DANCE EDUCATION IN AUSTRALIAN SCHOOLS
14–15 April 2011 Report
Introduction
In partnership with Ausdance NSW and the Sydney Opera House, Ausdance National
convened the third national Dance Education in Australian Schools roundable in April
2011. With dance firmly embedded in the new Australian Curriculum, it was decided to
open the first day of the this roundtable to a wider group of dance educators so that
current information could be shared more broadly. Dance educator David Spurgeon
facilitated the process, and speakers were chosen on the basis of their leadership and
educational expertise, and their broad knowledge of the current situation for dance in
Australian schools.
Day one overview
The morning session speakers – Linda Lorenza from the Australian Curriculum,
Assessment and Reporting Authority (ACARA) and Jeff Meiners, dance writer for the
Draft Shape Paper: The Arts – provided an overview of feedback from the dance
community and a window into the future of the Arts in the Australian Curriculum. Linda
covered the processes already undertaken by ACARA to consult with the education
community and noted that the Australian Curriculum Connect project will link
State/Territory digital resources to support the teaching of the curriculum; she urged
everyone to subscribe to the ACARA updates for further information.
Jeff contextualised the current situation for dance in schools, noting the leadership
and advocacy work of Ausdance both with the National Advocates for Arts Education
to have dance included in the proposed Arts curriculum, and with the Australia Council
in producing Dance Plan 2012, which includes the ambition: ‘Dance to be an integral
part of every young person’s education’. He acknowledged that the 2005 DEAS
Forum had provided useful information for writing the Draft Shape paper dance
component.
Jeff then focused on some aspects of the dance feedback and asked for a response
from the DEAS participants. There was lively discussion about the use of common
language for the strand organisers (generating, realizing, responding), consistency of
language across the paper and the use of more dance-specific language, notation
(can that mean documentation of any kind?), ‘listening’ (what does it refer to?),
expectations of learning in Foundation-2 (are they too high, too low?), the grouping of
bands 3-8 in the primary school (should they be split into two-year bands?), and the
minimum hours suggested (currently listed as a 160-hour entitlement for every child
per art form across each two-year band).
Jeff also focused on teacher education, resourcing the new curriculum, and
assessment and reporting. He noted that ACARA had assured the writers that the
strand organisers would not be used for achievement standards, but that there will be
2very specific art form achievement standards so that the individual identities of each
art form are maintained. He also noted the joint dance and the Child international
(daCi) and World Dance Alliance conference to be held in Taiwan in July 2012.
The afternoon session (Dr Katrina Rank, education and training manager, Ausdance
Victoria, and Helen Cameron, education consultant for The Australian Ballet) focused
on professional development, artists in schools, the training of artist-teachers, the
value of dance in the curriculum, and appropriate learning in the primary school.
Speakers on day one have provided their presentations for further reference.
Day two overview On the second day a smaller group of educators worked together in State and
Territory groups to provide more specific feedback on the Shape Paper and to
develop recommendations for action. Linda Lorenza was also in attendance to provide
further information and to hear and respond to any concerns.
David Spurgeon acknowledged the excellent dance curricula already in existence
across all jurisdictions. He congratulated those present on their important work and
noted that it would be built upon in the new Australian Curriculum process. He then
cited several Draft Shape Paper issues that had arisen the previous day: strand
organisers, time allocation, language, notation, and the role of technique. He invited
each State and Territory to discuss and then respond to these and other critical issues
in dance education.
Draft Shape Paper: The Arts – DEAS feedback
• Excellent outcome for the Arts to be in Phase 2 of the Australian Curriculum,
the result of a concerted effort by the National Advocates for Arts Education
(NAAE) and others. Concern expressed that Phase 1 was being seen in some
States as ‘more important’ than Phase 2. Linda noted that all are considered
equal by ACARA.
• Five art forms, or group as Visual and Performing Arts (as cited in the 2008
Melbourne Declaration)? There was unanimous support for development of
curricula in all five art forms, rather than for grouping under Visual and
Performing Arts.
