Accessing pathways to training for young disabled dancers

The aim of this project was to investigate means of translating Imperial Society of Teachers of Dancing (ISTD) syllabi for young disabled dancers. There are numerous barriers to dance for disabled people but one which has received increasing attention in recent years is the lack of systematic training available. Many non-disabled young people join private dance studios which provide an established progression route using staged syllabi and assessments in a range of dance genres. The ISTD recognised that this progression route should be more accessible for disabled young people, and that it could play a key role in opening pathways to dance. The organisation recruited a number of teachers and specialists, and commissioned a researcher from the University of Bedfordshire, to explore how this could be done

Commitment, adherence and dropout among young talented dancers: A multidisciplinary mixed methods investigation

The aim of this research was to understand why some young talented dancers stay in dance training while others decide to leave. In order to meet this aim, commitment, adherence and dropout among young talented dancers was investigated in five studies using a multidisciplinary mixed methods design. Participants were from eight of the UK Centres for Advanced Training (CATs) in Dance, nationwide talent development schemes that provide high quality part-time training to young people aged 10-18 years. The first study was a review of the literature on talent identification and development in order to understand the nature of the cohort and the type of environment in which the young people trained. The second study investigated multidisciplinary characteristics of 334 students to gain a descriptive understanding of the participants. Thirdly, nineteen committed students were interviewed to understand their experiences in dance and reasons for staying in training from their own perspectives. In the fourth study, ten students who had dropped out from a CAT were interviewed about their experiences and reasons for leaving; this data was triangulated using demographic information gathered from the CATs. Finally, a set of multidisciplinary characteristics was used to predict adherence to the CATs in the fifth study (N = 287). Results revealed that commitment to the CATs was underpinned by enjoyment, social relationships with peers and teachers, the opportunities available on the scheme and parental support. Adherence was positively predicted by harmonious passion, a love of dance characterised by a flexible type of involvement, and negatively by ego-involving motivational climate perceptions. This means that students were less likely to stay in training if they perceived their learning environment to emphasise other-referenced learning, competition among peers, objective success and punishment of mistakes. The main reasons for dropping out of the scheme according to the participants were having conflicting demands, change in aspirations, course content, difficulty making friends, and lost passion. Injury, financial factors, low perceived competence, and teacher behaviour emerged as minor reasons. Younger students were more likely to cite course-related reasons for dropping out than older students, while older students were more likely to cite change in aspirations and lost passion than their younger counterparts. Although participants were involved in a talent development scheme, aspects of physical competence, as identified in the first literature review study, did not appear influential in adherence and dropout. Overall these studies address a complex and under-researched area in dance. Results indicate that commitment can be maintained or enhanced by maximising enjoyment and passion, minimising elements of ego-involving motivational climates, facilitating positive peer relationships, ensuring training incorporates appropriate challenge and encouraging parental support

Developing potential amongst disabled young people: exploring dance artists’ qualities as educators in the context of inclusive dance talent development

The aim of this research project was to better understand the values, attributes and practices of dance artists who develop the potential of disabled young dancers. Stopgap Dance Company commissioned researchers at the University of Bedfordshire to explore the range of qualities that highly experienced dance artists demonstrate in their practice, particularly in the context of dance talent development. In order to meet these aims, observations and interviews were conducted with six established contemporary dance artists who work in inclusive settings. Analysis revealed common characteristics in how and why artists go about their work with disabled people

Commitment, adherence and dropout among young talented dancers : a multidisciplinary mixed methods investigation

The aim of this research was to understand why some young talented dancers stay in dance training while others decide to leave. In order to meet this aim, commitment, adherence and dropout among young talented dancers was investigated in five studies using a multidisciplinary mixed methods design. Participants were from eight of the UK Centres for Advanced Training (CATs) in Dance, nationwide talent development schemes that provide high quality part-time training to young people aged 10-18 years. The first study was a review of the literature on talent identification and development in order to understand the nature of the cohort and the type of environment in which the young people trained. The second study investigated multidisciplinary characteristics of 334 students to gain a descriptive understanding of the participants. Thirdly, nineteen committed students were interviewed to understand their experiences in dance and reasons for staying in training from their own perspectives. In the fourth study, ten students who had dropped out from a CAT were interviewed about their experiences and reasons for leaving; this data was triangulated using demographic information gathered from the CATs. Finally, a set of multidisciplinary characteristics was used to predict adherence to the CATs in the fifth study (N = 287). Results revealed that commitment to the CATs was underpinned by enjoyment, social relationships with peers and teachers, the opportunities available on the scheme and parental support. Adherence was positively predicted by harmonious passion, a love of dance characterised by a flexible type of involvement, and negatively by ego-involving motivational climate perceptions. This means that students were less likely to stay in training if they perceived their learning environment to emphasise other-referenced learning, competition among peers, objective success and punishment of mistakes. The main reasons for dropping out of the scheme according to the participants were having conflicting demands, change in aspirations, course content, difficulty making friends, and lost passion. Injury, financial factors, low perceived competence, and teacher behaviour emerged as minor reasons. Younger students were more likely to cite course-related reasons for dropping out than older students, while older students were more likely to cite change in aspirations and lost passion than their younger counterparts. Although participants were involved in a talent development scheme, aspects of physical competence, as identified in the first literature review study, did not appear influential in adherence and dropout. Overall these studies address a complex and under-researched area in dance. Results indicate that commitment can be maintained or enhanced by maximising enjoyment and passion, minimising elements of ego-involving motivational climates, facilitating positive peer relationships, ensuring training incorporates appropriate challenge and encouraging parental support.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

