{"id":3412,"date":"2026-09-12T17:55:23","date_gmt":"2026-09-12T07:55:23","guid":{"rendered":"https:\/\/pymble26.dev.twkmedia.com\/institute\/?post_type=research&p=3412"},"modified":"2026-09-22T14:22:05","modified_gmt":"2026-09-22T04:22:05","slug":"dialects-of-contemporary-dance-in-sydney-australia-identification-and-response","status":"publish","type":"research","link":"https:\/\/www.pymblelc.nsw.edu.au\/pymble-institute\/blog\/research\/dialects-of-contemporary-dance-in-sydney-australia-identification-and-response\/","title":{"rendered":"Dialects of contemporary dance in Sydney, Australia: Identification and response"},"content":{"rendered":"

Lucy Eaton, <\/strong>Dance Co-ordinator – Secondary School, Pymble Ladies\u2019 College<\/p>\n

This article is an excerpt from a thesis submitted for the Master of Arts in Education (Dance Teaching) validated by the University of Bath, supervised by Fiona Booker, Faculty of Education, Royal Academy of Dance.<\/em><\/p>\n

Abstract<\/h3>\n

This research examines disparities in Contemporary dance education in Sydney\u2019s private sector, highlighting challenges due to a lack of regulation and standardisation in pre-professional training. The study investigates the impact of geographic location on teaching and learning across four Sydney Local Government Areas, exploring how regional dialects, symbols, and language affect movement. It also examines the effectiveness of codified modern dance techniques in addressing movement affectations. The findings suggest that tailoring modern dance techniques to address regional dialects can improve pre-professional dance training outcomes, with teacher awareness of student context enhancing technique and performance and bridging the gap between education and industry standards in Contemporary dance training.<\/p>\n

Background<\/h3>\n

In the context of this research, the term private sector refers to dance studios, excluding schools.<\/p>\n

It can be argued that there is a lack of sufficient contextual understanding among teachers in the Contemporary dance field, and an absence of knowledge underpinning the pedagogical practices in private institutions. Unlike the public education sector; where standards are regulated by the Australian Institute for Teaching and School Leadership (AITSL); the private sector lacks oversight in terms of teacher qualifications, accreditation, curriculum balance, personalised learning plans and against outcomes to maintain a high pedagogical standard. This lack of regulation or standardisation results in discrepant teaching methods and content in private dance contexts rather than content which employs a curriculum that is deliberate, specific and prescribed. In the absence of an administrative body, such as the AITSL, programming remains unmoderated in the private sector. I suggest that more optimal outcomes may be reached, and more quickly, by way of personalised teaching and learning strategies for students at a pre-professional level in the private sector.<\/p>\n

Rationale<\/h3>\n

This research addresses the lack of contemporary teaching methodology in the private sector. Its findings meet a pedagogical need for educators specifically in the area of professional development toward holistic dance education (Werbrouck 66). The aim of this research is to discover trends in Contemporary dance training through the lens of socio-cultural context and analyse the deficiencies which are currently experienced. It examines variations in contemporary dance, which can be compared to those of spoken language (Koff 27) between four diverse areas within one city. The investigation inherently provokes questions about liminality, habitus and dualism through its pursuit of a link between practice and place. The project seeks a more direct and efficient method for delivering dance training which is tailored to individual students\u2019 capabilities and limitations.<\/p>\n

Contemporary as a genre cannot be easily defined, with layered history, contexts, and distinctions that identify the different styles within the style. SanSan Kwan\u2019s (2017) research acknowledges the crucial role of context in defining contemporary dance, stating that when viewed through the lens of concert-dance, the term implies \u201cshared aesthetic values\u201d (38). Conversely, when placed in the context of world dance styles it suggests a particular time period and possibly a substyle, with contemporary African dance serving as a case in point (Kwan 38). Considering Kwan\u2019s perspective on the use of the contemporary label and the distinctions between concert, commercial and world-dance contemporaries, it is clear why there are variations in the aesthetics of Contemporary dance and varied approaches to its instruction. An adjacent view on aesthetics in dance was shared much earlier in 1999 by\u00a0Sondra Fraleigh and Penelope Hanstein, who state that \u201caesthetic properties belong to movement\u201d rather than being superficially layered on top (193). This reinforces the view that aesthetics are deeply ingrained, in contrast to the superficiality which the word aesthetic might initially suggest. Further, it is arguable that to achieve an equal aesthetic standard across all students through teaching and learning, students\u2019 learning origins must be recognised. If the role of teachers in the pre-professional private sector is to prepare students for the physical demands of the professional industry then initiative should be taken to ensure competency in the breadth of skills and technical and performance standards are met in the studio. For equitable access to Contemporary dance training across NSW and aesthetic values which are shared between education and industry contexts, consistency in the programming in private dance studios is paramount.<\/p>\n

