Dancing onto the page: Crossing an academic borderland

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dc.contributor.author Rowe, Nicholas en
dc.contributor.author Martin, Rosemary en
dc.date.accessioned 2015-07-27T04:48:40Z en
dc.date.issued 2014 en
dc.identifier.citation Waikato Journal of Education, 2014, 19 (2), pp. 25 - 36 (15) en
dc.identifier.issn 2382-0373 en
dc.identifier.uri http://hdl.handle.net/2292/26443 en
dc.description.abstract The transition of performing artists into academia has become an increasingly popular yet fraught migration, as higher learning in artistic disciplines increasingly requires teachers with an applied practical knowledge, a capacity to undertake research, and to articulate the value of performing arts knowledge within scholarly discourse (Elkins, 2009). Transitioning dancers can be expected to sort through their embodied knowledge and transferable skill-sets in order to maintain a sense of identity and autonomy within the new academic terrain (Molloy, 2013). At the same time they are required to adopt new dispositions of enquiry and approaches to knowledge production in order to thrive within the new environment of the tertiary education sector. So how might postgraduate coursework be designed to support experienced practitioners across such an academic borderland, and into the formal research culture of higher education? When we consider how enriched higher education might become through the successful immigration of experienced professional practitioners, such postgraduate course design becomes a salient educational issue. Our own journeys across this borderland have subsequently informed our co-design and implementation of Dance 724, a postgraduate course in qualitative research methods and academic writing that prepares students for independent research projects within honours, masters and doctoral degrees in dance studies. In this article we write reflectively on how Threshold Concept Theory (TCT) has guided our curricula design and pedagogic practices in this lynchpin paper. We also discuss six key thresholds that can restrain dance practitioners as they enter academia. While the focus here is on dance practitioners entering postgraduate dance studies, we suggest that the transition across an academic borderland for professional practitioners from diverse disciplines may be supported by a threshold concepts approach to postgraduate curricula design. en
dc.relation.ispartofseries Waikato Journal of Education en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. Details obtained from http://www.wje.org.nz/index.php/WJE/index en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.rights.uri https://creativecommons.org/licenses/by-nc-sa/4.0/ en
dc.title Dancing onto the page: Crossing an academic borderland en
dc.type Journal Article en
dc.identifier.doi 10.15663/wje.v19i2.96 en
pubs.issue 2 en
pubs.begin-page 25 en
pubs.volume 19 en
dc.description.version VoR - Version of Record en
pubs.author-url http://www.wje.org.nz/index.php/WJE/article/view/96 en
pubs.end-page 36 en
dc.rights.accessrights http://purl.org/eprint/accessRights/OpenAccess en
pubs.subtype Article en
pubs.elements-id 445711 en
pubs.org-id Creative Arts and Industries en
pubs.org-id Dance Studies Programme en
pubs.record-created-at-source-date 2014-07-16 en


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