Somatics in the Dance Studio: Embodying Feminist/Democratic Pedagogy

Since the 1970s, somatics have increasingly become a part of the dance training landscape. Although the psychophysical benefits seem sufficient in themselves to warrant inclusion in dance, this article explores another possible outcome of embracing somatic pedagogical principles, a change that affects not what is taught in a dance class, but how dance is taught. Although much of contemporary educational philosophy has moved away from the traditional authoritarian model, authoritarian practices still pervade Western concert dance to the detriment of the field (Lakes 2005 Lakes, R. 2005. The messages behind the methods: The authoritarian pedagogical legacy in Western concert dance technique training and rehearsals. Arts Education Policy Review, 106(5): 3–18. [Taylor & Francis Online] , [Google Scholar], 16). To move forward as an art form, there is a need to “transform … our pedagogical outlooks” (Fortin 1998 Fortin, S. 1998. “Somatics: A tool for empowering modern dance teachers”. In Dance, power and difference: Critical and feminist perspectives on dance education, Edited by: Shapiro, S. 49–71. Champaign, IL: Human Kinetics. [Google Scholar], 67). This article seeks to illuminate common threads between somatic and feminist/democratic teaching to further the discourse on pedagogical practices in dance. The author also traces the impact of incorporating somatic principles in her teaching and her resultant evolution away from traditional methods toward a more egalitarian approach.