What is BEAM? BALLET EDUCATIONAL ACADEMIC MODEL, rooted in the Ph.D. thesis of © Simona Noja-Nebyla, is a ballet system for the future, integrating knowledge through systemic relationships, using 21st-century skills & competencies for ballet learning, and teaching theories and practices. 

For whom is it BEAM? BEAM serves as a platform of knowledge for teachers and students and can be applied individually and to ballet schools and universities.




1. Ballet Education, Body, and Community

1.1. Brief Historical Retrospective on the Beginnings of Classical Ballet

1.2. Approaching the Body Element in Ballet

1.2.1. Earliest Testimonies of Dance Existence

1.2.2. The Human Body as Object and Subject of Art in Antiquity and Pre-Renaissance

1.2.3. The Human Body as Object and Subject of Art in the Renaissance

1.2.4. Triadic Perception of the Body

1.2.5. Transactional Perception of the Body

1.3. Ballet Community in the 21st Century

2. Model in General and Model in Ballet

2.1. Social Connotation of the Model

2.2. Physical Model

2.3. Theoretical Model

3. Classical Ballet, System of Systems

3.1. Approaching Classical Ballet through Lewin’s Field Theory

3.1.1. Principle of Mathematical Function

3.2. Ballet as a Conceptual (Theoretical) and Physical (Practical) System

3.2.1. Relational Capacity within the System Framework

3.3. Relating the Ballet System to Movement Concepts

4. Confluence of Approach Perspectives

4.1. Neuroscientific Perspective

4.1.1. Cognitive Neuroscience and Dance

4.1.2. Cognitive-Perceptual Perspective in Dance Learning

4.1.3. Movement Repertoires

4.1.4. Entrainment

4.2. Sporting Perspective

4.3. Somatic Perspective

4.3.1. Analysis Theories of Movement: LMA (Laban Movement Analysis) and BF (Bartenieff Fundamentals)

4.3.2. Body-Mind Centering

4.4. Artistic Perspective: Ballet, Canonized System of Dance

4.5. Philosophical Perspective

4.5.1. Ballet and Pure Phenomenology

4.5.2. Ballet Perceived as a Whole

5. Context and Integration in Ballet Education

5.1. The Concept of Threshold and Transformational Learning in Ballet

5.1.1. Threshold Concept and Non-Formal Education

5.1.2. Specific Thresholds of Ballet Movement About the Usual Classical Ballet Hour from the Author’s Perspective P.E.R.M.A. “Well-being Model” applied to Ballet Class

5.2. Acquiring Necessary Skills for the 21st Century

5.2.1. Transformation and Application of Skills into Competencies

5.2.2. Skills and Competencies in 21st Century Ballet Education

5.3. Cross-Curricular Development in Ballet Education

5.3.1. Types of Pedagogical Models in Ballet Education Teacher-Centered Learning Student-Centered Learning Content-Centered Learning Integrative and Integrated Learning