During the course of this project, the teacher-researcher has engaged in reflective questioning regarding the influence of geographic location on learned dance practices and movement vocabulary. Specifically, whether the influence is more pronounced or allowed more space to present itself in Contemporary dance rather than in other, more defined or codified genres Additionally, this inquiry extends to exploring the varied definitions and practices of Contemporary dance in different Australian studios, and how this diversity may lead to dialects forming within the genre.<\/p>\n

The initial phase focuses on identifying the developing sub-genres of Contemporary dance within four different Local Government Areas (LGA) in Sydney to explore any connections between socio-geographic factors and dance techniques. The secondary goal is to tackle variations in dance technique among the cohort by teaching codified, standardised modern dance techniques, thereby enhancing class programming to improve results in performance. Additionally, by introducing personalised learning plans, the project aims to offer a more thorough and practical grasp of Contemporary dance instruction, addressing technical disparities through the integration of modern dance methods.<\/p>\n

Research Questions<\/h3>\n

In the context of this research, the term dialect has been employed to describe the subtle variations within the broader and ever-changing Contemporary dance genre which, this research suggests, have been formed by variations in geographic location. The term pre-professional has been used to describe dancers who are intending to and are capable of entering the professional industry in a performance capacity within the next two years.<\/p>\n

Main question:<\/strong><\/p>\n

How can teaching and learning of Contemporary dance at pre-professional level in the private sector in Sydney, Australia be improved\/moderated by primary consideration of the physical impact of students\u2019 socio-cultural context in programming?<\/p>\n

Sub-questions:<\/strong><\/p>\n

    \n
  1. Are there dialects of Contemporary dance in four different Local Government Areas of Sydney, Australia? If so, what are their distinguishing characteristics (technical strengths and\/or deficiencies)?<\/li>\n
  2. What is the influence of geographic place, symbols and language on learning movement?<\/li>\n
  3. How might the affectations be addressed through programming specific training in Modern dance techniques?<\/li>\n
  4. Is the implementation of codified Modern Dance techniques in programming an effective teaching response for any or all of the movement affectations in Sydney\u2019s pre-professional Contemporary dance landscape?<\/li>\n<\/ol>\n

    Scope and Context<\/h3>\n

    The following data relating to the four sampled LGA reveals characteristics including advantages, disadvantages, education and occupations of the demographics according to the Socio-Economic Indexes for Areas (SEIFA), Australia as published by the Australian Bureau of Statistics, referencing the 2021 Census:<\/p>\n

    Inner West:
    \nPopulation of 182,818, SEIFA Percentile 96, SEIFA Quintile 5 (most advantaged)<\/p>\n

    Georges River:
    \nPopulation of 152,274, SEIFA Percentile 88, SEIFA Quintile 5 (most advantaged)<\/p>\n

    Sutherland Shire:
    \nPopulation of 230, 211, SEIFA Percentile 94, SEIFA Quintile 5 (most advantaged)<\/p>\n

    The Hills Shire:
    \nPopulation of 191,876, SEIFA Percentile 98, SEIFA Quintile 5 (most advantaged).<\/p>\n

    In interpreting these statistics, it\u2019s fair to discern that each of the LGA from which the participants analysed in this research come, are of an equal socio-economic standing, of similar population size, offer considerable access to education and opportunity and are thereby comparable.<\/p>\n

    Cultural Theory – Embodiment, Dualism, Kinaesthesia and The Habitus<\/h3>\n

    In 2016, Chris Barker and Emma Jane theorised how symbols and language can permeate culture and infiltrate educational and professional settings in different ways (19). While existing research has examined the emergence of signposts of cultural values in other artforms, the causal effect on contemporary dance, specifically, remains to be discovered. Throughout my personal teaching experience, I have observed that\u00a0movement choices and performance affectations within the genre present similarly in students from the same geographical and socio-cultural background which affirms the perspective of Barker and Jane.<\/p>\n

