Double Major In Dance And Kinesiology

Last Updated on September 7, 2022 by

Double major in dance and Kinesiology, a Bachelor of Science degree with a focus on dance from Seattle Pacific University

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Keep reading to see detailed information on double major in dance and psychology, double major dance and physical therapy, dance papers, and engineering and dance.

Dance | Kinesiology and Health Science | SFA

Double Major In Dance And Kinesiology

While pursuing a kinesiology major, you’ll typically have a variety of possible concentration areas, including physical education, athletic training and exercise science. Some programs also have concentrations that directly prepare you for graduate study in fields such as physical or occupational therapy. Though your coursework will be affected by your specialization, many courses are dedicated to core kinesiology subjects. These include human anatomy and physiology, motor behavior, sports psychology and exercise physiology.

Common CoursesMotor behavior, exercise physiology, sports psychology, human anatomy
Other RequirementsDepending upon degree specialization, student teaching may be required
Possible CareersPersonal fitness trainer, strength and conditioning coach, teacher
Continuing EducationMaster’s and doctoral degrees are available
Median Salary (2020)$50,280 (for exercise physiologists)*
Job Outlook (2019-2029)11% growth (for exercise physiologists)*

Best Schools to Double Major in Dance

A Bachelor of Arts or a Bachelor of Science degree in Dance require fewer units of dance classes, freeing up students to double-major and still graduate within four years. The following are five schools that meet national standards as established by the National Association of Schools of Dance, and also encourage dance students to combine dance with another discipline.  There are eighty accredited programs  in the United States; though accreditation is voluntary and there are many more dance programs within colleges and universities than are listed on the NASD website.

Columbia College, Columbia, SC

·         Columbia College offers a Bachelor of Arts  in Dance Studies and Dance Education, with certifications also available in Choreography, Dance Studio/Private Sector Ownership, and Dance Research and Writing.

·         No audition is required to enroll as a dance major; classes are rooted in contemporary dance and other diverse forms.

·         By the numbers: 64% acceptance rate; Mid-range SAT scores: CR 470-570, M 450-560; ACT mid-range 19-23.

Goucher College, Baltimore, MD  

·         The Dance Department offers eight tracks of study: performance, dance education, choreography, dance history and criticism, dance therapy, dance administration, dance science, and dance and theater.

·         Goucher’s Early Arrival Dance Program  allows any registered Goucher student the chance to arrive on campus in August to study with guest artists and faculty before classes start. Prior dance experience and an audition are required.

·         By the numbers: 72% overall acceptance rate; Goucher College is test-optional, students may submit a video application. Reported Mid-range SAT scores: CR 510-660, M 500-620; Mid range ACT 23-28.

Hope College, Holland, MI  

·         The Dance Department at Hope College offers concentrations in Dance Performance, Choreography, Dance Education for Elementary and Dance Education for Secondary School, Dance/Psychology, Dance/Chemistry or Biology, Dance/English, and Dance/French. Double majors are possible and encouraged.

Every Myth About Double-Majoring, Busted - Dance Magazine

·         Hope offers off-campus dance study in New York City, Philadelphia, Chicago, Paris, and Mexico.

·         By the numbers: 70% overall acceptance rate; SAT Mid-range scores: CR 520-660, M 530-670; ACT Mid-range 24-29.

Southern Utah University, Cedar City, UT   

·         The Department of Theatre Arts and Dance offers majors in Dance Education and Dance Performance.

·         SUU offers students of dance two new studios, one for ballet and a separate space for modern dance in addition to a separate tap studio, and three performance facilities.

·         By the numbers: 57% overall acceptance rate; Mid-range SAT scores: CR 470-570, M 460-580; ACT Mid-range 20-26.

University of New Mexico, Albuquerque, NM   

·         The Bachelor of Arts in Dance operates within the liberal arts curriculum at UNM and offers two concentrations within the major: Contemporary Dance, and Flamenco, and minor offered in World Dance.

·         University of New Mexico participates in the Western Undergraduate Exchange tuition reduction for students from 15 western states. The WUE tuition rate is under $9,000 per year.

·         By the numbers: 57% overall acceptance rate; Mid-range SAT scores: CR 470-610, M 470-610; ACT Mid-range: 19-25.

Other colleges and universities with dance majors that make it possible to double major are Barnard College (NY), James Madison University (VA), Loyola Marymount University (CA), University of Oregon, Indiana University, Rutgers University (NJ), Sarah Lawrence College (NY), Skidmore College (NY), St. Olaf College (MN), Winthrop University (SC) and many others.  A complete list of dance programs accredited by the National Association of Programs of Dance can be found here. Another good list can be found on the web, here, or pick up a copy of Creative Colleges: A Guide for Student Actors, Artists, Dancers, Musicians and Writers by Elaina Loveland.

