Abstract
Commercial dance is an area that is largely neglected within the dance field,
specifically in the United Kingdom. However, as a dance form, this is accessed and
seen the most within broader society through recent technological advancements and
mass media. There is a significant lack of academic research and literature that
explores commercial dance as an industry and from an educational perspective. This
research conceptualises the current position of commercial dance within the United
Kingdom and explores the dance curriculum within HE and conservatoire
environments. It evaluates curriculum relevance and currency to prepare graduates
for commercial dance employment effectively. In addition, this research considers the
wider dance industry and societal trends and their influences on curriculum design and
delivery.
This study uses a qualitative methodology through an interpretive narrative approach,
exploring the lived experiences of students, educational leaders, recent graduates,
and industry employers. These experiences are gathered through semi-structured
interviews, focus group interviews and observations within the field of dance that afford
and enrich the study with real-world, real-time data. This research concludes that
commercial dance is not a form of dance, but an umbrella term used to describe any
dance form used for monetary purposes. The study highlights a hierarchy within the
dance field between ‘traditional’ Western dance forms and those that sit under the
commercial umbrella. This research also establishes that recent technological
advancements have significantly impacted how the commercial dance industry
operates, alongside the broader impact on professional dance training. Furthermore,
this research highlights the negative long-term impact that authoritarian and traditional
dance pedagogies have on students and graduates.
To conclude, this research recommends that dance education must embrace
technological advancements and the influence these have upon the dance industry
whilst affording greater status to the value of commercial dance. The dance field
should also acknowledge that ‘commercial dance’ is not a form of dance, but a generic
term used to describe several dance forms and a wider employment industry.