    A dancer\u2019s developmental training experiences can significantly impact their physicality. Angela Pickard discusses the evident impact of social and contextual symbols on young dancers\u2019 bodies, drawing on Pierre Bourdieu\u2019s theory of the habitus to describe how specific technical instructions and aesthetic expectations shape the physical form (27). A substantial collection of publications on the concept is Conversations on Embodiment Across Higher Education (2018), in which Jennifer Leigh draws together understandings of this term as it relates to a range of disciplines from an otherwise fragmented literature base. The evaluation of Leigh\u2019s selected works indicate that the resounding perspective of existing literature is that embodiment is a situational convention in which the practical environment becomes intertwined with human character (Leigh 2008). This image which refers to the weaving of tactile, audible and visual experiential aspects impacting the malleable human body is resonant of Cynthia Novack\u2019s concept of the kinaesthetic imprint which is unpacked in the following paragraph. Pickard analysed how dancers internalise the experienced choreographic styles and underlying training techniques both mentally and physically, imbuing the inscriptions with social significance and contextual meaning (Pickard 28). The idea that dancers carry inscriptions as evidence of lived histories has been revisited and unpacked significantly since the publications of Michel Foucault. Sally Ann Ness and Carrie Noland asserted that inscriptions are reinforced through repetition of gesture, and that dancers wear these in their \u201cligaments, bone structure, musculature and the carriage\u201d (Ness and Noland qtd. in Mokotow 4). This idea of embodied history significantly influenced Australia\u2019s Anny Mokotow\u2019s inquiry into the idea of embodied media.<\/p>\n

    The concept of dualism, particularly in relation to embodied culture is a significant consideration in this project. Mark Johnson\u2019s 2007 philosophies, which pioneer the literature on aesthetics and cognitive science, substantiate this research\u2019s premise that human experiences, specifically through formative childhood and adolescence, are the origin of bodily behaviour (Johnson, The Meaning of the Body). From as early as 1987, Johnson theorised the connection between cognitive and bodily structures. He argued that meaning is rooted in our bodily experiences, underscoring the significance of the body in shaping our understanding of the world (Johnson, The Body in the Mind). Improvisation in dance serves as a window into culture, as dancers draw upon their embodied experiences, memories and kinaesthetic stimuli to inform their movement vocabulary and punctuations, thereby reinforcing learned physical symbols over time. Dancers\u2019 bodies house a vast repository of body schema, which influence their sensorimotor system and are developed through training and practice, and once skills are performed autonomously, these schema create what is commonly known as muscle memory (Bar and DeSouza 1). Recalling movement based on musical memory therefore travels the embodied cultural symbols from which they learned. This process of skill acquisition involves strengthening neuromuscular pathways through habit, over time. In her 1988 work, Looking at Movement as Culture, anthropologist Cynthia Novack explored the concept of the kinaesthetic imprint. She noted that this imprint develops before language emerges, laying a foundation for both identity and relationships (169). Additionally, she points out that kinaesthesia is a biological process which facilitates sensory and aesthetic experiences originating right from the moment humans interact, using contact improvisation as an example (Novack 170). A perspective which reflects Bourdieu\u2019s and Novack\u2019s, Pickard says that every habitual movement emphasis, posture or mannerism displayed by the dancers in the class conveys nuanced, embodied aesthetic inscriptions like tessellating pieces that comprise the body.<\/p>\n

    The habitus is a sociological concept developed by Pierre Bourdieu which theorises that people\u2019s personal dispositions can be influenced by their social circumstances, including the materialisation of bodily behaviours and thoughts into \u201cinstinctive responses\u201d (Danaher et al. 115). In Understanding Bourdieu (2002) it is clarified that the habitus relates not only to the individual but also to the collective, shared experiences of a group. (Danaher et al.115). A highly-saturated concept in dance literature since the 1990s, the habitus represents the convergence of educational frameworks, dance practices and cultural or lived experiences that exist within each dancer.<\/p>\n

