Embodied History: A Critical Reassessment of Dance History Pedagogy for a New Era

Traditional and commonly employed dance history pedagogy perpetuates Eurocentric narratives that marginalize and erase non-Western artists, customs, and contributions. Dance history courses typically utilize conventional learning modalities such as lecture and discussion. This research critically reexamines existing pedagogical frameworks of content and approaches to teaching dance history courses at a higher education institution. Diving into the historical analyses of John Perpener, Sally Banes, Julie Kerr-Berry, and Christy Adair, this study explores alternative entry points to shifting the historiography and canon of dance history, specifically decolonizing and feminist perspectives. Through a case study examining ten “Dance History” syllabi from colleges and universities across the United States, this research identifies problematic systems of course titling, content and source material choices, and learning modalities. To bring our study of dance history into the contemporary moment, this work develops reimagined pedagogical models that emphasis specificity in naming, multiplicity in thematic foci, and incorporate practices that bridge the gap between classroom and studio, offering movement-based/embodied activities to enrich the learning experience. Finally, this research concludes with a reflection on how my studies of dance history inform my artistic endeavors, how making has enriched my understanding of the past and persists connections to my lineage.