Critical Dance Pedagogy through Discourse and Practice
Lead Research Organisation:
Canterbury Christ Church University
Department Name: School of Creative Arts and Industries
Abstract
This 18-month, international networking project aims to bring together dance educators, researchers, industry stakeholders, and artists from UK, Nordic countries and US, to raise the profile and status of dance education and to exchange ideas on the topic of Critical Dance Pedagogy. Through discourse (four hybrid seminar-workshops) and in practice (Artist Lab), the Critical Dance Pedagogy network seeks to examine taken-for-granted assumptions, dominant stereotypes, educational and studio structures that (re)produce hierarchies of positions and capitals, barriers and exclusions, and social inequalities, Together participants in the network will examine widening access and participation, student-artist-centred learning and democratic practices in dance education, for greater diversity and inclusion. The network will particularly focus on pedagogy within secondary, further and higher education, and will examine complexities and enablers of democratic working. The significant, complex, embodied issues will be at the core of the discussions, debate, artist development at the Artist Lab, and in the academic, industry-facing and public-facing outputs.
Through a series of four, hybrid seminar-workshops, the network will establish opportunities for new scholarly discourse and UK and international connections on the topic of Critical Dance Pedagogy. Key themes will be explored from different disciplinary lenses and methodologies (e.g. sociology, gender, queer, race theory, philosophy, learning theories) and international/cultural perspectives. Each of the seminar-workshops will host 50 participants and will take place across the UK and hybrid to enable global and wide UK access. The seminar-workshops are as follows:
1.Intertextualities and Identities to take place at Canterbury Christ Church University (CCCU) Speakers:Dr Nyama McCarthy-Brown, (Ohio State University, US), Dr Funmi Adewole (De Montford University, UK), Ash Mukherjee (UK).
2.Equality, Diversity and Inclusion to take place at University of Coventry (UoC) Speakers:Dr Ali Duffy (Texas Tech University, US).Sophie Rebecca, (UK), Dr Kathryn Stamp (Co-I, UoC).
3.Pedagogy(ies) and Practices to take place at University of Edinburgh (UoE) Speakers: Professor Eeva Antilla, (University of Arts, Finland), Stuart Waters (UK), Dr Wendy Timmons (UoE).
4.Leadership and futures to take place at Queen's University Belfast (QUB) Speakers: Professor Rosemary Martin (Nord University, Norway), Dr Aoife McCarthy (QMB), Professor Angela Pickard (PI, CCCU).
The network will also connect with leading dance industry organisations at the forefront of sector and policy research related to dance education: One Dance UK, People Dancing, Dance HE, South East Dance, Parable Dance, Parents and Carers in Performing Arts (PiPA), Advancing Women's Aspirations in Dance (AWA), Dance Mama, to ensure the benefits of the network and research are beyond academia, and dance sector voices are fully integrated. The network will also explore student-artist-centred learning, pedagogy and practice in an Artist Lab facilitated by Stuart Waters (a teaching artist with multifaceted intertextualities).
The range of outputs and dissemination have potential to reach and benefit widely across public, academic, educator, and industry audiences in the UK and internationally. There will be one public-facing: a film for public engagement and response of learnings/practices as student-responsive pedagogy from the Artist Lab, two academic: special issue of a journal and book proposal, and two industry-facing: summary report and infographic, that will support future scholarly research, professional dance education/training, artistic/performance practices, and policy development. The network has potential to impact thinking, policy and practice within dance education contexts to facilitate a diverse, creative student and artistic workforce.
Through a series of four, hybrid seminar-workshops, the network will establish opportunities for new scholarly discourse and UK and international connections on the topic of Critical Dance Pedagogy. Key themes will be explored from different disciplinary lenses and methodologies (e.g. sociology, gender, queer, race theory, philosophy, learning theories) and international/cultural perspectives. Each of the seminar-workshops will host 50 participants and will take place across the UK and hybrid to enable global and wide UK access. The seminar-workshops are as follows:
1.Intertextualities and Identities to take place at Canterbury Christ Church University (CCCU) Speakers:Dr Nyama McCarthy-Brown, (Ohio State University, US), Dr Funmi Adewole (De Montford University, UK), Ash Mukherjee (UK).