    This project aims to expand upon existing literature regarding the influence of culture in dance, with a specific focus on Homi Bhabha\u2019s work, The Location of Culture (1994). Of particular relevance to this project are Bhabha\u2019s discussions on cultural hybridity and the concept of liminal space, where cultural symbols intersect and interact (213). This notion of liminality can be applied to the educational setting in which this project is situated, exploring how the dance class serves as a liminal space characterised by a fusion of diverse symbols and languages brought by the dancers. James Clifford\u2019s essay Travelling Cultures (1992) further explores the concepts of embodied culture and culture in different locations, asserting that culture thrives in movement and adaptation (Clifford 99). In the context of this project, the studios in which students train have been considered the boundaries and the new, curated environment that encompasses their individual experiences and embodied memories.<\/p>\n

    Three strands of the habitus were named in Varieties of Habitus and the Embodiment of Ballet: individual, institutional and choreographic (Wainwright et al. 537). These components are correlated with aspects such as body type, gait and posture, creating a perpetual feed between the body and mind. This theory posits that a dancer\u2019s identity is intricately linked to their contextual experiences. This research offers an opportunity to access these inscriptions during improvisational exercises, enabling participants to integrate their practices and foster a liminal space where diverse experiences can converge.<\/p>\n

    Pedagogical Theory – Codified and Uncodified Movement Vocabularies<\/h3>\n

    The Contemporary Dance genre in Sydney, NSW, does not follow a syllabus and does not have a codified vocabulary of steps or standard of execution. While there are small contemporary syllabi used to structure classes or supplement contemporary training in some private sector settings, these are not used widely or consistently enough or even for a long enough duration of time to standardise the genre city-wide. Chapter 51 of the most recent edition of The Oxford Handbook of Contemporary Ballet describes the different understandings of contemporary as stylistic categories (Farrugia-Kriel and Nunes Jensen 874). Clarifying that it is no longer, exclusively, the postmodern European movement category that followed the 1960s, it is always referring to what is new and evolving and its characteristics are thereby indefinable, permanently (Farrugia-Kriel and Nunes Jensen 874). Reflecting on a personal choreographic process from 2015, the authors speak to the embodied experiences of dancing bodies, in \u201cbodies carry histories that are not linear but circular\u201d and \u201cthe dancing body carries earlier dance techniques and choreographies\u201d (Farrugia-Kriel and Nunes Jensen 874).<\/p>\n

    There are fundamental differences in the movement vocabulary, and teaching and learning of techniques which are codified and those that aren\u2019t. Primarily, the differences are a predetermined movement vocabulary in the form of a syllabus, the existence of an ideal performance standard, streamlined teaching points and linear stages of skill acquisition. These key and discerning characteristics may present both benefits and disadvantages throughout the pedagogical process.<\/p>\n

    Four codified Modern Dance Techniques have been selected as tools within the research intervention:<\/p>\n

      \n
    • Graham Technique
      \nThe eccentric and concentric curves typical of Graham technique are anticipated to draw participant attention to centrally initiated movement, as is the emphasis on breath as an initiation of movement (Giguere 418).<\/li>\n
    • Horton Technique
      \nThe basis of Horton technique in anatomical studies is intended to benefit students in range of motion, control, coordination and spatial awareness to enhance whole-body Awareness (Perces et al.7).<\/li>\n
    • Cunningham Technique
      \nThe Cunningham emphasis on precision and clarity of lines by refining the connection between head, pelvis and legs in a range of planes is intended to improve participant kinaesthetic awareness (Copeland 117).<\/li>\n
    • Laban\u2019s Effort Actions
      \nLaban first introduced a principle which is now known by the term, countertension. This concept which means to apply equal energy to two opposing body parts is anticipated to facilitate deliberate and varied dynamic efforts. The eight effort actions; Wring, Press, Flick, Dab, Glide, Float, Punch and Slash; are intended to inspire more deliberate consideration of weight and force through imagery (Ewan and Sagovsky 612).<\/li>\n<\/ul>\n

