Shifting Roles in Virtual Learning Environments: 

Unexpected outcomes of online dance education

by Michael Li

COVID-19 has shocked the entire world, including the education sector, in waves. The last two years have been a rollercoaster ride for dance educators. Educators have gone through face-to-face, virtual, half-day, and hybrid modes of education at various stages of life during the pandemic. In this reflective practitioner account of our experiences in virtual learning environments (VLE), we have highlighted student work that we both consider some of the most creative dance projects we have seen in our careers. We have observed that students can benefit from the increase in autonomy that the VLE affords. This article explores the experience of two dance teachers’ virtual dance classes (one in Hong Kong, one in Toronto) and shares timely learning with those teachers who are still suffering from online-teaching fatigue.  With the pandemic still very present in schools and communities, it is the author’s hope to send positive vibes among all educators, particularly those still teaching virtual classes in Dance and Drama. 

Technological advancement has had a significant impact on dance teaching and learning (Li, Zhou, & Teo, 2018; Li, 2020, 2021a, 2021b). Teachers are increasingly familiar with learning management systems (e.g., Google Classroom & Canvas) in course updating, resource dissemination, and learning community development (Jordan, 2016, Li et al., 2021). Social media channels can enrich learning outcomes (Oriji, Abraham, & Anikpo, 2019) and technology can provide students with options in face-to-face teaching (Stead, 2006), opportunities in online classes (Amry, 2014; Zhou & Li, 2019; Li, 2020, 2021a, 2021b), and other technology driven ways to engage in learning (McWilliam, 2008). Mobile technologies also help students videotape, edit, remix, and share various formats of data (Stiegler, 2010; Johnson, 2022). Students today are able to learn and complete learning activities in the virtual environment with far greater tools, especially when classes are held asynchronously (Caldwell and Milling-Robbins, 2007; Li, 2018, 2021a, 2021b; Zhou & Li, 2019; Warden et al., 2020). To examine this time in education in the context of our experience in our VLE dance classes, we have made use of qualitative information gathering such as interviews, screen captures, and artifacts to make observations and provide analysis (Barone and Eisner, 1997). 

Despite being worlds apart, the two dance teachers discussed here share similarities and differences in dance. Both graduated from York University's dance program, worked for the Toronto District School Board for more than 10 years, and taught virtual dance classes during the pandemic. Currently, ML lectures at a performing arts academy in Hong Kong, China, while CS teaches at a performing arts high school in Toronto, Canada. Both institutes have established dance programs, open to all students who are interested in dance without prerequisite. In the virtual learning environments of the classes discussed here, ML’s course in Hong Kong had about 30 undergraduate students while CS in the Toronto high school contained approximately 25 grade twelve students. Both classes were elective courses - open to whoever wanted to take dance, regardless of dance background and skills. Both teachers met four criteria: 1) have taught virtual dance classes; 2) were able to attend at least one online interview; 3) have student works (permission granted) to share; 4) established dance programs offering both major & minor options. 

As in-person learning turned to online platforms, the teachers in these VLEs were required to revise their pedagogies in class structure, approach, and use various tools and resources to enrich virtual dance classes. ML’s virtual dance class had five components: theory, composition, discussion, presentation, and reflection. Unlike face-to-face learning, the focus of virtual dance teaching shifted from technique training to critical thinking and creativity. Students had more discussion time with peers to confer about choreographic approaches, methods, and outcomes. They conferenced in breakout rooms (Zoom), on social media platforms (WhatsApp), and in learning management systems (Canvas). ML asserted,

I have more time talking about certain concepts more thoroughly 

in virtual dance classes. In the studio setting, I have routines to 

go through and always rush through materials on the list, which 

are mostly physical exercises (barre, center, across the floor, 

combination, etc.)

ML observed that students could adapt to the VLE quickly. “They were so much faster and better with technology than I am,” ML admitted. Students were able to follow various exercises, improvise, choreograph, and build movement phrases, especially in breakout rooms (Li, 2021a, 2021b). Figures 1 and 2 below are screen captures of dance students practicing movements in the virtual learning environment.

During the pandemic, CS’s dance classes were consolidated into long sessions - a 4-hour long dance class, once a week instead of several shorter classes (75 minutes) each week. Each class consisted of four continuous hours of instruction. To facilitate these long sessions, she divided her class into 6-parts: Q&A, morning coffee, technique, reflection, choreography, and presentation. CS began her class with casual questions such as what is your favorite choreography and why, or how to dance in non-traditional spaces?  Fifteen minutes were used for this part of the instruction while students adjusted their sound, camera, and completed the administrative requirement - attendance. 

There were many on-demand dance resources available online during the pandemic - The National Ballet of Canada, Toronto Dance Theatre,  Great Moving Dancers and Opera Atelier. “Many of these dance classes were completely free and created particularly for small spaces, such as the living  room or even in the kitchen. There were a variety of dance styles, ranging from Indian to Chinese and Contemporary to Hip Hop,” CS added. During the technique component of each class, she monitored students dancing in their own spaces. Students could fast-forward, slow-down, and pace their own technique training according to what they needed and wished.  

In VLE, students were able to use their available technologies to create innovative dance works. They explored the multitude of possibilities with their dance on camera - timing, appearing and disappearing, full body and partial body movement options, which dancers did not have on stage. They learned how to engage technologies to enhance the experience of the viewer, as well as their communicative powers as dance makers (figure 3). Both ML and CS observed that dance students, even with restrictions, limitations, and various backgrounds, were able to create some of the best works they had ever seen.

Figure 3. Creative projects from CS’s Grade 12 Dance minor students 

Both CS and ML noticed that students were more confident in virtual performances – works that they could pre-record, edit, practice, and present the video online instead of dancing in the studio. They were more willing to take creative risks. They danced on stairways, rooftop, in the snow or bathtub, among other spaces. ML asserted: “students were able to break ‘rules and definition’ of dance in terms of what dance was, who the dancers were, audiences, and where dance could take place.” Dance students were proud to share their creative works on social media platforms such as YouTube, Meta, and TikTok.

Despite differences in locations (Toronto & Hong Kong) and instructional levels (post-secondary and high school), the teachers in this examination of online dance classes saw that students accomplished a great deal in the VLE. In fact, limitations forced both teachers and learners to think outside the box. VLE provided opportunities for students to express their thoughts, words, and embodied message effectively. Students had more autonomy in making decisions such as when to work on the dance project; where to make dance and feature their creative works; how to create and revise their dance works; and what tools and technologies to be utilized. As there is no specific instruction in VLE,  the benefit of putting students in charge of their own learning was obvious. In doing so, they became self-regulated and self-directed learners. It is evident that students were able to make use of existing technologies to push creative and spatial boundaries. VLE created space for learners to have agency which seemed to result in a greater sense of ownership in learning. Some of these strategies could be kept and applied to regular dance classes after the pandemic. Our experience with VLE suggests that this moment in time provides an opportunity for dance educators to rethink the balance between technique and creativity; technology integration; autonomy, the role of teaching and learning, among other topics in dance education in the 21st century. Shifting roles and embracing the liberty that VLE can provide to students in dance learning and teaching might trigger unexpected yet promising results.

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