2.Equality, Diversity and Inclusion to take place at University of Coventry (UoC) Speakers:Dr Ali Duffy (Texas Tech University, US).Sophie Rebecca, (UK), Dr Kathryn Stamp (Co-I, UoC).
3.Pedagogy(ies) and Practices to take place at University of Edinburgh (UoE) Speakers: Professor Eeva Antilla, (University of Arts, Finland), Stuart Waters (UK), Dr Wendy Timmons (UoE).
4.Leadership and futures to take place at Queen's University Belfast (QUB) Speakers: Professor Rosemary Martin (Nord University, Norway), Dr Aoife McCarthy (QMB), Professor Angela Pickard (PI, CCCU).
The network will also connect with leading dance industry organisations at the forefront of sector and policy research related to dance education: One Dance UK, People Dancing, Dance HE, South East Dance, Parable Dance, Parents and Carers in Performing Arts (PiPA), Advancing Women's Aspirations in Dance (AWA), Dance Mama, to ensure the benefits of the network and research are beyond academia, and dance sector voices are fully integrated. The network will also explore student-artist-centred learning, pedagogy and practice in an Artist Lab facilitated by Stuart Waters (a teaching artist with multifaceted intertextualities).
The range of outputs and dissemination have potential to reach and benefit widely across public, academic, educator, and industry audiences in the UK and internationally. There will be one public-facing: a film for public engagement and response of learnings/practices as student-responsive pedagogy from the Artist Lab, two academic: special issue of a journal and book proposal, and two industry-facing: summary report and infographic, that will support future scholarly research, professional dance education/training, artistic/performance practices, and policy development. The network has potential to impact thinking, policy and practice within dance education contexts to facilitate a diverse, creative student and artistic workforce.
Organisations
- Canterbury Christ Church University (Lead Research Organisation)
- Nord University (Collaboration, Project Partner)
- Queen's University Belfast (Collaboration)
- UNIVERSITY OF EDINBURGH (Collaboration)
- One Dance UK (Collaboration, Project Partner)
- PiPA (Project Partner)
- Texas Technical University (Project Partner)
- Parable Dance (Project Partner)
- AWA Dance (Project Partner)
- The Ohio State University (Project Partner)
- University of East London (Project Partner)
- People Dancing: Foundation for Community (Project Partner)
- University of the Arts Helsinki (Project Partner)
- South East Dance (Project Partner)
- Dance Mama (Project Partner)
Publications
Pickard, A.
(2025)
Critical Dance Pedagogy through Discourse and Practice
Pickard, A.