      Research Design<\/h3>\n

      Specific Modern Dance techniques were introduced in response to these movement affectations observed in students from different areas in Sydney. Martha Graham\u2019s contraction and release technique was implemented and aimed towards dancers belonging to The Hills Shire who can present open\/ flared floating ribs and extended lumbar spine. Lester Horton\u2019s strengthening and lengthening fortifications was implemented and aimed towards dancers belonging to Sydney\u2019s Inner West who often present a misaligned chin and neck and\/or downcast eyes. Merce Cunningham\u2019s focus on clarity and form was implemented and aimed towards dancers belonging to the Georges River area who present lack of articulation of the tarsals and metatarsals and incomplete leg lines. Laban\u2019s eight movement effort actions were implemented and aimed towards dancers belonging to the Sutherland Shire who present intensity and mono-dynamics. Improvisation, a distinguishing factor that sets Contemporary dance apart from other concert dance styles, is directly communicative of a student\u2019s dance history and personal movement values.<\/p>\n

      Method<\/strong><\/p>\n

      The project took place at the teacher-researcher\u2019s dance space in Newtown, Sydney\u2019s Inner-West region, with students attending weekly sessions as part of a year-long pre-professional program while also engaging in classes at different studios in various areas of Sydney. The studios are equally competitive and despite belonging to different LGAs, it is clear through my partnership with these teachers that each studio and the classes they teach are culturally unique and have influence on the students\u2019 movement habits and, in this case, movement affectations.<\/p>\n

      Students from different dance studios attended a one-hour contemporary class followed by one hour Repertoire session each week, to supplement their existing training schedules at their respective studios. Five Sunday afternoon classes accrued ten access hours throughout the project. During the Repertoire sessions the dancers work on building a Contemporary dance work, learning a few new phrases and rehearsing already-learned work. Changes were implemented during the contemporary class and the following repertoire session allowed for observations of the impacts of each strategy.<\/p>\n

      Participants<\/strong><\/p>\n

      The research involved ten female dancers, aged fourteen to twenty-one, in a pre-professional Contemporary dance program at a private institution. Each student brings different training experiences and are all of the same standard of technical proficiency. In this unique teaching context, the teacher-researcher engages with the students\u2019 dance studio teachers to challenge their development and provide portfolio-building opportunities to develop employable, entry-level dancers.<\/p>\n

      Dancer A – Georges River, 28 years old<\/p>\n

      Dancer B – Hills Shire, 21 years old<\/p>\n

      Dancer C – Hills Shire, 15 years old<\/p>\n

      Dancer D – Georges River, 20 years old<\/p>\n

      Dancer E – Inner West, 21 years old<\/p>\n

      Dancer F – Sutherland Shire, 19 years old<\/p>\n

      Dancer G – Hills Shire, 14 years old<\/p>\n

      Dancer H – Georges River, 21 years old<\/p>\n

      Dancer I – Inner West, 16 years old<\/p>\n

      Dancer J – Sutherland Shire, 17 years old<\/p>\n

      (Qualitative) Data Collection<\/strong><\/p>\n

        \n
      • Observation: ongoing and conducted by the teacher-researcher documented in the observation rubric reflections<\/li>\n
      • Focus group discussion (FCD): transcribed from audio to text using Concept Content Analysis<\/li>\n
      • Document Collection: Dance studio programs.<\/li>\n<\/ul>\n

         <\/p>\n

        Initial and most pertinent questions included:<\/p>\n

          \n
        • How do you define or describe contemporary dance?<\/li>\n
        • What is important to the genre, technically, stylistically or theoretically?<\/li>\n
        • What distinguishes contemporary from other concert dance styles?<\/li>\n
        • Which characteristics constitute a \u201cgood\u201d contemporary dancer?<\/li>\n
        • Which key skills do you think should be programmed into a Contemporary dance class?<\/li>\n
        • Do you consider there to be a range of styles or subgenres within contemporary dance? If so, what are they?<\/li>\n
        • Is the Contemporary dance you do here the same as or different to Contemporary dance at your studio? How so?<\/li>\n
        • What is your experience with Contemporary dance outside of your studio and area? How would you describe the similarities or differences you noticed?<\/li>\n<\/ul>\n

          Findings<\/strong><\/p>\n

          Results were analysed through four frames: in the form of each of the three data sets (Frame 1), in relation to each LGA (Frame 2), each intervention (Frame 3) and holistically (Frame 4). Highlights of analyses from Frames 1 and 2 are presented in this excerpt.<\/p>\n

          Frame 1:<\/p>\n

          A) Focus Group Discussions<\/p>\n

          \u201c…getting the variety of movement in contemporary is really important.\u201d<\/p>\n