• Minimum hours: The majority wanted the minimum entitlement of 160 hours
left in the Shape Paper, as it indicates that dance must be taught, and also
represents great improvement in dance education entitlement for every child
from F-8. There was concern that some advocates are reducing indicative
hours for minimum entitlement to 21 minutes per week for each art form, but
agreement from dance educators that this was a redundant interpretation.
Those schools offering more hours will continue to do so, but those that do not
offer all five art forms would now be required to do so. Examples were given of
delivery possibilities such as cluster schools working together, blocks of
concentrated learning each year, partnerships with artists etc., and agreement
that ‘it was time for a whole new look at the way courses are delivered in the
21st century’.
• Strand organisers (generating, realizing, responding): There was a mixed
response to these terms for dance, with strong support for the notion ‘that they
don’t relate to dance’. However, some primary school teachers noted that it is
useful to have common and generic language for the organisers when a
teacher is required to teach all five art forms, as it provides unifying principles.
• Bands, years 3-8: Participants strongly supported recommendations to ACARA
to divide the bands into two-year sections: Years 3-4, 5-6, 7-8.
• Contexts: It was agreed that social, historical and cultural contexts were not
sufficiently well foregrounded in the Shape Paper.
• Language: There was strong support for the use of dance-specific language
throughout the dance curriculum, but it was also noted that the language
across the document needed to be more consistent.
• Technique: There was discussion around technical skills and whether they
should be more heavily emphasised in the Shape Paper. It was agreed that
‘pre-technique’ skills such as alignment, balance, simple coordination and safe
dance principles should be taught in the primary school, and that more
advanced technical skills should be taught developmentally and sequentially in
the secondary school. However, technique is also a tool for dance expression
and should not be the only focus.
• Safe Dance: It was agreed that this is an extremely important issue that needs
to be emphasised throughout the dance curriculum, and in teacher education
courses. There is an expectation from television shows of a ‘wow’ factor (So
You Think You Can Dance etc.), that all will be possible with a few lessons.
The Federal Government’s BER had recently produced some excellent new,
safe spaces for dance in Australian schools, but there were still many without
safe environments for dance.
• Indigenous dance culture must be more strongly represented in the rationale
and be at the forefront of the curriculum. Australian students have a unique
and rich opportunity to engage in traditional and contemporary Aboriginal and
Torres Strait Island dance history and culture, unique to this country.
• Notation: The meeting agreed that if notation meant documentation in various
forms (rather than formal Benesh or Laban notation), then it should be defined.
However, one participant noted that it should only be there if it was essential or
core, otherwise it should be deleted.
• ‘Listening’ had been suggested for inclusion in the dance section of the Shape
Paper. Most DEAS participants did not understand this feedback, citing
‘listening’ as integral to all learning. However there was a suggestion that
‘listening’ could be interpreted as listening to your body to help understand
stillness, silence, rhythms etc. If ‘listening’ is included in the Shape Paper it
should be defined.
• Glossary: A video glossary was suggested, with unanimous support. Include
copyright and OH&S issues.
Australian Curriculum – implementation issues
• Quality training for teachers: It was noted that there has been a reduction in
dance education training for generalist and specialist teachers in the university
sector, an issue that must be addressed, particularly for primary school
teachers. For instance, the Bachelor of Dance Education degree course at the
University of NSW has been discontinued. Josephine Wise from the Australian
Institute for Teaching and School Leadership (AITSL) drew attention to the
new Standards and Procedures for the Accreditation of initial teacher
education programs in Australia.
• Teacher PD: There are many drama and PE teachers teaching dance –
different levels of PD are needed, with a particular need to upskill independent
and private school teachers. Several PD non-arts examples were cited,
including Languages, where high schools support local primary school feeders,
and the Arts Scope and Sequence information released by the Asia Education
Foundation, which includes professional learning guidelines and would provide
a good template for arts educators.
• Resources: There was considerable discussion about the ways in which
resources might be developed and distributed, and what could be done
nationally. The potential of the NBN was canvassed and there was agreement
that web-based resources would be one of the key drivers. ACARA was
developing its Australian Curriculum Connect website which will link
State/Territory digital resources to support the teaching of the curriculum.