(2024)
Critical Dance Pedagogy
| Title | AANDAG! (ATTENTION.) |
| Description | Aandag! (Attention.) is a captivating interdisciplinary work that begins with the maternal lineage, exploring the experiences of younger generations of immigrants to the UK from African, Caribbean, and Latin diasporas. It reflects on the fragmented or dissolved connections to cultural heritages caused by geographic and colonial influences. The work calls us all to attention, inviting us to reimagine and reconnect with our roots, while creating new rites of passage for future generations. Rooted in the choreographer's heritage as a descendant of the indigenous Khoi and San peoples of Southern Africa, Aandag! draws from her Stepping in Situ practice, which is in direct conversation with the Nama Stap Dance-a sacred rite of passage within her lineage. The piece blends fluid hip explorations intentional hand gestures, and earthy foot percussion, reconnecting ancestral movements with contemporary diasporic experiences. Accompanied by live music and storytelling, the work reclaims and reshapes cultural identity.Choreographer: Francesca Matthys Performers and Co-Creators: Georgia Thompson, Nomakhwezi Becker, Patricia Olmo, Manuela Albrecht Musicians and Co-Creators: Pertunia Msani, Michael Mendones Costume Designer: Mia Tongo Mesembe Dramaturg: Ameera Conrad Photographer/Videographer: Bilal Singh Additional Creative Contribution: Xel Ortega, Aisha Katie, Cala Molinos |
| Type Of Art | Performance (Music, Dance, Drama, etc) |
| Year Produced | 2025 |
| Impact | This piece was influenced in the research and development phase of this creation by the Critical Dance Pedagogy artist lab 1 as Francesca Matthys was an teaching artist participating in that lab. The lab enabled her to embrace her cultural heritage(s) and identity and utilise this/these in the work. This was well received at the premiere at the Resolution festival at The Place, London. The work can be utilised in education demonstrating the bridge and application of Critical Dance Pedagogy as an educational but also an artistic tool. |
| URL | https://theplace.org.uk/events/res-25-francesca-matthys-harry-theadora-foster-marie-astrid-mence |
| Title | The Clothes That Wear Us |
| Description | This film was created by one of the teaching artists from the artist lab 1 as a product from her Action Research project: Elena Alava Hilgert. She asks Do We Wear What We Wear? How does our identity shape our fashion choices? How is fashion gendered? Do you dress for others or for yourself? 'The Clothes That Wear Us' is an interdisciplinary arts project that delves into the connections between clothing, identity, and gender. This project unfolded across communities in Southeast London, with workshops hosted at The Albany with the 'Meet Me' and 'Come As You Are' groups, the London LGBTQ+ Centre, and the National Maritime Museum. Participants of all ages have engaged in DIY fashion-making, dance, writing, and personal storytelling, reflecting together on fashion as a form of self-expression. The art work and experiences were shared with the community through an installation hosted at the Albany and Yorkshire Dance. Credits Artistic Director and Lead Facilitator - Elena Alava Hilgert Co-Lead - Sjaan van de Langenberg DIY-Fashion Facilitator - Jess Wear Supporting Artist - Ashley Lim Mentoring and Soundscore - Tom Hobden Access Support and Access Consultant - Katie Serridge Producer - Robyn Holder Dancer - Maya Takeda Videographer - Roswitha Chesher Technical Support - Ayala Donegan and Flora Baltz Assistant Cover - Paddy Webster Supported by the Albany, the London LGBTQ+ Community Centre, Royal Museums Greenwich, Yorkshire Dance, Bijou Stories and Trinity Laban Conservatoire. Funded by Arts Council England. More info about the project! https://linktr.ee/TheClothesThatWearUs |
| Type Of Art | Film/Video/Animation |
| Year Produced | 2025 |
| Impact | This film demonstrates Critical Dance Pedagogy as inclusion through arts with participants with different demographics becoming a community of practice. It discusses gender identity(ies). The work has not be widely distributed yet but can be utilised in many ways (for teaching/education, artistic, wellbeing). |
| URL | https://www.youtube.com/watch?v=F6oh9SnKeuA |
| Title | Vishnu's Got My Back |
| Description | traces the queer experience as seen through the eyes of a first-generation Indian immigrant. Vishnu's Got My Back is part stand-up, part dance with original poetry, songs and anecdotal stories, reliving the coming of age of a femme non-binary person in post-colonial Kolkata, and then as a queer immigrant person of colour in the UKThe show, starring Ash Mukherjee, and featuring original songs, spoken word and choreographed Bharatanatyam segments, premiered at the Birmingham Royal Conservatoire in November 2021 and toured for the Indian Film Festival Live Programme 2022 in London, Leeds and Birmingham. Directed by Jon Edgley Bond with Musical arrangements by Tom Guest |
