The researchers explored the dual experience of individuals who are both taking dance and movement classes digitally at the same time as they are also teaching dance and movement classes digitally. By focusing on this duality through a series of interviews with practitioners, the researchers explore how the learner/educators do or do not adapt one set of skills into the other area of work and the lessons learned from this reflective practice. The results are analyzed and broken down into five sections: glitches of the practice, reflective practice, active learning, engagement, and reframing communication. Through further analysis, the researchers explore possibilities for shifting the mindset around digital education methods. The researchers then offer suggestions for further development in the field and where further research can expand on the subject area.

Abstract:To learn, acquire knowledge, and develop skills is an embodied process. In this article, the authors argue that merging the fields of song and dance is dependent on a deeper understanding of how the mind and the body interact, and they utilize the concept of enactive cognition to explain these processes. The authors maintain that students need insight into these processes in order to improve their learning and, consequently, their performance. Retrospective examples taken from three educational situations within the musical theatre context elucidate the discussion of the concepts of alignment and breathing. These frequently used concepts are often a source of confusion and misunderstanding for the student. To alleviate this, a stronger, interdisciplinary dialogue among the singing and dance teachers who are involved in the genre of musical theatre needs to be developed.The authors suggest collaborative teaching as a means to develop the teaching methods and as the pathway to attaining a common base when integrating the skills of singing and dancing.

Abstract:To learn, acquire knowledge, and develop skills is an embodied process. In this article, the authors argue that merging the fields of song and dance is dependent on a deeper understanding of how the mind and the body interact, and they utilize the concept of enactive cognition to explain these processes. The authors maintain that students need insight into these processes in order to improve their learning and, consequently, their performance. Retrospective examples taken from three educational situations within the musical theatre context elucidate the discussion of the concepts of alignment and breathing. These frequently used concepts are often a source of confusion and misunderstanding for the student. To alleviate this, a stronger, interdisciplinary dialogue among the singing and dance teachers who are involved in the genre of musical theatre needs to be developed.The authors suggest collaborative teaching as a means to develop the teaching methods and as the pathway to attaining a common base when integrating the skills of singing and dancing.

Abstract:To learn, acquire knowledge, and develop skills is an embodied process. In this article, the authors argue that merging the fields of song and dance is dependent on a deeper understanding of how the mind and the body interact, and they utilize the concept of enactive cognition to explain these processes. The authors maintain that students need insight into these processes in order to improve their learning and, consequently, their performance. Retrospective examples taken from three educational situations within the musical theatre context elucidate the discussion of the concepts of alignment and breathing. These frequently used concepts are often a source of confusion and misunderstanding for the student. To alleviate this, a stronger, interdisciplinary dialogue among the singing and dance teachers who are involved in the genre of musical theatre needs to be developed.The authors suggest collaborative teaching as a means to develop the teaching methods and as the pathway to attaining a common base when integrating the skills of singing and dancing.