What can dance science specialists contribute
to the university dancer’s training?

Dance Kinesiology Special Interest Group Discussion
International Association for Dance Medicine and Science Annual Meeting
San Francisco, California
October 2004

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In the 1990s, as part of her dissertation research at Temple University, Marita Cardinal surveyed professionals in university dance programs to get an estimate of what is being done in and around the dance curriculum to help dancers stay healthy (Cardinal & Hilsendager, 1995, 1997).

During a mini-conference of Dance Kinesiology teachers at the University of Utah in May 2003, Kitty Daniels and Carla Corrado outlined their efforts to integrate science and somatics into the Dance curriculum at Cornish College in the state of Washington, where they teach (Daniels & Corrado, 2003).

The purpose of this discussion was to think through what dance science specialists can offer to dancers to help them remain healthy and to expand their movement potential.

Dance Kinesiology teachers received an invitation to send their thoughts on this issue via email. Responses submitted in advance were duplicated and distributed to the discussion participants. Click on the link below to read submitted responses for which we have permission to publish on this website:

Dance Kinesiology Responses

Discussion Summary

Lisa Shoaf and Judy Steele, Virginia Commonwealth University: Foundation knowledge in terms of the sciences…Integration is the focus as well as the ability to self-advocate, and self-manage. Embed through the curriculum. Integrate with other faculty. We need to deal with the invincibility myth to see the long term effects.

Kista Tucker, Sam Houston State University: integration with technique is possible when the same person teaches the kines and technique courses. Students need to be taught to take responsibility for themselves. Kines is a tool to help achieve a better artistic statement. We are making progress in being more healthy and artistic.

Is it about aesthetics or functionality? Dialogue can help.

Still in a process of getting all faculty on board. Students are encouraged to ask/challenge.

Maureen O’Rourke, New World School of the Arts: If not approached carefully, some technique teachers will resent our involvement with dancers. Allow the students to see the potentials, then students have to make those choices, but not to the point of hypochondria. Getting the faculty to come to the body alignment and kines classes has been helpful. Hard to change those who have been dancing since age five… we need to make the change desirable to pursue.

Jan Dunn, Colorado: Takes time, but has had success with students.

Janet Karin, Australian Ballet School: In our case, a PT solves problems with the student, then faculty pay attention and become willing to learn. By taking the attitude, “We’re all still learning…,” rather than being seen as contradicting the, we have found success.

Donna Krasnow, York University: Developing students whose self-worth is determined from themselves and not external is needed. Not trained in the studios, then grading process is in conflict with this concept. Even when they know that they would like to change, it is really important to understand how long repatterning takes. What is beauty? It is not an absolute.

Margot Ritjven, The Theatre School, Amsterdam: Directors also need to take responsibility. “We are proud of you…” and provide a special opportunity to share with colleagues.

Carla Corrado, Cornish Institute: How do you make students more responsible for themselves? We approach it with the attitude that “We’re going to enhance what you’ve come with.”

Shaw Bronner, Long Island University: Dance screen was a great way to start an interdisciplinary dialogue. Faculty participated in dance screen and started to learn terminology, etc. We need to ask, “Who is the pinnacle role model? Is it realistic?”

Karen Potter, currently Case Western Reserve University, formerly at Long Island University: Faculty were required to participate in the dance wellness screen at LIU.

Anne Levens, Boston Conservatory: Aesthetic vs. biomechanical correctness needs to be addressed. Get the faculty into treatment the treatment process. How do you bring University dancer to professional level if they cannot do what is expected?

Donna Krasnow: Attitude of the director is huge. In Australia, part-timers were paid to attend an inservice to emphasize the importance of the information.

Gayanne Grossman, Muhlenberg University & Temple University: Information is often framed in a negative way. If you can frame from a positive way, it will help…don’t make the technique teachers mad at you. How can we sell the material in a better way? Need to measure to get a definitive number for turnout. Then you need to ask, “What do you want to do with this information?”

Tom Welsh, Florida State University: There are different ways of knowing. If you think about it the right way, you can come up with a scientific way of explaining what the technique teacher is doing. May have a stylistic bias…but may trade for function….choose what is better for their body…

Physical Therapist from Long Island University (sorry, did not get name—please identify yourself): PTs go into the teacher’s world. That strengthens the relationship. Once you develop the rapport, miraculous things can happen—one on one. Invite faculty to attend the student appointment.

Pam Musil, Brigham Young University: Empowering the students to decide what they can and can’t do…Teach them that they need to ask the teacher when something is painful.

Gary Galbraith, Case Western Reserve University: Need to promote accountability for student taking care of self using resources available.

Elena Estanol, University of Utah: Equip student with as much information as possible. Why is being pretty all the time so important? Teach them to accept themselves for their own strengths.

Katie Ewalt, San Diego Ballet: We are educating the directors of the future. Make sure the dancers are getting the info.

Rene Baum, ?? Community College in CA: University is not a trade school. It is for educating.

Judy Chitwood, Northern Illinois University: We need to emphasize the importance of cross-training to enhance performance. Students don’t understand the importance of it or rest.

References

Cardinal, Marita. K., & Hilsendager, S. A. (1995). Incorporating dance wellness-related components into higher education dance programs. Impulse, 3, 238-248.

Cardinal, Marita. K., & Hilsendager, S. A. (1997). A curricular model for dance wellness education in higher education dance programs. Journal of Dance Medicine & Science, 1(2), 67-72.

Daniels, Kitty & Corrado, Carla (2003). Tools for Technique: Discussion of curricular approaches to integrating dance science. Presentation and discussion at the Dance Kinesiology Teachers’ Conference, University of Utah, Salt Lake City (May).

Fitt, Sally S. (1996). Dance Kinesiology. New York: Schirmer.

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