Alumni Bios | Dance | Bates College

Double Majors That Play Well with Dance

Sciences (Pre-Med): Dancers with double majors in

health sciences, like biology, can go on to study physical therapy, nutrition and exercise practices. The body awareness that comes with dance training will give you a leg up on the industry.

History/Anthropology: Dancers who learn research methods through these majors can later earn a master’s and/or a PhD in dance theory or history. You might end up studying the history of movement techniques, or unearthing forgotten dance rituals!

English Literature: Capturing movement through words is a technique of its own. Dancers with writing experience often find jobs and internships with dance magazines, or as dance reviewers for newspapers and journals.

Photography/Film: Dance films are becoming more and more prevalent, and dancers

are always in need of head shots! Photography can be a great source of income that allows you the flexibility to attend technique classes and auditions.

Psychology: Dance therapy is a growing field that helps patients work through physical or emotional traumas. You can attend dance therapy graduate programs to earn a degree.

Music: Dancers who are interested in choreography and music collaboration can benefit from playing their own instruments or writing musical scores. Plus, studying dance and music is a great way to work towards a job on Broadway.

kinesiology double major

Double Major In Dance And Kinesiology

Student Learning Outcomes

At RWU, students earn their Bachelor of Arts in Dance and Performance Studies by engaging in the steady practice of movement research, development, performance, and analyses.  Students who complete the major will be able to:

1. Increase proficiency in anatomical efficiency, effort dynamics, and overall technical development.

2. Heighten cognitive and embodied understanding of both the technical and cultural evolution of Classical Ballet, Modern, Post-modern, & Contemporary forms. 

3. Synthesize performance skills via ongoing participation in numerous, diverse, experiential creative processes and performances.

4. Exercise a variety of established, experimental, and devised forms of movement composition. 

5. Explore and develop distinct interests and skills as artists and practitioners while situating their work within the larger contexts of history, pedagogy, culture, identity and community.

Auditions

A picture of dancers in a performance.

The Dance/Performance Studies program is looking for technically proficient and creatively oriented students who wish to study Dance, Performance, and Movement Theatre. For acceptance into the Program, an audition is required. For those students who have not had a great deal of technical training but feel they have the talent and desire to work in this unique program, please concentrate on the performance part of the audition.

Dancing in London

Students can spend the fall semester of their junior year in London working with international technique teachers and choreographers. Students also attend dozens of dance and theater performances presented by both British and international companies. Courses build on the opportunities that London provides with frequent field trips, guest speakers, as well as weekend trips to other parts of England.

Performances

The Dance/Performance program stresses the development of strong technical and creative work from each student. Nowhere is this more evident than in our performances. RWU Dance/Performance students have been chosen four times to perform at the American College Dance Festival National Gala at the Kennedy Center for the Performing Arts in Washington, D.C. And the program has continued to be recognized with invitations to perform at other regional and national galas. Students have received several scholarships and a Dance Magazine choreography nomination.

Choreographed by Christina Robson (class of 2009) in collaboration with the dancers: Louise Benkelman, Alexis Carpenter, Kelsye Chevalier, Lauren Flamia, Heather Larsen, Erica Misilo, Claudia Rightmire, and Alexandra Townsend. Robson is currently a member of Bill T. Jones/ Arnie Zane Company.

dancer and engineer

People often ask me about my ballet background because it seems like strange preparation for an engineering career. To me it’s not peculiar at all. Ballet taught me many of the skills I use to excel in both the classroom and technical fields.

When Royal Ballet first soloist Beatriz Stix-Brunell announced her recent move from stage to Stanford University, it made me reflect on my own journey. Although my ballet career never reached the level of Stix-Brunell’s (she was with The Royal Ballet for 11 years and is retiring at her peak, at age 28!), I’ve been in the academic and engineering world for 11 years (I’m also 28). After studying as an undergraduate at MIT and as a PhD student at the University of Oxford, I’m now a senior engineer at X (formerly Google X), where I build radical new technologies to solve some of the biggest challenges facing our ocean.

Here are lessons I learned through ballet that have prepared me for my engineering career. I share them in hope that they may comfort other dancers thinking about life after dance.

