National Dance Association

The National Dance Association (NDA) was a United States professional and educational association devoted to the development of dance education. Active from its recognition in 1932 until its dissolution in 2013, it brought together dance teachers, administrators, researchers, and performers and helped establish dance as a distinct and academically credible field within American education. At its height, the association represented more than 3,500 members across all U.S. states. The organization began as the National Section on Dance, a section recognized by the American Physical Education Association, with Helen Norman Smith serving as its first chair. Its early work centered on professional meetings and the exchange of teaching practices. In 1965, the section was elevated to divisional status. In 1974, following the renaming of its parent organization as the American Alliance for Health, Physical Education, Recreation and Dance, it became the National Dance Association. The NDA operated during a period when dance in elementary and secondary schools was often treated as a component of physical education rather than as an independent arts discipline. Access was uneven, and dance classes were frequently associated more strongly with girls than with the full student population. The association sought to change that situation through professional development, public advocacy, publications, research, and the creation of national expectations for what students should learn. Its work was reinforced by broader federal and cultural developments, including the expansion of arts policy in the 1960s, the establishment of the National Endowment for the Arts, and later recognition of the arts within national education initiatives such as Goals 2000. One of the NDA's most important contributions was its participation in the Consortium of National Arts Education Associations, formed in 1992. Through that consortium, it helped develop seven national standards for dance education. The standards addressed movement performance, choreography, communication, critical and creative thinking, historical and cultural understanding, connections between dance and healthy living, and links between dance and other disciplines. They were organized for different developmental levels and distributed nationally with support from the U.S. Department of Education. Although some educators questioned whether the standards could be applied equitably in schools with limited resources, they gave teachers and institutions a common framework for curriculum planning and assessment. The NDA also worked to turn standards into classroom practice. It organized workshops and conferences, trained consultants to assist teachers, circulated newsletters, collaborated with university dance departments, and developed an implementation plan for educators. That plan encouraged teachers to examine their existing curricula, adapt the standards to local circumstances, design assessment methods, evaluate results, and share effective approaches with colleagues. Annual conferences provided a national forum for research and teaching innovations, including presentations by National Dance Scholars and other figures in dance education. Beyond curriculum work, the NDA functioned as an arts-advocacy body. It participated in Arts Advocacy Day, promoted a Dance Advocacy Kit, endorsed the principle that arts education should reach every child, and signed the Philadelphia Resolution supporting substantial dance education in K–12 schools. It also helped establish Nu Delta Alpha, a national dance honor society intended to recognize dancers and dance educators. Its publications addressed the purpose and value of dance education, resources required for effective arts programs, and approaches to creative movement. The association was also connected with research and heritage initiatives, including the Dance Education in America and Museum Project. The NDA honored prominent practitioners and scholars, including Margaret H'Doubler, Shirley Ririe, Sue Stinson, Edward Villella, Margie Hanson, Ruth Solomon, Alwin Nikolais, Betty Toman, and Theresa Purcell. In 2012, members elected Susan Mayes to the AAHPERD board of directors, one of the organization's final significant elections. The NDA was dissolved in 2013 when AAHPERD consolidated its units and became SHAPE America. Its institutional work therefore ended, but its standards, publications, professional networks, and advocacy helped shape the position of dance within American arts and physical-education policy.