| Type Of Art | Performance (Music, Dance, Drama, etc) |
| Year Produced | 2024 |
| Impact | Dance artist Ash Mukherjee did research and development to evolve the work to premiere on the evening of the first Critical Dance Pedagogy symposium event. The work was evaluated by the audience and it was positively received. The work speaks to the themes of Critical Dance Pedagogy. |
| URL | https://www.facebook.com/CanterburyFest/posts/heres-some-exciting-news-from-our-friends-and-partner-... |
| Description | This 18-month, international networking project brought together students, dancers, teaching artists, dance educators, researchers, industry stakeholders, and academics from UK, Nordic countries and US, to raise the profile and status of dance education and to exchange ideas on the topic of Critical Dance Pedagogy. Through practice (x2 Artist Labs), and through Discourse (x4 symposium events) the Critical Dance Pedagogy network raised awareness and examined taken-for-granted assumptions, dominant stereotypes, educational and studio structures that (re)produce hierarchies of positions and capitals, barriers and exclusions, and social inequalities, Key findings were that: many people teaching dance (in schools, communities, further education, Higher education and in artistic settings) have not had any teacher training/education so teach as they have been taught and this can perpetuate choices of teaching and learning strategies that exclude rather than include. assumptions were made about the level of subject knowledge in the understanding of critical, dance and pedagogy and it was useful to dig deeper into these terms with the network. Further terms such as intersectionality, and wider meanings associated with gender and race (diaspora) were also useful discussions. It is suggested that a 'glossary of terms' may be developed by the network. the network events as the artist labs and the symposiums were very successful because the participants yearned for connection to others and the development of a community of practice. there was a willingness to evolve pedagogy and practice, to meet the needs of students and dancers who come with embodied and intersectional identity(ies). participants shared assumptions and taken for granted norms and expectations that exist in dance education and training, and these are also connected to power structures. it was useful to learn from others in the US and Nordic countries, particularly in relation to reflective and reflection practices (Nordic practices), and culturally responsive pedagogies (US) and associated complexities. there was evidence of best practices across the UK, of widening access and participation, student-artist-centred learning and democratic practices in dance education, for greater equity, diversity and inclusion and wellbeing. the network is significant, as dance education across different institutions, private, community, organisation and companies is complex, and subject knowledge, and pedagogy is important for access, participation, progression and longevity. These were at the core of the discussions, debate, and artist development at the Artist Labs. even though the network was wide-reaching and included participants from a range of demographics and it many institutions engaged in dance education were at the events, and the hybrid enabled engagement without travel, participants predominately identified as non-disabled, female/women. the network has also revealed the interdisciplinary nature of dance education with many different disciplines engaged such as social sciences and health. key themes and issues were explored from different disciplinary lenses and methodologies (e.g. sociology, gender, queer, race theory, philosophy, learning theories) and international/cultural perspectives. the network also connected with leading dance industry organisations at the forefront of sector and policy research related to dance education: One Dance UK, People Dancing, Dance HE, South East Dance, Parable Dance, Parents and Carers in Performing Arts (PiPA), Advancing Women's Aspirations in Dance (AWA), Dance Mama, to ensure the benefits of the network and research are beyond academia, and dance sector voices are fully integrated. the range of outputs and dissemination have reached and benefited widely across public, academic, educator, and industry audiences in the UK and internationally. the Critical Dance Pedagogy film, infographic and special issue of the journal Research in Dance Education are still in process. |
