This paper describes a teaching model, The Teaching Artist, developed to address the pedagogical and cultural divide between the traditional dance teacher and the dance artist who teaches: traditionally, one teaching about dance and the other, teaching through dance. The Teaching Artist model was developed through the Q150 Project. The Q150 Project provided an opportunity to meld these cultural idioms. It involved pre-service secondary dance teachers in their second year of teacher training at the Queensland University of Technology. The Project's design involved three components: artistic development, pedagogic development and implementation. The participants researched social and artistic dance histories and practices across Queensland towns. From their research, they created dance works specific to those local communities. The works created formed the basis for primary and secondary school workshops taught by the participants. By their participation in the Project, the pre-service teachers created tangible links with the schools in which they will practise and experienced the nexus between artist and teacher in an authentic teaching and learning environment. IntroductionIn dance, teaching has long been an adjunct profession for professional dancers and choreographers. Many augment their income by teaching in private dance schools, in community cultural development positions or in educational settings as artists-inresidence. Traditionally, this work is carried out regardless of formal teaching qualifications; only those choosing to work as high-school dance teachers are required to navigate the Australian tertiary dance education environment. The Queensland University of Technology (QUT) diverse research and study portfolios are underpinned by its long association with Teacher training.This paper describes a teaching model, The Teaching Artist, developed to address the pedagogic and cultural divide between the traditional dance teacher and the dance artist who teaches: traditionally, one teaching about dance and the other teaching through dance. It discusses the unfolding and ongoing development of a university teaching model for dance teacher training across a one-semester unit of work. The paper was developed in response to student, classroom teacher and

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Despite tertiary institutions acknowledging that reflective practice is an essential component of undergraduate dance teacher training, there is often a disparity between the tertiary students' reflective skills and the more sophisticated reflective ability needed to navigate the twenty-first-century workforce. This paper charts the evolution of a dance teaching reflective pedagogy within a suite of three units across a three-year undergraduate dance teacher-training course for school, community and studio dance teachers. This reflective pedagogy based on exploration, collaboration, critical questioning and connections with community forms the basis of a model of tertiary dance teacher training; the Performance in Context Model (PCM). Over the past four years, through four cycles of action research, the PCM pedagogy, context and engagement with community has developed into a successful model integrating practical dance teaching skills, artistry and community engagement. The PCM represents a holistic collaborative approach to dance teacher education: the marrying of 'teacher-as-artist' , 'teacher-as-performer' and 'teacher-as-researcher' . More specifically, it emphasises the need for mature, reflective, receptive and flexible approaches in response to dance teaching and learning. These are enacted in a variety of contexts, with tertiary dance teaching students identifying as teaching artists, as well as researchers of their own practice.

Dance students report varying levels of physical activity that usually met or exceeded recommendations; however, knowledge of general nutrition and physical activity benefits was low. Improved knowledge could contribute to changes in behavior that improve health status in this population.

As conservatoire-style dance teaching has traditionally utilised a hierarchical approach through which the student must conform to the ideal requirements of the conventional technique, current discourse is beginning to question how dance training can develop technical acuity without stifling students' ability to engage creatively. In recent years, there has been growing interest in the field of somatics and its relationship to tertiary dance training due to the understanding that this approach supports creative autonomy by radically repositioning the student's relationship to embodied learning, skill acquisition, enquiry and performance. This research addresses an observable disjuncture between the skills of dancers graduating from tertiary training and Australian dance industry needs, which increasingly demand the co-creative input of the dancer in choreographic practice. Drawing from Action Research, this paper will discuss a project which introduces somatic learning approaches, primarily from Feldenkrais Method and Hanna Somatics, to first-year dance students in their transition into tertiary education. This paper acknowledges previous research undertaken, most specifically the Somdance Manual by the University of Western Sydney, while directing focus to the first-year student transition from private dance studio training into the pre-professional arena.