The National Dance Association developed from the National Section on Dance, which was officially recognized in 1932 by the American Physical Education Association. Helen Norman Smith served as the initial chair. The section emerged at a time when dance education in the United States was largely embedded within physical education and lacked consistent national expectations. Its initial role was to connect instructors and encourage the exchange of teaching approaches through professional meetings and conferences. The organization gained greater institutional strength during the expansion of arts and cultural policy in the 1960s. The 1965 elevation of the National Section on Dance to divisional status reflected the increasing visibility of dance as a specialized educational field. Federal attention to the arts, including the creation of the National Endowment for the Arts and broader discussion of arts education, created a more favorable environment for the association's advocacy. In 1974, after the American Alliance for Health, Physical Education, Recreation and Dance adopted that name, the division became the National Dance Association. During the later twentieth century, the NDA broadened its mission. It continued to support dance teachers but also pursued policy advocacy, curriculum development, research, public education, and professional standards. The association argued that dance should be available to all students and should be taught as a substantive discipline rather than merely as an occasional physical-education activity. This position addressed both the inconsistent quality of school programs and the historical tendency to limit dance opportunities by gender or by local resources. A major phase of the NDA's work began with the Consortium of National Arts Education Associations, established in 1992. The NDA helped create seven national standards for dance education, with financial support for their distribution from the U.S. Department of Education. The standards covered movement skills and performance; choreographic principles and processes; dance as communication; critical and creative thinking; historical and cultural contexts; relationships between dance and healthful living; and relationships between dance and other subjects. They were adapted for different age and ability categories and became a reference point for teachers developing curricula and assessing student learning. The standards were not universally accepted without reservations. Some members of the dance community worried that ambitious national expectations could disadvantage students and schools without adequate facilities, training, or funding. Others viewed the standards as an important step toward recognition and consistency. The NDA responded to the practical challenge of implementation by organizing workshops and classes, training consultant educators, producing newsletters, cooperating with university dance departments, and providing an implementation plan. Teachers were encouraged to study the standards, compare them with existing courses, devise locally appropriate strategies, evaluate their effectiveness, revise their instruction, and share results with other professionals. Conferences remained central to the association's work. Annual gatherings presented research, teaching methods, and emerging perspectives through lectures and scholar presentations. The NDA also supported recognition programs and honored figures whose work expanded dance scholarship, pedagogy, choreography, and performance. At the April 1994 convention in Denver, Shirley Ririe became the first person in NDA history to receive the research organization's keynote recognition. Sue Stinson was named Scholar of the Year that year for work emphasizing language in dance teaching. Margaret H'Doubler received the association's Heritage Award for Lifetime Achievement in 1963, while other recognized figures included Edward Villella, Margie Hanson, Ruth Solomon, Alwin Nikolais, Betty Toman, and Theresa Purcell. Advocacy was another enduring part of the NDA's identity. The association participated with other groups in Arts Advocacy Day and promoted a Dance Advocacy Kit to help communities argue for stronger arts education policy. Its public position emphasized that the arts should serve the whole child and every child. It endorsed the Philadelphia Resolution, which called for meaningful, well-organized dance education in K–12 schools. The association also helped create Nu Delta Alpha, a national dance honor society recognizing service and achievement among dancers and educators. Its publication program addressed both professional and public audiences. Materials such as Dance Education…What Is It? Why Is It Important? explained the educational value of dance, while Opportunity to Learn Standards for Arts Education, produced with other arts organizations, described the resources, knowledge, and qualifications needed for effective instruction. Anne Green Gilbert's 1992 Creative Dance for All Ages became particularly influential in presenting creative movement as a way to support dance learning, interdisciplinary teaching, and physical and mental well-being. The NDA also contributed to projects examining dance history and heritage, including the Dance Education in America and Museum Project. The association's final years coincided with organizational restructuring in American health, physical education, recreation, and dance organizations. On July 26, 2012, members elected Susan Mayes to the AAHPERD board. In 2013, AAHPERD became SHAPE America and moved to a unified organizational model. The National Dance Association was dissolved in that process. Although it no longer operates, its standards, professional-development practices, publications, and advocacy helped institutionalize dance education in U.S. schools and professional networks.

• 2013

  Dissolution following creation of SHAPE America

  [1]National Dance Associationen.wikipedia.org

  The NDA was dissolved as AAHPERD consolidated into SHAPE America.

• 2012

  Susan Mayes is elected to the AAHPERD board

  [1]National Dance Associationen.wikipedia.org

  NDA members elected Susan Mayes to the board of its parent organization in one of the association's final primary elections.