| Exploitation Route | Due to the structure of the network as established hubs across the UK and international partners, the network has impacted teaching and learning practices within schools, further education, HE and within organisations and companies within the area hubs and via the teaching artists working across institutions and the UK. The leadership from each of those involved (hub leads and the artists as well as the industry partner steering group) has the potential to maintain the momentum and the best practices of the network. The outcomes as the book, an edited collection (to be published in 2025) and the film resource (produced in 2025) will be useful for students, academics, teaching artists, organisations ,companies and policymakers. The best practices will be shared via the video and audio recordings on the website with contacts for people to follow up and learn more. The network has already impacted some thinking, policy and practice change within dance education contexts to facilitate a diverse, creative student and artistic workforce in the short time it has been running and there is more potential. |
| Sectors | Creative Economy Education Culture Heritage Museums and Collections |
| URL | https://www.criticaldancepedagogy.org/ |
| Description | Applied in teaching and learning practices in dance studios, schools, FE and HE institutions and companies via teaching artists who attended the labs, ITT students, participants in the symposium events (e.g. Rambert School (ungendering), New Adventures (culture project), ISTD, NSCD (UG and MA programmes), Parents and Carers in Performing Arts (PiPA), University of Edinburgh (MA programme) Stella Rousman (PGCE,) Dance Suisse). Applied in curriculum development (e.g. Rambert School, University of Edinburgh, Northern School of Contemporary Dance (NSCD), Imperial Society of Teachers of Dance (ISTD)). Applied in artistic practice (e.g. Ash Mukherjee, Francesca Mattys, Elena Alarva Higert) Applied in development of new international networks/groups (e.g Special interest group 'Social Sciences' International Association for Dance, Medicine and Science). |
| First Year Of Impact | 2024 |
| Sector | Creative Economy,Education |
| Impact Types | Cultural Societal |
| Description | Improved professional dance practice |
| Geographic Reach | National |
| Policy Influence Type | Contribution to new or improved professional practice |
| Impact | Workforce development: the Critical Dance Pedagogy network and series of events has improved the educational and skill level of the workforce. For example, 21 teaching dance artists from across the UK, who work with secondary, further education, Higher Education and also create and perform professionally, have evolved their teaching and learning practice and knowledge of Action Research. All of these teaching dance artists had not had any formal teacher training and therefore taught as they had been taught, often perpetuating taken for granted norms and exclusions in dance. Through the artist labs, knowledge transfer and exchange their Action Research projects, they have raised awareness of how some people are excluded rather than included in dance. All have evolved their practices by placing students at the heart of what they do and understanding each student's individuality and embodied identity(ies). The work of the teaching dance artists has impacted approximately 646 young people between the ages of 11-25 years. Further, the symposium events engaged all involved in knowledge exchange, discussions and goal setting and there were several examples where participants shared that they were going to try something new in their practice within the UK and/or internationally. Feedback after the events shared what people had tried and the successes e.g. such as checking in at the start of a dance class changed the confidence levels of the young people the teacher was teaching- the teaching environment became more enabling. Examples of practice change includes implementing non gender specific ballet technique, the culture project raising awareness of cultural backgrounds, neurodiversity, menopause, caring responsibilities, mental health and adoption via features and interviews with members of a dance company, fostering a sense of belonging with adolescents through games in the dance studio to relieve anxiety, Queering New Adventures, raising awareness of 'power' messages in social media, including disability/neurodiversity in the dance studio through utilising non-verbal methods and imagery. |
| Description | Local, regional, national, international reach |
| Geographic Reach | Multiple continents/international |
| Policy Influence Type | Contribution to new or improved professional practice |
| Impact | The wide reach has impacted on workforce development as, via the events, participants have been able to share and engage with best practices, learn about each other, ask questions to improve and evolve their teaching and learning practices and knowledge transfer and exchange. Further, the network has become a supportive hub for all involved. |
| Description | Policy |
| Geographic Reach | National |