          (Dancer J)<\/p>\n

          In Transcript 1, Dancer J (Sutherland Shire) states that a defining characteristic of a contemporary class is the range of skills and structures within it, however, this statement could also be referring to the variety of sub-genres within contemporary and their varied qualities. Variety and structure and their relationship to each other are key codes revealed in the analysis. Similarly to a ballet class, a correlation Dancer A identified, a well-balanced contemporary class will focus on centrework, cornerwork, floorwork and travel, for example, providing access to the range of skills through structure. Where the inconsistency arises here is in the lack of common structure of contemporary classes and perhaps the omission or addition of structures which leads to imbalance in movement focus for students.<\/p>\n

          \u201c…I think like when I do studio contemporary it\u2019s very different to what we do here. I don\u2019t really know what to call it, it\u2019s not commercial.\u201d<\/p>\n

          (Dancer C)<\/p>\n

          In Transcript 1, Dancer C (Hills Shire) clearly states the contrast in contemporary styles experienced in contexts only 25 minutes apart and attempts to characterise the differences by use of sub-genre prefixes or classifications. This statement so boldly validates the teacher-researchers perspective that stark differences exist in classes of the same genre, for the same age and experience level and so close together. The question of the cause remains.<\/p>\n

          \u201c…the structure of other classes is way more prescribed. It depends on like who\u2019s leading the class, whatever they want to do and what you did before…\u201d<\/p>\n

          (Dancer E)<\/p>\n

          In Transcript 1, Dancer E (Inner West) explicitly notes the discrepancies in class structure and content, identifying that the differences depend on the teacher and their experiences or preferences. This statement clearly links the movement exposure in classes to the experiences of the teacher and the local geography.<\/p>\n

          \u201c…the alignment is different in certain types of contemporary dance. Like you\u2019ve been sort of focusing on lines and stuff. So it\u2019s not always just like the dynamic.\u201d<\/p>\n

          (Dancer E)<\/p>\n

          In Transcript 2, Dancer E (Inner West) states that the alignment expectations of each sub-genre of Contemporary dance is different, affirming the views expressed shortly prior from Dancers D and J that the variances in the style are subtle and have been made clearer through the exploration over the last 5 weeks.<\/p>\n

          \u201cI think it stretches us in different ways. We definitely grow as dancers through working together and doing ensemble or partner stuff, it definitely taught me to notice other people and see what works and how I can work with them.\u201d<\/p>\n

          (Dancer H)<\/p>\n

          In Transcript 2, Dancer H (Georges River) notes that the active identification of differences between dancers, and a conscious effort to address these in training directly contributes to holistic growth. Importantly, Dancer H spoke about their experience of technical and performance discrepancies among dancers in this specific, eclectic company context. They tie the concept of growth directly to the acknowledgment of technical and performance discrepancies and the intent to address these through training. This statement both validates the program design (which brings dancers of different ages and experiences) and supports the premise of this research.<\/p>\n

          \u201c…I think it\u2019s good and bad. Like you don\u2019t want everybody to be the same but it\u2019s kind of important you can be the same when you need to.\u201d<\/p>\n

          (Dancer B)<\/p>\n

          In Transcript 2, Dancer B (Hills Shire) articulates the positives and negatives of differences in dance technique. Similarly to this participant, the teacher-researcher does not believe that all movement affectation or evidence of contextual influence should be addressed to achieve a mainstream performance ideal, however, it is important to recognise trends to improve the teaching and learning process to inform future practice and provide at least an opportunity to access consistency across the genre.<\/p>\n

          Frame 1:<\/p>\n

          B) Participants results from Observation Rubric<\/p>\n

          Dancer A (Georges River)<\/p>\n

          This participant showed notable improvement in two of the four intervention sessions, with most significant change seen in the repertoire rehearsal following the Graham and Cunningham technique sessions which were designed to address torso alignment and quality of leg lines, respectively. This participant, from the Georges River area, demonstrated corrected vertebral movement in contractions in the choreography following the Graham session (Intervention 1, Week 2) which was prescribed for dancers from The Hills Shire. As intended, this participant exhibited a range of small improvements following the prescribed Cunningham session (Intervention 3, Week 4). In the repertoire, there was more consistent and purposeful use of the iliopsoas to stabilise extensions in devant and seconde. In transfers of weight from one base of support to another; including from partial to full, or from left to right; there was increased resistance between phalanges and floor. This participant did not demonstrate any changes in quality of lines in derriere or utility of metatarsals on demi pointe. Interestingly, the shift in vertebral alignment was still observable in the final repertoire rehearsal session in Week 5, indicating a long-lasting improvement as a result of this intervention. The interventions affected improvement at 50% success rate for this participant.<\/p>\n