• 1994

  Denver convention highlights dance research

  [1]National Dance Associationen.wikipedia.org

  Shirley Ririe received the organization's first research keynote recognition, and Sue Stinson was named Scholar of the Year.

• 1992

  The NDA joins the national arts-education standards effort

  [1]National Dance Associationen.wikipedia.org

  The association participated in the Consortium of National Arts Education Associations and contributed to the development of national dance standards.

• 1974

  The National Dance Association name is adopted

  [1]National Dance Associationen.wikipedia.org

  Following the renaming of its parent body as AAHPERD, the division became the National Dance Association.

• 1965

  The organization gains divisional status

  [1]National Dance Associationen.wikipedia.org

  The National Section on Dance was elevated from section to divisional status within its parent organization.

• 1963

  Margaret H'Doubler receives the Heritage Award

  [1]National Dance Associationen.wikipedia.org

  Margaret H'Doubler received the NDA's highest lifetime-achievement honor.

• 1932

  National Section on Dance is recognized

  [1]National Dance Associationen.wikipedia.org

  The National Section on Dance was officially recognized within the American Physical Education Association, with Helen Norman Smith as chair.

A national professional association focused on making dance a recognized, standards-based, inclusive, and research-informed component of U.S. education.

• Educational standards · 1992

  Seven National Standards for Dance Education

  A national framework addressing dance performance, choreography, communication, critical and creative thinking, historical and cultural understanding, healthful living, and connections with other disciplines. The standards were organized for different developmental levels and gave educators a common basis for curriculum design and assessment.

• Teacher resource

  Implementation Plan for Dance Educators

  A practical framework intended to help teachers adopt the national dance standards. It encouraged educators to review existing curricula, create locally suitable plans, develop assessment methods, evaluate outcomes, revise instruction, and exchange lessons with colleagues.

• Publication

  Dance Education…What Is It? Why Is It Important?

  An educational and advocacy publication explaining the characteristics and benefits of meaningful dance programs and making the case for public understanding of dance education.

• Resource standards

  Opportunity to Learn Standards for Arts Education

  A collaborative arts-education document describing the facilities, instructional knowledge, and professional qualifications needed to provide effective arts learning, including dance education.

• Dance education publication · 1992

  Creative Dance for All Ages

  Anne Green Gilbert's 1992 publication, associated with the NDA's educational publishing work, promoted creative movement and presented dance as a tool for interdisciplinary learning and physical and mental well-being.

• Advocacy resource

  Dance Advocacy Kit

  A resource promoted by the NDA to help community members advocate for arts-education reform and communicate support for stronger dance provision in schools.

• Arts Advocacy Day

  United States

  The NDA joined other organizations in an advocacy effort urging policymakers to strengthen arts education and recognize dance as part of a complete education.

  Source
• The Arts Leave No Child Behind

  United States

  The NDA used this advocacy position to argue that arts education should be available to every child and support the development of the whole student.

  Source
• Philadelphia Resolution

  United States

  The association signed a resolution supporting substantial, organized dance education within K–12 schooling.

  Source

• 2013

  Dissolution through parent-organization consolidationStrategy

  Background

  AAHPERD reorganized into a unified organization and adopted the name SHAPE America.

  Action taken

  The National Dance Association was dissolved rather than continuing as a separate association.

  Aftermath

  The NDA's independent institutional identity ended, while its field of work continued through the broader SHAPE America structure and the legacy of its standards and publications.

  Source

• 1992

  Participation in the national standards initiativeStrategy

  Background

  Dance education lacked consistent expectations across U.S. schools, and many programs remained embedded in physical education.

  Action taken

  The NDA joined the Consortium of National Arts Education Associations and helped formulate and distribute seven national standards for dance education.

  Aftermath

  The standards became a national reference for curriculum planning, teacher development, and assessment, although their suitability and accessibility were debated.

  Source

1. 1National Dance Associationen.wikipedia.org