| Policy Influence Type | Contribution to new or improved professional practice |
| Impact | Policy changes have impacted on student and dancer wellbeing. This has economic impacts as the students and dancers are happier, healthier, reduced anxiety and this impacts on their engagement, motivation and productivity. Policy changes also work for professional dancers for efficiency (not called for reherasls until needed) longevity in the profession (not pushing body to limits). Through increasing understanding of the negative impacts of for example, body shaming, authoritarian teaching, over- rehearsal and practice, body vulnerabilities in adolescence, pushing the boundaries of the body, ableism, perfectionism, lack of autonomy and belonging, this has led to teachers, lecturers, teaching artists, choreographers, students and dancers realising the potential of teaching differently. By drawing on best practices, all have been able to support and challenge each other. For example the Imperial Society of Teachers of Dance (ISTD) have reviewed all their syllabi to offer a more inclusion examination syllabus that includes those with disabilities, therefore challenging ableism. The ISTD has 60,000 teachers as members across the world so this is a significant change. Another example is Ballet Futures - the Pipeline Project which is raising awareness among young people from the global majority that ballet is for them and theatre spaces are for them, challenging stereotypes in ballet.. |
| Description | Training/educational developments |
| Geographic Reach | National |
| Policy Influence Type | Influenced training of practitioners or researchers |
| Impact | The Initial Teacher Education students were able to gain a strong foundation of inclusive practices. The PhD students were introduced to the underpinning theories. Some Universities and Conservatoires have added Critical Dance Pedagogy into their modules and courses. The research assistant has gained much knowledge about the theoretical underpinnings of Critical Dance Pedagogy. |
| Description | Critical Dance Pedagogy tote bags |
| Amount | £300 (GBP) |
| Organisation | Canterbury Christ Church University |
| Sector | Academic/University |
| Country | United Kingdom |
| Start | 01/2024 |
| End | 03/2025 |
| Description | Internship scheme |
| Amount | £2,000 (GBP) |
| Organisation | Canterbury Christ Church University |
| Sector | Academic/University |
| Country | United Kingdom |
| Start | 03/2024 |
| End | 07/2024 |
| Description | Tadpole fund |
| Amount | £1,000 (GBP) |
| Organisation | Coventry University |
| Sector | Academic/University |
| Country | United Kingdom |
| Start | 03/2025 |
| End | 07/2025 |
| Title | Geographical reach, Employment and Demographics |
| Description | Ethical approval was granted. The dataset for the Critical Dance Pedagogy through Discourse and Practice, has recorded geographical reach, institution/companies, demographics as race/ethnicity, gender, disability, neurodiversity, age, sexuality, and religion and areas/disciplines in which participants work. |
| Type Of Material | Database/Collection of data |
| Year Produced | 2025 |
| Provided To Others? | No |
| Impact | The dataset will be used to write an academic journal article because dance education is wide reaching and of interest as an stand alone, interdisciplinary and applied area. The network appealed to a wide demographic including many people with protected characteristics. |
| Description | Critical Dance Pedagogy Nordic Countries |
| Organisation | Nord University |
| Country | Norway |
| Sector | Academic/University |
| PI Contribution | Keynote at the symposium event. Further discussion and plans for in-person workshops across Nordic countries. |
| Collaborator Contribution | Online symposium event. |
| Impact | Developed consortium group across Nordic countries to develop Critical Dance Pedagogy through Discourse and Practice. |
| Start Year | 2025 |
| Description | Critical Dance Pedagogy UK |
| Organisation | One Dance UK |
| Country | United Kingdom |
| Sector | Charity/Non Profit |
| PI Contribution | Angela Pickard created a resource sheet about Critical Dance Pedagogy for One Dance UK and an update for the dance educator's group. Also supported the review of the national curriculum response. A webinar is planned. |
| Collaborator Contribution | Member of the steering group. Advised on industry relevance. Supported marketing of events. Attended events. Supporting with policy change |
| Impact | Resource sheet, newsletter. |
| Start Year | 2023 |
| Description | Critical Dance Pedagogy UK |
| Organisation | Queen's University Belfast |
| Country | United Kingdom |
| Sector | Academic/University |
| PI Contribution | Network development, knowledge transfer and exchange, practice development |
