Curriculum development: shapes pathways that support dance as both a practice and a way of knowing. I have been a curriculum development consultant for over 20 years. This began through working with arts-based programs, Learning Through the Arts (LTTA) in Canada, Creative Partnerships: London North in the UK, and research with Sir Ken Robinson while he was in Oklahoma, USA. More recently with Global Water Dances, who were developing an education program for K to University Level. Over the last ten years, I have written successful BA and MA programs and seen them through the university validation process in a number of Universities. Overall, I am passionate that the arts and dance in particular are not a luxury but a right and fundamental part of a full education. Therefore, the curriculum should support the arts being accessible to all types of learners from all types of backgrounds. I also believe that as teachers, when we are teaching a well-balanced, inspired curriculum, we can grow into our own full potential as educators.
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My chapter, The Distance of Education,was published in the Futures of Performance Anthology last year. In this chapter, I discuss how the embodied, creative knowledges of the performing arts have much to offer general pedagogical responses to the digital world of the 21st century and suggest curriculum strategies for harnessing the online world as a living extension of the University dance studio.
I am also excited to announce that the Oxford Handbook of Ballet Pedagogy is beginning its journey in press after two years of gathering chapters. I co-edited this anthology with Dr Karthrina Farrugia-Kriel. The book comprises 44 chapters of best practice from around the world and a developing curriculum that is meaningful to students who live across a range of social, global identities.
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