          Dancer B (Hills Shire)<\/p>\n

          This participant showed notable improvement in three of the four intervention sessions, with most significant change seen in the repertoire rehearsal following the Graham technique session and throughout the Cunningham and Laban interventions, which were designed to address quality of leg lines and dynamic control and variation, respectively. This participant, from the Hills Shire, demonstrated corrected vertebral movement in contractions in the choreography following the Graham session along with all other participants (Intervention 1, Week 2) and rhythmic accuracy during the Cunningham session (Intervention 3, Week 4) which was prescribed to enhance dance technique in dancers from this area, although an improvement was seen in performance quality, instead. This refined performance quality is believed to be linked to the control and coordination in shifts of weight facilitated by kinaesthetic awareness of the lower legs and feet. In the Laban session and in the repertoire rehearsal which followed, this participant demonstrated a depth of applied understanding of weight and force, and controlled this to maintain dance technique while exhibiting the most outstanding contrast of dynamics in the execution of the repertoire. The interventions affected improvement at 75% success rate for this participant.<\/p>\n

          Dancer E (Inner West)<\/p>\n

          This participant improved in one of the four intervention sessions, with the most significant change seen following the Horton technique session which was designed to address projection due to misalignment of the chin and chest in Dancers E and I from Sydney\u2019s Inner West. Dancer E demonstrated tension in the jaw and neck during the isolations in Week 3, which in turn affected their use of breath and cervical alignment. Immediately following the isolation exercise, Dancer E continued to demonstrate such tension but at reduced frequency. Additionally, this participant exhibited moments of improved turnout, and maintenance of turnout along with a suspended dynamic in an adage phrase of the repertoire which has been attributed to a heightened awareness of the gluteus medius and maximus after activating them in the preceding tilt exercise. The interventions affected improvement at 25% success rate for this participant.<\/p>\n

          Dancer F (Sutherland Shire)<\/p>\n

          This participant improved in one of the four intervention sessions, with the most significant change seen following the Graham technique session which was designed to address torso misalignment. The Laban session designed to enhance dynamic application from this participant did challenge their release of energy, weight\/ force, however with no noticeable improvement during the session. It\u2019s possible that this particular performance deficiency could take longer, and more frequent intervention to affect change. The interventions affected improvement at 25% success rate for this participant.<\/p>\n

          The intended success rate for each participant was 25%, given that one of the four modern dance sessions were prescribed to affect positive change in each dancer. The results met this intended rate almost twofold, with the mean success rate being 42.5%. The specific technique sessions prescribed for each dancer affected positive change in seven of ten cases, indicating an 70% accuracy rate in the identification and response, with the outliers being Dancers D, F + J. Two-thirds of the outliers are from the Sutherland Shire, with the remaining participant from Georges River. Improvement was evidenced at times throughout the five-week intervention and for varying lengths of time. Improvement was not always the direct result of the intended teaching strategy, and at times was the peripheral result of another dance technique.<\/p>\n

          Frame 1:<\/p>\n

          C) Documents<\/p>\n

          The document collection presented limited data. Two of the four dance studios indicated that there were no programs or class schedules used, and that competency tracking or planning of this nature was not a consideration for the businesses. The studio in Sydney\u2019s Inner West incorporates exercises from the Progressing Ballet Technique syllabus into their contemporary classes to supplement technical training. The studio in the Georges River area incorporates exercises and skill competencies provided by the Australian Teachers of Dancing.<\/p>\n

