Rosemary Martin is Lecturer in Dance Studies, National Institute of Creative Arts, University of Auckland. A former soloist with the Royal New Zealand Ballet, her research interests include international education in dance, cross-cultural conceptualisations of the dancing body, dance and identity and dance in transnational contexts. She is the author of Women, Dance and Revolution (I.B.Tauris, 2015).Eeva Anttila is Professor of Dance Pedagogy, Theatre Academy of University of the Arts Helsinki, Finland. Her research interests include dialogical and critical dance pedagogy, embodied learning, embodied knowledge and practice-based/artistic research methods. She served as the Chair of Dance and the Child International (2009-12), is co-editor of the International Journal of Education in the Arts and the International Journal of Education in the Arts and is member of the editorial board of the Nordic Journal of Dance.

This book brings to light, through a prism of dance, a world that has undergone enormous political and cultural change … Perhaps of equal importance, the scholarship embedded within this book is a reminder that dance is at once personal and global, intimate and shared, a way of being in and knowing of a world that has no boundaries.

• Introduction1 Beginnings2 Learning3 Making4 Performing5 Teaching and teachers6 Relationships, family, and meetings7 Heritage and history8 Change and turning points9 Travelling10 Futures, challenges and questionsReferencesGlossaryIndex

Rosemary Martin is Lecturer in Dance Studies, National Institute of Creative Arts, University of Auckland. A former soloist with the Royal New Zealand Ballet, her research interests include international education in dance, cross-cultural conceptualisations of the dancing body, dance and identity and dance in transnational contexts. She is the author of Women, Dance and Revolution (I.B.Tauris, 2015).Eeva Anttila is Professor of Dance Pedagogy, Theatre Academy of University of the Arts Helsinki, Finland. Her research interests include dialogical and critical dance pedagogy, embodied learning, embodied knowledge and practice-based/artistic research methods. She served as the Chair of Dance and the Child International (2009-12), is co-editor of the International Journal of Education in the Arts and the International Journal of Education in the Arts and is member of the editorial board of the Nordic Journal of Dance.

This book brings to light, through a prism of dance, a world that has undergone enormous political and cultural change … Perhaps of equal importance, the scholarship embedded within this book is a reminder that dance is at once personal and global, intimate and shared, a way of being in and knowing of a world that has no boundaries.

• Introduction1 Beginnings2 Learning3 Making4 Performing5 Teaching and teachers6 Relationships, family, and meetings7 Heritage and history8 Change and turning points9 Travelling10 Futures, challenges and questionsReferencesGlossaryIndex

Rosemary Martin is Lecturer in Dance Studies, National Institute of Creative Arts, University of Auckland. A former soloist with the Royal New Zealand Ballet, her research interests include international education in dance, cross-cultural conceptualisations of the dancing body, dance and identity and dance in transnational contexts. She is the author of Women, Dance and Revolution (I.B.Tauris, 2015).Eeva Anttila is Professor of Dance Pedagogy, Theatre Academy of University of the Arts Helsinki, Finland. Her research interests include dialogical and critical dance pedagogy, embodied learning, embodied knowledge and practice-based/artistic research methods. She served as the Chair of Dance and the Child International (2009-12), is co-editor of the International Journal of Education in the Arts and the International Journal of Education in the Arts and is member of the editorial board of the Nordic Journal of Dance.

This book brings to light, through a prism of dance, a world that has undergone enormous political and cultural change … Perhaps of equal importance, the scholarship embedded within this book is a reminder that dance is at once personal and global, intimate and shared, a way of being in and knowing of a world that has no boundaries.

• Introduction1 Beginnings2 Learning3 Making4 Performing5 Teaching and teachers6 Relationships, family, and meetings7 Heritage and history8 Change and turning points9 Travelling10 Futures, challenges and questionsReferencesGlossaryIndex