicated the idea of using one’s ‘own artistic licence’ or gave suggestions to ‘incorporate dynamics and artistry’ which I felt were interesting analogies for skill acquisition. However, I felt the time frame offered for students to ex- plore these elements could have been extended to accommodate tasks and feedback. Also to consider was the fact some classes were shorter in length than others. 

Use of Mirrors 

According to Quin et al (2015) the use of mirrors reinforce alignment and may initially be helpful for beginners, but it is more important for dancers to learn how correct alignment or movement feels. During most observations, students faced mirrors throughout the class. In comparison, other stu- dents used them occasionally as a resource to observe alignment. What struck me in two classes, were teacher’s instructions to rotate lines which enabled students to work at the front. It was ap- parent that some students were fixated on themselves or their peers throughout the learning and 

demonstration of exercises. It led me to question, what if the mirror was not there? Since reflecting on my personal pedagogy and conducting the research, it could be said they are relied on for ‘copying’. Although I agree mirrors can be useful for alignment observation tasks and suchlike, I feel mirrors can potentially suppress consciousness, hinder retention and promote mindless performance. I have also become increasingly aware of the impact they can have on a dancer’s learn- ing; particularly as Hanna (2008:19) suggests, there are two ways in which a human can be viewed, by themselves from the ‘inside-out’ (a first person viewpoint) and from another person from the ‘outside-in’ (a third person viewpoint). His theory also led me to consider; by using a mirror a person can view themselves visually from the ‘outside-in’ which I feel can potentially dissolve so- matic awareness. 

Through such interpretations and research into the theory of Hanna (1988) and Fortin et al (2002), I have established new perspectives on mirror usage and people’s perception of the body in space. In some observations I felt they interfered with student’s performance, for example by failing to maintain the position of the head and eye-line. Some students tended to divert their focus towards the mirror during fast paced travelling combinations in pursuit of seeing how a movement looked as opposed to experiencing how it felt. Since discouraging mirror use in my own practice, which I may add is challenging when surrounded by them, I have re-connected with the notion of intrinsic learning, by sensing movement from the ‘inside-out’. As a valuable practice method we could in- crease the use of video playback as it enables students to observe, evaluate and focus on their own movement without the interference of actually doing it. By looking at dancers through an em- bodied perspective, they should be ‘critically thinking and analysing’ as they move, Akinleye & Payne, (2016:147). Therefore, why add pressure and interference by encouraging constant use of a mirror? 

Imagery and visualisation 

According to Heiland & Rovetti (2012:144) an individual’s personal and somatic history plays a factor in how many images are perceived and embodied. It was evident in most classes that imagery was used occasionally to convey specific movement sensations. Sarah’s* simple but effective methods, for example ‘standing in sand’ to sense a floor connection, ‘focus on the horizon’ to enhance projection and ‘move through syrup’ to sense tension, all resonated closely with my practice.On occasions I observed notable differences in how movements or phrases were performed prior to and after a cue was given. Forms of visualisation arose from the idea of dance costume, where females were asked in Will’s* class to imagine wearing a dress as an ‘extension of the movement’. In Dales* class, the idea of a tutu was utilised to enable space under the dancer’s arms. However, in any situation like this, imagery cues may or may not be effective for learners depending on their individual differences in imagery ability, imagery usage and learning styles. The images them- selves consist of variables dependent on the individual, Boles & Chadfield (2011:7). Therefore, perhaps learning could be enhanced if a tutu or wrap skirt was worn in certain sections of the classes with the aim to actualise the sensation, thus retaining the movement more effectively. An- other interesting topic of imagery emerged from discussion with Nell*. She spoke about a practitioner who offered a visualisation in the effort to develop a movement. Her argument suggested that some students failed to understand what the visualisation meant having never experienced the sensation. Although imagery can be used in many forms, it is also important to consider that im- ages should also be ‘based on a solid anatomical and bio-mechanical foundation so as not to in- duce incorrect movement patterns or strategies’, Quin et al (2015). Therefore, we need to work in- clusively by considering prior learning and to apply methods of imagery in a way that identifies with everyone. 

Transference of knowledge 

According to Fortin et al (2002:160), ‘transfer refers to the uses of knowledge, skills or competencies acquired in a previous context, being applied to a new or different context’. Ballet technique for example, can be viewed as the universal ‘Esperanto for dance’, Bales & Nettl-Fiol (2008:74) and interestingly it was defined by some participants during interview as the ‘foundation’ or ‘main tool’ for dance education. Although this has challenged my perceptions, I agree that ballet, like jazz and Cunningham technique for example, trains vertical alignment, speed, strength, leg /pelvis interaction, use of the back, development of turn-out and so on, Bales & Nettl-Fiol (2008:79). How- ever, it could still be said one technique does not always compliment another if the skill acquisition and understanding is not present. Far too often have I seen final year dancers in my contemporary class executing movements as a ballet dancer. I am not alone with this thought as Ella*, also a contemporary teacher expressed her frustration during her interview by revealing she reaches a point where students ‘get it’, then when performing her work ‘they do it as a jazz dancer’. She explained that ‘we are working against the current’, which could easily be said in any reverse situation with any genre. Frustrations like this raise my ongoing questions about adaptability. According to Fortin et al (2002:160), cognitive processes of transfer involve a continuum of retention-integration-transfer, retention and integration being necessary conditions for occurrence of transfer. Could we be more conscious about how students retain and recall their knowledge and consider the amount of time we allow in class for processing? 

In some classes teachers made reference to other genres as a strategy to stimulate thought and cohesion. On one occasion a teacher made an insightful and innovative link to an exercise from another genre/class. However, I was aware that the particular exercise had not yet been covered. Although transfer of knowledge from one genre to another can develop versatility, we must ensure we relate our practice carefully. Multi-disciplinary dance training is complex in terms of preparing a dancer to apply their skills in a variety of contexts, Rafferty & Stanton (2017:192). As professionally trained dancers and teachers who practice on such programmes, I feel we should continue to glean and exchange information through colleague discussion and observation in the hope to further update and understand the similarities and differences between each discipline. 

Throughout my analysis, I have viewed the fundamentals of dance training through an embodied perspective. A somatic approach to pedagogy encourages the dancer to gain an individual sense of ownership, allowing artistic and technical growth. Andersen (2017:2). Therefore, in a developing industry that is producing increased amounts of hybrid dance forms and choreography, the volume of knowledge and skill-sets that dancers are required to hold constitutes for ongoing research and development. Which ever way people view cross-genre, multi-disciplinary or eclectic dance training and performance, we should encourage sufficient somatic awareness and psychological wellness, Rafferty & Stanton (2017:193) to enable an effective union of learning methods. 

‘Training dancers across the board as working in an emotional, psychophysically transformational medium, not only related to manipulation of physical forms and kinaesthetic energy; training in experiential techniques with mindfulness/awareness techniques at their core allowing for a shift to somatic view; and articulating a more sophisticated relationship to creative process with is accompanied by a more inclusive aesthetic would go a long way...’ 

Beavers (cited in Bales & Nettl-Fiol 2008:132). 

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