          Frame 2:<\/p>\n

          Location<\/p>\n

          LGA: Inner West<\/p>\n

          Dancers E and I<\/p>\n

          Teacher\/ researcher observation notes indicate that movement affectations improved after the prescribed modern dance technique intervention in 100% of the above participants, with more substantial change seen in Dancer I, who performed with self-corrected flaring of ribs, initially noted as an attempt to restore balance when wobbling. These participants, along with Dancer F who is out-of-area, were counterbalancing protruding chins with over rotation in the top\/active hip in tilts, especially left sides which are weaker for all. Further, this group of participants demonstrated enhanced dance technique and\/ or performance quality in one additional techniques, prescribed to benefit an alternative geographic area. Data indicates that the three participants from Sydney\u2019s Inner West demonstrated the most improvement of the group.<\/p>\n

          LGA: Georges River<\/p>\n

          Dancers A, D and H<\/p>\n

          Teacher\/ researcher observation notes indicate that movement affectations improved after the prescribed modern dance technique intervention in 66% of the above participants. Improvement appears to have been initiated by the use of the iliopsoas and kinaesthetic awareness of the pelvis, as the origin of all leg lines. An interesting relationship between full leg extensions and musicality was revealed through two-thirds of participants; Dancers A and D; indicating that dancing ahead of the beat is having a domino effect on the amount of time in flight to extend the backs of the knees fully. Further, this group of participants demonstrated enhanced dance technique and\/ performance quality in additional techniques, prescribed to benefit an alternative geographic area.<\/p>\n

          The main question has been answered in part, in that pre-professional Contemporary dance education in Sydney has been improved by the primary consideration of the physical impact of students\u2019 socio-cultural context in programming and the research\u2019s sub-questions have been answered to varying degrees. Some of the key ideas in existing cultural literature have been affirmed and some previous research findings have been supplemented. Primarily, this data reinforces the ideas that culture infiltrates educational contexts (Barker and Jane) through of body-based meaning (Johnson) or embodied culture (Clifford) which forms the kinaesthetic imprint (Novack) with a newfound clarity on the application of these concepts to the Sydney scene. This agrees with further literature in that the concept of the habitus (Wainwright et al.) and of liminality (Bhabha) should be considered paramount in the learning process, as they have been evidenced as integral in improving performance outcomes in this sample group.<\/p>\n

          Summary<\/h3>\n

          A future development which could possibly follow compounding evidence presented by additional and\/ or larger datasets, is a cross-analysis with trends in physiotherapy and injury statistics in correlating LGAs. This data could serve to link movement affections that result from these dialects with musculoskeletal outcomes. It is possible that upon analysis of more substantial data in this area, and a survey of injury trends in dancers in these distinct areas, that preventative measures could be taken to ensure more conscious employment of safe dance practice.<\/p>\n

          The outcomes of this research support the introduction of strategic programming in the private sector, through providing an insight into a new approach to Contemporary dance teaching for adolescents. This could assist young people to achieve more optimal results in performance and possibly, achieve results sooner through more direct movement correction. The dialects of Contemporary dance that result from the unmoderated content of dance classes in the New South Wales private sector can be addressed through a personalised prescription of modern dance techniques. The diverse backgrounds of educators should not interfere with the coherence of teaching programs or lead to educational inequalities across regions of Sydney. It should be a responsibility of educators to present a unified delivery of the multi-faceted genre, in order to prepare students according to the professional requirements of the style. Data reveals how teaching and learning of Contemporary dance in Sydney\u2019s dance studios can be improved and moderated by primary consideration of the students\u2019 socio-cultural context in programming. Incorporating more diverse movement vocabularies and global references has the potential to enrich the educational experience for all stakeholders, contributing to a more valid program of learning. Explicit inclusion of Modern dance techniques in any degree in Contemporary dance programming will ensure students are exposed to the origins of Contemporary dance and can, therefore, access a richer dance history and movement vocabulary. Unlike the other scarcely-implemented syllabi on offer, this strategy may be used consistently or intermittently within programs to affect either consistent and long term or immediate and short term change.<\/p>\n

           <\/p>\n

          Appendices<\/h3>\n

          Concept-Content-Analysis-Chart<\/strong><\/p>\n

          Green codes indicate responses which were the most common (appearing more than 5 times), and represent the majority of the participant perspective. Orange codes indicate responses which were fairly common (appearing 3-5 times) and are somewhat representative of the participant perspective. Blue codes indicate responses which were the least common (appearing 1-2 times) and represent a minority perspective. Codes have been arranged in descending order, with the most highly saturated views appearing at the top of each category.<\/p>\n

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