| Collaborator Contribution | Member of the core planning group. Bringing together discourse and practice from organisations, companies and individuals working across Northern Ireland utilising Critical Dance Pedagogy. |
| Impact | Symposium event |
| Start Year | 2024 |
| Description | Critical Dance Pedagogy UK |
| Organisation | University of Edinburgh |
| Department | Moray House School of Education and Sport |
| Country | United Kingdom |
| Sector | Academic/University |
| PI Contribution | Network development, knowledge transfer and exchange, practice development. |
| Collaborator Contribution | Member of the core planning group. Bringing together interdisciplinary speakers, knowledge transfer and exchange, practice development |
| Impact | Symposium event |
| Start Year | 2024 |
| Description | Artist Lab 1 |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | A group of 15 teaching artists, who work across secondary schools, further and higher education were brought together for a residential two day artist lab in 2024, led by Stuart Waters and Professor Angela Pickard, with guest artists Darren Carr, Bakani Pickup and Sophie Rebecca. The residency engaged the teaching artists in practical and creative learning and reflection around equity, diversity, inclusion and student-centred pedagogy, and they developed their teaching and artistic practice. The residency had a laboratory feel to it, a moving, safe place and professional development opportunity, to experiment, while developing a rich understanding of enabling a student-centred pedagogy. Each of the 15 dance artists then engaged in a year-long Action Research project about their own practice. Two of the teaching artists also created artistic outcomes from their Action Research. |
| Year(s) Of Engagement Activity | 2024 |
| Description | Artist Lab 2 |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | A second group of teaching artists were brought together with the artist lab 1 teaching artists, all work across secondary schools, further and higher education and engaged in a residential two day artist lab in 2025, led by Stuart Waters and Professor Angela Pickard, with guest artists Darren Carr, Antonio Bukher, and Shambik Ghose. The residency engaged the teaching artists from artists lab 1 sharing their Action Research work on day 1. Day 2 engaged all in practical and creative learning and reflection around equity, diversity, inclusion and student-centred pedagogy, and they further developed their teaching and artistic practice. Artist lab 1 tecahing artists paired with artist lab 2 teaching artists and are using tadpole funding to develop mentoring their the year. The residency had a laboratory feel to it, a moving, safe place and professional development opportunity, to experiment, while developing a rich understanding of enabling a student-centred pedagogy. Each of the 15 dance artists then engaged in a year-long Action Research project about their own practice. |
| Year(s) Of Engagement Activity | 2025 |
| Description | Critical Dance Pedagogy for ITT Dance students |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Postgraduate students |
| Results and Impact | 35 students studying PGCE dance or PE or engaged in a Schools Direct teacher training programme in Dance or PE came together online and participated in tasks that prompted thinking about Critical Dance Pedagogy, embodied student identity(ies) and student-centred practice. The session included the use of Padlets where student ideas and thinking were recorded. |
| Year(s) Of Engagement Activity | 2025 |
| Description | Critical Dance Pedagogy session with PhD students |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Postgraduate students |
| Results and Impact | 10 students studying a PhD in dance pedagogy, registered with different Universities across the country came together to share questions and research design. 4 students presented their work while the rest asked questions and all engaged in a discussion. Professor Angela Pickard introduced Critical Dance Pedagogy as a concept, the theories behind it and how this translates in practice. |
| Year(s) Of Engagement Activity | 2025 |
| Description | Critical Dance Pedagogy website |
| Form Of Engagement Activity | Engagement focused website, blog or social media channel |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | The Critical Dance Pedagogy website was created at the start of the project and will house blogs, videos, resources and photos from the events. It has been visited by 306 people so far. |
| Year(s) Of Engagement Activity | 2024 |
| Description | Knowledge exchange conference 1 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | 47 people engaged with an interactive talk given by Professor Angela Pickard that launched the Critical Dance Pedagogy network. The talk drew on sociology and pedagogy to highlight the rationale for the network and to raise awareness of barriers to access and participation in dance, as well as the systemic and perpetuating social norms that are evident in teaching and learning practices in dance studios that can exclude rather than include. |
