This study aims to investigate how dance teachers who are educated in Swedish folk dance are reflecting and thinking over the body and the use of bodily self-awareness in their teaching. Furthermore it wants to examine whether the use of somatic principles can act as a tool to support the ideas which dance teachers express. Four folk dance teachers have been interviewed as qualitative empirical material. These interviews have been transcribed and analyzed using codes and categories. The result of the study provides an image of the body as it is seen in folk dance today and points out similarities between that picture and somatics. Folk dance and somatics treat the whole body as a single unit and strive towards a relaxed and functional way of moving. Since folk dance and somatics have these similarities the possibility of using somatic principles in folk dance, such as training to gain consciousness of the body and its different parts to be able to relax actively, is discussed. However the result of this study shows how a rather small part of folk dance teachers think, since it only provides the opinions of four different teachers.

Depuis 1981, les jeunes du primaire et secondaire sont sensibilisés à la danse par des enseignants qui l’offrent au sein du curriculum de la formation générale des jeunes. Les enseignants de la danse en milieu scolaire (EDMS) du Québec, bénéficient d’une formation universitaire à la fois disciplinaire, pédagogique et pratique qui développe leurs compétences tant artistiques que professionnelles. Au sein de cette formation initiale, commence le développement de l’identité professionnelle de l’enseignant (Lessard et Tardif, 2003) qui continue à se développer durant toute la carrière. Toutefois, la construction identitaire de l’EDMS n’a pas fait l’objet d’une étude approfondie car l’enseignement de la danse en milieu scolaire est une profession relativement nouvelle, non-traditionnelle et méconnue. Ainsi, dans le cadre d’une approche sociologique constructiviste, nous nous penchons sur les tensions et stratégies identitaires inhérentes aux trajectoires biographiques et aux représentations professionnelles de praticiens dans le but de mieux connaître qui ils sont. Nous cherchons à comprendre le sens qu’ils donnent, dans leur construction identitaire, à leur parcours de formation, à leur travail, à leurs relations dans le travail, aux savoirs, et aux institutions en élaborant les rapports qu’ils entretiennent avec autrui ainsi que la perception de leurs rôles, statuts et fonctions artistiques et éducatifs. Un cadre conceptuel nous a permis de faire un portrait sociologique des sphères de négociations identitaires inhérentes à la construction de l’identité professionnelle grâce à l’analyse de la double transaction biographique et relationnelle, un concept de Dubar (1991). Les données de cette étude, recueillies auprès de dix-huit EDMS, proviennent d’un questionnaire sociodémographique ainsi que d’un questionnaire et d’entretiens sur leurs représentations professionnelles, leurs héritages et sur les incidents critiques de leurs trajectoires biographiques. L’analyse inductive des données par l’approche de théorisation ancrée, vérifiée par quinze participantes, a permis de dégager six sphères internes et externes de négociations identitaires communes à la construction de l’identité professionnelle d’EDMS : Devenir, Se réaliser, Se projeter, Faire sa place, Rencontrer l’autre et Agir. Ces sphères se présentent comme des espaces d’identification dans lesquelles l’EDMS construit son identité professionnelle en se positionnant par rapport aux identités héritées, acquises, prescrites, réelles et projetées. Cependant, les écarts entre les logiques opposées, les postures complémentaires et les rôles à jouer pour soi et pour autrui dans la pratique peuvent engendrer des tensions identitaires intrasubjectives et intersubjectives que nous avons identifiées. Pour réduire les écarts entre les représentations polaires et pour apaiser les zones d’incertitudes identitaires, l’EDMS mobilise des stratégies temporelles et spatiales. Neuf ont été relevées: conversion, conciliation, différenciation, implication multiple, maintien identitaire, défense, promotion, alternance des rôles et formation continue. Cette étude expose des façons d’EDMS de se définir pour soi et pour autrui qui permettent d’accéder aux référents identitaires des sphères par des exemples concrets issus des verbalisations de participantes sur le terrain. L’interprétation de nos résultats nous conduit à décrire six profils identitaires provisoires. Nos résultats offrent des retombées possibles en formation initiale et continue. / Since 1981, primary and secondary school students have been sensitized to dance education by dance teachers who offer the discipline within the curriculum. The dance teachers in the school environment (DTSE) of Quebec benefit from a university formation which is at once disciplinary, pedagogical and practical and which develops their artistic as well as professional competencies. It is within this initial formation that the development of the professional identity of the teacher begins (Lessard et Tardif, 2003) and continues to develop throughout their entire career. Nevertheless, the identity construction of the DTSE has not been made the subject of a thorough study, since the teaching of dance in the school environment is a relatively new, non-traditional and unfamiliar profession. Thus, within the framework of a sociological constructivist approach, we study the tensions and identity strategies inherent in the biographical trajectories as well as in the professional representations of the DTSE with the aim of knowing better who they are. We seek to understand the meaning which they give, in their identity construction, to their formative path, to their work, to their relations in work, to knowledge, and to institutions by elaborating the relations maintained with others, and their perceptions of their artistic and educational roles, status and functions. A conceptual framework enabled us to make a sociological portrait of the spheres of identity negotiations inherent in the construction of their professional identity thanks to the analysis of the double biographical and relational transaction, a concept of Dubar (1991). The data collected from eighteen DTSE was generated from a socio-demographic questionnaire as well as from a questionnaire and interviews on their professional representations, their backgrounds and on the turning points of their biographical trajectories. The inductive analysis of the data, using the grounded theory approach, was verified by fifteen participants, and reveals six internal and external spheres of identity negotiation common to the identity construction of the DTSE: To become, To achieve, To project oneself, To make one’s place, To encounter the other and To act. These spheres represent identification fields within which the identity construction process of the DTSE develops in relation to the various identities inherited, acquired, prescribed, real, and projected. However the intervals between the opposing logics, the complementary postures and the roles to be played in practice for oneself and for others could provoke intrasubjective and intersubjective identity tensions which we have identified. In order to reduce the intervals between the polar representations and to alleviate the zones of identity uncertainties, the DTSE employs certain temporal and spatial strategies. We have identified nine such strategies: Conversion, conciliation, differentiation, multiple implication, identity preservation, defence, promotion, alternation of roles, and continuing education. This study exposes DTSE manners of defining oneself for oneself and for others which give access to the identity referents of the various spheres by concrete examples resulting from the verbalisations of participants in the field. Our interpretation of the results conducts us to describe six provisional identity profiles. Our results offer possible consequences in initial and continuing formation.