Ausdance has long-term plans for developing interactive resources via the
NBN, in partnership with other organisations and institutions with expertise in
this area. Primary Connections (a science resource) was cited as an example
of the NAAE’s current focus. Less expensive alternatives were also discussed,
and advice provided by the Independent Schools representative that
Education Services Australia (ESA) could be a partner in developing arts
resources.
• Research: There needs to be stronger links with schools working with arts
practitioners, and more research about how dance and the arts can contribute
to other learnings and the development of children. Dance needs to
demonstrate how it contributes to mental health, engagement and school
attendance, literacy outcomes, embodied learning, etc. Politicians are often
more interested in instrumental learning outcomes.
• Design: WA had difficulty with the exclusion of design from the Arts Shape
Paper. Linda Lorenza noted that the Melbourne Declaration had detailed 14
learning areas, not all of which had been included, but anything jurisdictions
currently offer will remain. The Australian Curriculum is there to provide basic
entitlement for all. Nothing is being taken away – it’s about building.
• Some Ausdance offices have a dance educators’ network, and it was
recommended that all branches build one to encourage resource and
information sharing and expertise.
ACARA response
Linda Lorenza responded by reassuring the group that all feedback received in the
consultation process had been read and considered and is part of the analysis. Each
State and Territory has been thoroughly represented and even though dance
respondents were a small proportion overall, their opinions are important. She noted
that all concerns expressed at DEAS had already been heard, so messages are
getting through. She also noted that teacher training and resourcing were
implementation issues that go back to States and Territories – the information has
been passed on as part of an ongoing discussion; funding allocation has been
devolved by the Federal Government to jurisdictions. Safe Dance is a huge issue and
Linda especially appreciated that discussion and how much needs to be documented
– it must also be addressed in teacher training. The Australian Curriculum is about
basic entitlement, F-8 – there will be curriculum written for 9-12; if states are already
offering subjects that are not there, they can be built upon. The next phase of the
process is:
• Production of a consultation report
• Report sent to advisory group who will develop proposed actions
• Roll-out for consultation in all States and Territories.
The role of advocacy organisations
Australia Council for the Arts: Frank Panucci (Director, Community Partnerships):
• The Australia Council has always had an interest in arts education. It used to
fund artists in schools, but withdrew when it was considered to be a
State/Territory responsibility.
• Arts education has also been seen as broader audience development tool, but
Australia Council support is providing more of a support system for curriculum.
Performing arts companies are now supporting the Australian curriculum,
rather than focusing on audience development.
• The Australia Council was instrumental in getting the arts and education
ministers to agree to the National Education and the Arts Statement which
became the basis for setting up a national curriculum, and has been the
cornerstone of the Australia Council’s arts education strategy, to be reviewed
next year. The Council has a close relationship with ACARA – its submission
to the Shape Paper is on its website.
• He acknowledged the work done by the sector to ensure that the arts are a
core subject in the Australian Curriculum.
• The Artists in Residence (AIR) program was allocated $5.2m over three years
and responsibility given to the Australia Council to negotiate partnerships in
each jurisdiction. The program does not support a one-off artist’s visit, but sets
a minimum number of contact hours with an indication of continuing contact
after the project is completed.
• Research by the Song Room has been published, looking at students who
participated in their programs over 6, 12 and 18 months. It showed that these
students’ NAPLAN results were one year ahead of those who had not
participated in the program.
• The Australia Council’s art form boards all have a particular interest in practice.
Implementation of the school curriculum is one aspect, but is part of an organic
whole, and the arts sector is part of those conversations.
• All research shows that pre-service training is inadequate – there should be
national competency standards for teachers to ensure that the arts are a core
part of teacher training.
• The Australia Council is interested in where the artist is situated, and how they
can be skilled up to work in collaboration with teachers and schools.
• Development of a ‘creativity index’ for schools is being trialled by Scotland, a
possible model for measuring growth in the Australian economy.
• The NBN has potential for the arts, along with health, education and service
delivery, as noted recently by the Federal Arts Minister who is committed to the
importance of the arts and arts in education.
• The Government is also committed to a national cultural policy with a wholeof-
government approach, another opportunity for arts education to reinforce its
role in our culture.
• It’s important to build on what we have and to be part of those conversations.
