Previous research has revealed a wealth of findings in the area of commitment, adherence and dropout, but more research is needed in the challenging and rewarding domain of dance. The difficulties of achieving a successful performing career, and the stresses of such a career even if it is achieved, raise questions as to why some young people commit to a domain in which the eventual outcome is so uncertain. On the other hand, why do some young people withdraw from an activity that can be intrinsically highly enjoyable? Anecdotal accounts give insight into some of the answers to these questions, yet to date research has not attempted to
comprehensively address why some young dancers commit to training while others withdraw. Therefore, the aim of this PhD research was to investigate commitment, adherence and dropout among young talented dancers from quantitative and qualitative perspectives in order to move existing research forward and produce
practically applicable findings. This aim was achieved by conducting five scientific studies which took into account factors relating to talent development as well as commitment, adherence and dropout. Findings may be used to help educators enhance retention rates in talent settings and potentially beyond. For example, the results may reveal factors associated with commitment and adherence that
educators can somehow enhance or improve as part of their training programmes. In this way, young dancers can be offered optimal opportunities to develop their talents in a dance programme designed to enhance not only learning and skill development but also enjoyment, well-being and commitment.
Chapter 4
Talent Identification and Development in Dance
This manuscript is published with the following reference: Walker, I.J., Nordin-Bates, S.M., & Redding, E. (2010).
Talent identification and development in dance: A review of the literature. Research in Dance Education, 11(3), 167-191.
4.1 Abstract
Talent identification and development processes are important components of many dance programmes, yet talent is notoriously difficult to define and its identification may rely on intuitive judgements. Taking a systematic approach to the study of dance talent could enable researchers and educators to better determine what talent actually is, the multi-faceted components that exist within talent and subsequently how best it can be optimised. The aim of this paper is to review existing literature relating to aspects of dance talent. While not attempting to define talent nor provide a guide for identification, the review reports on existing relevant literature that describes the characteristics associated with talent in the hope that it will be valuable to educators and researchers. Further research into the
characteristics of talented dancers may enable teachers to prepare their students optimally for the exciting opportunities that dance can offer.
4.2 Introduction
The identification and development of talent is a burgeoning field of enquiry in sport, academia and music. However, talent remains notoriously difficult to define. While it is generally accepted that talent is comprised of both innate / genetic components and learned / practiced skills, there is little agreement as to which factors dominate over others (Lidor, Côté & Hackfort, 2009; Schmidt, Jarvis & Slayford, 2005). There has been a shift in the definition of talent in children and young people as a result of UK government initiatives. Those who “have one or more abilities developed to a level significantly ahead of their year group (or with the potential to develop those abilities)” are now considered ‘gifted and talented’ (Department for Children, Schools, and Families, DCSF, 2008). This means that dancers are to be evaluated on future potential as opposed to existing skills alone, thus allowing for the
identification of untrained but potentially gifted students (Knott, 2005). The
difference between “raw talent” (potential) and acquired skill is difficult to recognise, but imperative in ensuring that schools do not select only those students who have been fortunate enough to receive good quality early training.
Talent identification refers to recognising an individual’s abilities or potential within a specific domain; talent development is the provision of quality learning and practice conditions that facilitate the fulfilment of potential (Williams & Reilly, 2000). The Department for Education’s general assessment criteria for Dance in the Music and Dance Scheme cover both performance and creative skill. Furthering this, Sanders (2006) argues that talent identification in dance can be based on one of three areas: performing, creating, and appreciating. Talent is not required in all areas and being talented in one element does not guarantee talent in another. Sanders (2006) explains that a sustained interest in dance, enthusiasm and motivation may relate to talent.
While talent identification and development tend to be conducted separately, many argue that they should be considered together, or that development be emphasised before identification, to allow for the effects of maturation (such as changes in flexibility and coordination) and to avoid discrimination against those with potential but no prior training (Abbott & Collins, 2004; Durand-Bush & Salmela, 2001;
Martindale, Collins & Daubney, 2005). Talent development requires an interaction between abilities, individual and social factors in order to fulfil potential (Howe, Davidson & Sloboda, 1998; Williams & Reilly, 2000). Therefore, factors beyond
physical and artistic skill in dance should be considered, such as family influence, teacher expertise, and early specialisation.
Overall, considerations of talent in dance should incorporate psychological and social factors alongside physical and artistic aspects. This is particularly important as talent usually develops over time and at varying rates for different individuals. This review will examine the existing evidence regarding talent identification and development in dance, comparing it where appropriate to research in other related domains such as sport and music. The first part of the review will cover factors associated primarily with the individual: physical and psychological factors. The second part will consider interpersonal factors: those that interact with the individual including deliberate practice and social influences. Existing talent models will also be examined. It is important to note that throughout the review, the length of each section is primarily related to the quantity of existing evidence, not the relative importance of each potential talent criterion. Furthermore, the review is an
examination of existing knowledge, rather than a list of recommendations for talent identification and development criteria. Further dance-specific research in the area of talent is certainly warranted.