‘It’s my dream come true’: experiences and outcomes of an inclusive dance talent development programme

There are few opportunities for young disabled dancers to develop their talents, and even fewer studies investigating their experiences of such opportunities. The aim of this study was to explore the perspectives and outcomes of an inclusive talent development programme, and how these were facilitated. Semi‐structured interviews and focus groups with one teacher, four young dancers and four parents revealed that participation in the programme yielded multiple benefits for the young people involved. These included high levels of enjoyment, improved technical and creative ability, greater independence and confidence, and opportunities for socialising with like‐minded peers. A range of factors facilitated these benefits, such as the inclusive and caring ethos of the programme, its comprehensive development and teacher training, particular teaching strategies, and relationships between staff, students and parents. The study attests to the value of programmes designed for young disabled dancers who wish to develop their talents

Access, inclusion and excellence : evaluating Stopgap Dance Company's IRIS programme

Among the numerous barriers to dance for disabled people, one of the key challenges in the UK has been the lack of progressive training routes for diabled dancers who wish to develop their talents.  Stopgap Dance Company sought to address this barrier by creating an inclusive talent development programme called IRIS.  Consisiting of four levels of increasing complexity, IRIS seeks to provide parity with mainstream training routes to help students progress their skills and confidence in dance. The aim of this research project was to evaluate IRIS in its first two years, while it was piloted with five groups.  The evaluation took into consideration the participants' experiences and outcomes of the programme using a longitudinal, mixed methods research design

Understanding the independent dancer: roles, development and success

Little research has been published about the varied role of the independent dancer. The aim of this study was to provide insight into the work independent dancers undertake and how their careers change over time. Semi-structured interviews were conducted with 14 independent dancers. Content analysis revealed that the dancers had multifaceted careers that relied on both formal and informal activities, and varied according to three distinct stages (early, middle, late). The experiences reported by the dancers indicated that the realities of the independent dancer's role are not sufficiently recognised or supported within the industry

Values, attributes and practices of dance artists in inclusive dance talent development contexts

There is a paucity of research focused on understanding the qualities which underpin dance artists’ practice in working with talented young dancers with disabilities. This study investigated what informs how dance artists work in inclusive dance talent development contexts. Four dance class observations were conducted to provide evidence of dance artists’ qualities in practice. Six dance artists participated in semi-structured interviews. Thematic data analysis revealed four categories: the dance persona; values; attributes; and practices of dance artists. The dance persona was typified by characteristics such as being human, humility, altruism, and confidence. Artists’ values and attributes included celebrating difference, aspiring towards equality and relationality. Their practices were exemplified by varied differentiation strategies and an emphasis on reflection. These findings provide new insight into what drives artists working with dancers with and without disabilities, and aids better understanding of best practice in this context

Subjective wellbeing among young dancers with disabilities

Little is known about the subjective wellbeing (SWB) of young dancers with disabilities and whether it changes over time. The aim of this study was to assess the SWB of young dancers with disabilities enrolled on an extracurricular inclusive talent development programme in the UK at two time points. Twenty-two young dancers completed the Personal Wellbeing Index for people with intellectual disability at the beginning of the academic year. Thirteen dancers completed the questionnaire a second time towards the end of the academic year. Scores were compared with normative values, and a Wilcoxon Signed Rank test was conducted to assess change over time. The participants reported high levels of SWB at both time points in comparison with normative values. There was no significant change in wellbeing scores over time. The study contributes to a growing body of literature suggesting that people with disabilities have high levels of SWB. Although causality cannot be assumed, inclusive dance programmes may contribute to SWB and allow young people with disabilities to overcome the barriers associated with physical activity

Independent dancers: roles, motivation and success research report

The aim of this study was to investigate the experiences of independent dancers. We set out to gain a descriptive and analytical understanding of working life in the sector. We examined specific psychological factors such as motivation and self-definitions, and how these helped dancers in their careers. The term ‘independent dancer’ is commonly used within the UK dance industry to describe practitioners who work in multiple roles on freelance contracts. This approach to work enables dancers to engage with a range of dance communities, develop and apply diverse skills, and collaborate with multiple partners. Throughout this document we refer to such individuals as dancers or dance artists to represent those working in a range of roles and at a variety of levels. The independent dance sector is supported by an infrastructure of dance agencies that operate across the country to provide development opportunities and resources for independent dancers. It is estimated that around 40,000 people work in the UK dance industry, but the varied and ad hoc nature of their roles makes it challenging to quantify and describe the workforce accurately. In the past there have been several independent reports published about the sector as well as published interviews with renowned independent dancers that provide an insight into working conditions, rates of pay, infrastructures and funding, however with the industry developing so rapidly these sources are no longer current. More recently, doctoral research located within the independent sector has provided further insight into specific aspects of the dancers’ role. This, however, has focused specifically on artistic and choreographic concerns or is situated within a different geographical location. As a result, there is a lack of up to date knowledge about the UK independent dance sector meaning that this dynamic and mobile force still ‘works in relative invisibility’. Furthermore, academic research in the fields of professional practice, psychology and dance science has neglected to examine this important and continually developing part of the UK dance sector. Therefore, this research appears timely in order to provide current information about independent dancers and how they negotiate such a varied and challenging career. Although this research project has been disseminated in academic forums, the aim of this report is to inform dance artists, teachers and students of the findings in an accessible format