Höstterminen 2014 Today’s students show great divergences in incentives for commencing studies at an Upper Secondary Dance Educational School in Sweden. The level of the individual`s motivation both during the prelusive and pending stages of the education, shows great variance. The aim of the study is to find a correlation between the individual’s motivation level and the individual´s conceiving of enhancement or deprivation of inner needs. To which extent is the comprehension and consideration towards these needs, a direct agency in effecting the desire for self- engaged and lifelong learning? In which manner can a deeper and wider understanding of the needs for self- actualization, ensure a more sturdy and coherent motivation towards the experience of learning? Through motivation psychology as an angel of approach, the study incorporates the three methods; observation, projective testing and literary studies. Conscious and unconscious personality traits and states are chartered. The conjunction with various sources of stimuli subsequently indicates the deriving of behavior. The study indicates the need of educational practitioner’s insight and understanding towards the individual pupil’s apperception of the social world. Also the study indicates the importance of implementing this knowledge, in ensuring cohesiveness and sustainability of motivation for self- engaged lifelong learning.

Without dance? – dance knowledge in an expanded perspective   The vocational dancer education in classical ballet's subject-specific intended learning outcomes means many years of dance training that requires sacrifices in other school subjects and other hobbies, without work guarantee. There are more dancers than there are jobs, which is why many people stop dancing after graduation. The survey’s purpose is to investigate what happens over time with the dance knowledge that is generated during the vocational dancer education. Is it still relevant to the person's sphere of life even outside a dance context? Five people, who completed the vocational dancer education in classical ballet in 2011 and 2012 and stopped dancing after graduation, are interviewed. The results are analyzed with a phenomenographic approach, the description categories or result are analyzed to a final outcome space, which indicates, through the ballet´s genre-determined structure and a cognitive thought pattern that is characterized by a given construction to understand the meaning of structure, a unique and profound body knowledge and social adaptability as a consequence of the education. Dance practice enables social adaptability, a visualization of people's complex reality, the understanding of the value of taking varying perspectives to manage and adapt to different people and social contexts.

Dance genres in Swedish upper secondary school - a quantitative survey Dance as a subject in upper secondary school is a relatively young subject with a vague framing that provides the teachers with more room for interpretation. The aim of this paper is to shed light on a somewhat unexplored researched field and to contribute with knowledge about what dance genres that are featured in Swedish upper secondary schools. The study investigates what genres the students encounter in the everyday dance training and how much time in class. Further, it is investigated which genres the schools bring in as guest genres and who teaches them. The data is collected via a survey that was sent to all Swedish upper secondary schools with an arts program in dance. The results are analyzed and discussed via curriculum theory and Swedish dance history. Some of the main conclusions are that the modern and contemporary dance stands out in more than one way and is well established in dance programs in Swedish upper secondary schools. Another result shows that there is a wide diversity in the genres schools chose to include as a guest genre. The results also show that the most common is to bring in a guest teacher in different subgenres of street dance.

In the context of Chicanx experiences in the United States, where varying generations of Chicanxs experience bicultural realities, this study shows how embodied knowledge performed through the body’s movements in folklórico dance by Chicanx youth from multiple generations, acts as a mechanism for reconnecting youth to cultural ties, reevaluating educational practices, and emplacing within youth, the ability to foster the confidence to express and create imagined futures. Data collection incorporated a series of interviews with eight Chicanx youth and adults who have either taught or danced folklórico in the Phoenix, Los Angeles, or Coachella Valley areas. Interview participants revealed a strong sense of cultural orgullo that acts as a bedrock for their cultural identity affirmation and reclamation. This orgullo and other cultural knowledges such as familismo and collective consciousness were emphasized through pedagogies of embodiment. Dancers described learning these cultural knowledges not just through the embodiment of physical dance steps but through the embodiment of social customs honored by their folklórico communities. Much of these social customs centered around fostering and maintaining relationships of genuine, holistic caring. These relationships were foundational for personal, mental, and emotional growth of dancers. Through these relationships, individual identities found the support to thrive within collective communities. Given the influx of educational pedagogies that attempt to depersonalize, depoliticize, and de-emotionalize the education through the implementation of tracking systems, standardized tests, and culturally inaccessible curriculums, these stories suggest alternate forms of learning that may account for students’ entire well-being. While this project is very much about reclaiming historical pasts, it is also about re-envisioning educational possibilities, discovering inner potentials and building collective communities that recognize and rejoice in those potentials. Through this study, a deeper understanding of the functions of movement and dance will strengthen platforms that push arts education and ethnic studies to greater educationalist agendas.