| Year(s) Of Engagement Activity | 2024 |
| Description | Knowledge exchange conference 2 |
| Form Of Engagement Activity | A formal working group, expert panel or dialogue |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | 41 people engaged with a Critical Dance Pedagogy panel that included Professor Angela Pickard, Dr Wendy Timmons, Darren Carr, Professor Aoife McGrath and Dr Kathryn Stamp, where we presented the work achieved by the Critical Dance Pedagogy network so far. Professor Angela Pickard then led a knowledge cafe activity where key themes for the future of Critical Dance Pedagogy informed the planning for the next funding application to support the network and future research. |
| Year(s) Of Engagement Activity | 2025 |
| Description | Rambert Sessions |
| Form Of Engagement Activity | A formal working group, expert panel or dialogue |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Industry/Business |
| Results and Impact | 64 people engaged in smaller working group dialogue and a workshop around Critical Dance Pedagogy led by Professor Angela Pickard. The event raised awareness of systemic barriers to access, participation and continuation in dance. The workshop also engage participants in knowledge exchange and developing policy and practice. |
| Year(s) Of Engagement Activity | 2024 |
| Description | Special Interest Group |
| Form Of Engagement Activity | A formal working group, expert panel or dialogue |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Professor Angela Pickard has created and is leading a Special Interest Group on Social Sciences where Critical Dance Pedagogy is at the core, for the International Association for Dance, Medicine and Science. This has had two meetings and has has global reach, by including people from 4 continents. The meetings were attended by 63 people. |
| Year(s) Of Engagement Activity | 2024,2025 |
| Description | Symposium 1 and Performance: Intersectionalities, intertextualities, Identities and Inequalities |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | 69 people engaged in a symposium event called Critical Dance Pedagogy: Intersectionalities, intertextualities, Identities and Inequalities, hosted by Canterbury Christ Church University (South East) and online, that included presentations, workshops, a knowledge cafe and plenary, as well as a keynote from Dr Nyama McCarthy Brown from the US (culturally responsive pedagogy). The participants included students, teachers, academics, organisations, companies, and artists. The day concluded with a performance from Ash Mukherjee called Vishnu's Got My Back (a work that draws on race, LGBTQIA+, intersectional identity(ies and inclusion). The performance was attended by 83 people (54 were participants in the symposium). |
| Year(s) Of Engagement Activity | 2024 |
| Description | Symposium 2: Equality/equity, Diversity and Inclusion |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | 55 people engaged in a symposium event called Critical Dance Pedagogy: Equality/equity, diversity and inclusion that was hosted by Coventry University (Midlands) and online and that included presentations, workshops, a knowledge cafe and plenary, as well as a keynote from Dr Ali Duffy from the US (parents/carers and inclusion). The participants included students, teachers, academics, organisations, companies, and artists. |
| Year(s) Of Engagement Activity | 2024 |
| Description | Symposium 3: Pedagogies and Practices |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | 84 people engaged in a symposium event called Critical Dance Pedagogy: Pedagogies and Practices that was hosted by University of Edinburgh (Scotland) and online, and included presentations, workshops, a knowledge cafe and plenary, as well as a keynote from Professor Rose Martin from Norway (critical hope). The participants included students, teachers, academics, organisations, companies, and artists. |
| Year(s) Of Engagement Activity | 2024 |
| Description | Symposium 4: Leadership and Futures |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | 69 people engaged in a symposium event called Critical Dance Pedagogy: Leadership and Futures that was hosted by Queen's University, Belfast (Northern Ireland) and online, that included presentations, workshops, a knowledge cafe and plenary, as well as a keynote from Professor Eeva Antilla from Norway (refective practices). The participants included students, teachers, academics, organisations, companies, and artists. The day concluded with a performance from The Belfast Boys (a work that draws on connection). The performance was attended by 43 people (40 were participants in the symposium). |
| Year(s) Of Engagement Activity | 2025 |