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• W1999683767 abstract "Abstract This paper investigates teaching artists in the USA whose work is rooted in dance and dance-related disciplines. Teaching artists, although the descriptor itself remains both ambiguous and debated in the USA, provide a good deal of arts education delivery in K12 schools and afterschool programs. Based on survey data from a range of dance teaching artists across the nation (n = 64), the study presents emergent themes including: (1) insufficient preparation, (2) obstacles and challenges in the workplace and (3) diverse perspectives on teaching artist professionalization and credential programs. The paper concludes with recommendations for post-secondary (tertiary) curriculum development in dance programs. Keywords: teaching artistscurriculum Notes 1. See the Association for Teaching Artists at http://www.teachingartists.com/aboutus.htm 2. Findings of the NORC Teaching Artist Research Project are available at http://www.norc.org/PDFs/TARP%20Findings/Teaching_Artists_Research_Project_Final_Report_%209-14-11.pdf 3. For information on the research survey, Teaching Artists and Their Work, see: http://www.teachingartists.com/Association%20of%20Teaching%20Artists%20Survey%20Results.pdf 4. The Association for Teaching Artists identifies the following teaching artist disciplines: dance, film and electronic media, folk arts, literature, multidisciplinary, music, theatre and visual arts. 5. Higher Education Arts Data Services (2011) reports advanced degrees for post-secondary faculty in dance as master’s degree (64%) and doctorate (12%). 6. Because some participants in the survey selected their highest degree rather than all degrees received, it is likely that those who hold baccalaureate degrees exceed 80%. 7. I refer here to National Association of Schools of Dance guidelines and standards for US baccalaureate degrees that do not include specific P12 teacher preparation programs. 8. Beyond basic NASD requirements and frameworks, the nature and requirements for graduate study are largely the prerogative of each institution, especially for terminal degrees such as the MFA. 9. See NASD Handbook (2010), III. M. Flexibility and Innovation (74); NAST (2010) Handbook, III. M. Flexibility and Innovation (73). 10. Alternative teaching settings in dance include the following: differently abled, at-risk youth, under-represented populations, incarcerated populations, detention facilities, hospitals/therapeutic, drug abuse and rehabilitation, domestic abuse and violence, gay, lesbian, bisexual, transgender and queer, seniors and elderly, among others. 11. See NASD 2010 (101). 12. There are numerous connections and partnerships that can be forged between MFA teaching artist tracks and community. See NASD 2010, Dance Education and Local Community (126–7). 13. See, for example, the required curriculum for teaching artist certification (visual arts, performing arts, literary, media and crafts) at the University of the Arts at http://cs.uarts.edu/ce/certificate-programs/teaching-artist 14. This study is made possible through the generous support of the President’s Research Enhancement Program for the Arts and Humanities, Wayne State University, Office of the Vice President for Research." @default.
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• W1999683767 date "2012-07-01" @default.
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• W1999683767 title "Hybrid lives of teaching and artistry: a study of teaching artists in dance in the USA" @default.
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• W1999683767 doi "https://doi.org/10.1080/14647893.2012.677426" @default.
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