The Australian Dance Council – Ausdance: Julie Dyson (National Director):
• Ausdance’s brief is broad, as set out in 1977 by its founders, all of whom were
high profile artists and educators.
• It has a national office in Canberra (for policy development, national programs
and advocacy) and a network of seven State/Territory funded offices which
focuses on local issues. The programs of Ausdance National and the network
combine to offer an integrated service to members.
• Ausdance National’s advocacy programs work at four levels:
o Political (e.g. submission to national cultural policy)
o Partnerships (e.g. National Library of Australia, Australian Sports
Commission)
o Alliances (e.g. National Advocates for Arts Education, ArtsPeak)
o International (e.g. World Dance Alliance).
• Education programs and advocacy:
o Invented term ‘Safe Dance’ in 1989.
o Commissioned three Safe Dance Reports (1990, 1997, 1998), and
found that 52% of professional dancers had sustained a chronic injury
by the age of 18.
o Consequently developed (with teaching societies) Australian
Guidelines for Dance Teachers and a Code of Ethics for dance
teachers.
o Concurrently developed Interim Competency Standards for Dance
Teachers.
o Established the Australian Youth Dance Festival (1997, 1991, 2001,
2004, 2006, 2009).
o Established the Dance Education in Australian Schools (DEAS)
roundtables (2001, 2005, 2011).
o Commissioned Helen Cameron to research provision of dance
education in Australian schools for the Schooldance project (2005)
o Ensured that a dance module was written for the Australian Sports
Commission’s Active After Schools Communities Program (with Helen
Cameron).
o Co-hosted (with The Australian Ballet School and the ASC) the 2007
International Association for Dance Medicine and Science conference
at the Institute of Sport in Canberra.
o With Ausdance Victoria (an RTO) developed the Ausdance Skill Set for
Teaching Dance (for artists and community dance workers).
o Partnered with the Australia Council to produce Dance Plan 2012, with
a particular ‘ambition’ for dance education.
o Chaired the National Project Reference Group for SkillsHub in their
process of writing new National Dance Qualifications for VET.
o Chaired the National Advocates for Arts Education and spearheaded its
campaign to have the arts included in Phase 2 of the Australian
Curriculum.
o Made a written submission to the Federal Government’s cultural policy
development, seeking a whole-of-government approach.
o Now exploring the potential of the NBN for the future delivery of
professional development for teachers and career development
programs for artists.
o Set up e-group of dance educators to maintain ongoing information
flow and support for the sector.
National Advocates for Arts Education: Julie Dyson (Chair, NAAE):
• Originally formed in 1989 in response to the Federal Government’s National
Arts in Australian Schools (NAAS) project, which had commissioned ‘position
papers’ from each art form association.
• Successfully fought for five art forms in the National Statements and Profiles,
produced in 1994.
• Received federal funding from 1994-96 to produce arts education research
and publications; funding lost with Howard Government, but organisation
continued to make submissions and advocate for the arts in education with a
united voice.
• Successfully rebranded NAAE and included two new organisations, the
National Association for the Visual Arts and the Music Council of Australia, as
well as five art form school-based associations (2008).
• Played a central role in ensuring that the Arts were included in Phase 2 of the
Australian Curriculum.
• Met frequently with ACARA before and after their inclusion in Phase 2.
• Organised two advocacy days in Canberra with Ministers Garrett, Kim Carr
and Julia Gillard and their advisers (2008)
• Lobbied via media releases, letters to politicians and personal representation.
• Arts finally included in April 2009 at a national meeting of State/Territory
Education Ministers.
• Fought for five art forms to be equally included.
• Continues to advocate now for the implementation phase of the Australian
Curriculum, including improved teacher education, professional development
and new resources.
• Some members included in an advisory capacity as ACARA begins the
development phase of the Australian Curriculum.
Conclusion.
These overviews concluded the third DEAS roundtable. David Spurgeon thanked the
speakers for both days, the participants for their attendance, and the Sydney Opera
House for the use of the Utzon Room and technical support. He also thanked
Ausdance National and Ausdance NSW for their facilitating role.
Julie Dyson thanked David for his expertise in facilitating the DEAS roundtable and
noted that a report would be published online after Easter.
The meeting concluded at 1pm.
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120 BIRDS