1. Most top performers aren’t geniuses; they work at it.

As a young dancer I was awestruck by a girl in my Royal Ballet School summer intensive. She always seemed to execute combinations perfectly on the first try. I figured she must be a genius. Then, during the last week of the program she was assigned to my room in student housing. I noticed that every night she reviewed the combinations we danced that day, either motioning with her hands, saying them aloud or half-dancing around the room. She repeated them in the morning. Her “genius” was smart preparation, and this let her excel. She practiced, practiced, practiced, mostly when people weren’t watching. She taught me how much work it takes to achieve the skill levels I aimed for.

At MIT, many students similarly fall into the genius stereotype. One of my friends there was a former champion of the International Physics Olympiad. Our freshman year he started in junior-level physics courses and rocked all of them. Classmates were awestruck by his “natural” ability to solve complex problems quickly. But I also saw him as an extremely hard worker. Since high school, he’d been doing thousands of practice problems every week.

I’m thankful to have learned strategies from top performers rather than dismissing their skills as inherent or unobtainable. I, too, have been called a “genius,” and in response I emphasize the teams and resources around me and years of practice. If it weren’t for ballet, I’m not sure I would appreciate all the work that goes into making science and engineering skills look effortless.

2. Jealousy doesn’t serve you unless you convert it into inspiration.

It’s easy to be envious of a talented classmate; maybe she has quicker jumps, better balance, better flexibility. But succumbing to jealousy not only feels horrible, it also makes your own dancing worse. In ballet class I learned to convert envy into inspiration and motivation. I’d think, How lucky am I to train with someone I admire? I’d also put on blinders to stop comparing myself to others and focus on my own improvements.

Fast-forward: I’m at MIT doing the final assignment for an Intro to Python course, where I learned to code for the first time. We had to code a game of Tetris within the allotted lab session. Some of my classmates were already expert programmers, so I knew they would ace the assignment in 20 minutes. I could strive for that eventually, but I knew that in order for me to complete my own assignment, given my skill level at the time, I’d have to put blinders on and stay focused. (One classmate not only programmed a perfect game, he’d added special key-codes that formed an image on the falling blocks!)

Jealous emotions would have distracted me from finishing. Just like at the ballet barre, concentrating on my own work let me feel proud of what I’d accomplished, and then be inspired by a peer who was ahead. Now, the technical knowledge and experience I gained help me every day in my professional career.

In a large auditorium, Grace Young performs a giant sissone fermé with her back leg bent in attitude and her arms in first arabesque. She wears a mauve dance dress and her long blonde hair down. Behind her are rows of auditorium seats.
THE AUTHOR DURING HER DANCING DAYS. STEPHEN BARANOVICS, COURTESY GRACE YOUNG

3. Managing energy is the key to working well.

Not surprisingly, I got the most out of ballet class when my mind was fully engaged and focused. Usually this was due to a good night’s rest, healthy diet and getting into the right mindset. What helped me stay there was knowing what tasks were suited to different energy levels. I’d use low-energy time to mark a combination (even just in my head) or stretch, and reserve strong energy for full-out run-throughs.

Dancers learn that energy management is the key to time management and productivity. With engineering, it was harder at first to tell whether I was in the right mindset. I wasn’t wobbling in a pirouette, but maybe I’d zone out while reading. Eventually I figured out how to use low-energy time productively—for example, by reviewing flash cards or organizing material. This way when I had strong energy, I put it towards solving challenging problems.

4. Strengthening weaknesses requires conscious effort.

Before ballet class, dancers warm up on their own. I found it tempting to use this time to ease into what I was already good at, like splits or hamstring stretches. But this was not what I needed. I had to make a conscious effort to add exercises that addressed my weaknesses, like turnout. Doing so set me up for a far better class than if I’d put the same time into my strengths.

Fast-forward to calculus class. One of our exams covered roughly 80 percent integrals (which I’m good at) and 20 percent theorems (which I needed to practice). So I buckled down and studied the theorems until I understood them as well as I could. Then, when the test came, both sections were a breeze. Realizing my weakness, and then making the effort to improve it, was something I’d already learned to do at the beginning of every ballet class.

5. Balance emotions and logic to find motivation.

When dancers are asked what motivates their work, they often describe their love for the art and the feelings it brings them. It’s not logically clear why we enjoy ballet and devote so much time and energy to it—and, frankly, why we endure so much pain for it. We adore it and accept that it enriches our lives.

When you ask a scientist or an engineer the same question, they’re often expected to have a purely logical answer. For example, “I study the ocean because it provides half of the oxygen we breathe and regulates our climate.” Facts and figures may help me prioritize certain topics or give rationale to a funding agency, but ultimately what motivates me is the emotional connection to my work. Like an artist, I may seek to find a creative flow or explore learning for learning’s sake. The emotional and creative forces guiding my engineering work are just as powerful to me as the logical ones.

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