Teaching Artists, also called artist educators, or community artists are professional artists who teach and integrate their art form, perspectives, and skills into a wide range of settings. Teaching Artists work with schools, after school programs, community agencies, prisons, jails, and social service agencies.

This link NFER provided many examples of practitioner enquiry questions.

  1. Give comments instead of grades (AifL).
  2. Experience through fieldwork
  3. Improve skills of reflection at the end of the lesson
  4. If students have a negative view of learning they are likely to have poor behaviour
  5. Peer teaching
  6. ICT in the classroom
  7. High level thinking in school using creative thinking as a tool to benefit learning and teaching.
  8. Understanding as a process
  9. Support and intervention to overcome underachievement of at risk students
  10. Collaboration.


1. How can creativity and improvisation in dance be used as a therapeutic tool to address issues of self-esteem in teenagers? What skills can dance help develop, that impacts positively on young people.
2.Does a cognitive approach in the context of the Teaching Artist teaching and learning program develop an effective approach to collaborate with learners to create professional dance performance.
3. By researching the ways in which training (Stanislavsky method) and the application of training informs the  performance interpreters, s it possible to inform actor training with the longer term aim of creating a formal course for interpreters wishing to work in performance.

I plan to continue with my enquiry question.


 As a reflective practitioner, how would I refine my dance artistry to develop lifelong learning of intermediate male dancers after identifying key technical aspects of dance and reflecting on effects of warm-up protocols, active research and teaching styles?

I would like to adopt a teaching approach which may provide lifeskills and critical thinking to benefit learners who are not currently attracted to dance. This may require an alternative dance teaching approach and which explores alternative avenues to the predictable effects of dance on expression and self-esteem.



I have observed that dance has many benefits. The most obvious is fitness and technique of movement. However, there is a push by examination boards to develop expression and improvised movement as a way for all levels of dancers to access movement. Even dance research currently conducted at RCS focuses on expressive aspects of The Arts. I have noticed that while an emphasis on creative movement suits many dancer. Boys in particular enjoy the more athletic aspects of dance and are driven by the desire to move higher, longer and more effectively.

I also noticed at the start of class most dancer perform static stretches. This contrasts the warm-up provided by dance teachers. Literature is also divided whether to include static stretching in the warm up and if combined stretches are most beneficial to improve learners physically and mentally for exercise.

I observe that boys disengage from dance, opting for the related disciplines of tiechea. I have observed and read that boys in general are underperforming in the current curriculum as they are more kinaesthetic in their learning.

My sub-aims in my first report became:

  1. By designing cardio, static, dynamic and combined stretch protocols and measuring their effect on technical qualities (vertical jump height, balance and range of motion), can I optimise a warm-up for training intermediate dancers?
  2. To what extent does my teaching style alter effectiveness of warm-up protocols?
  3. Through reflection of my research, can I determine if active involvement of intermediate dance students in research improves knowledge, technique and lifelong learning?
  4. Through evaluation of my investigation, can I determine if male participation in dance is encouraged utilising a teaching warm-up protocol focused on technical improvement and active involvement?

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