Investigating the usability and effectiveness of TikTok as an educational tool for children aged 14-17 years learning dance: A Case Study of HTK Performing Arts Institute in Pretoria South Africa

Abstract

This study explores the use of TikTok as a pedagogical tool for dance education among South African learners aged 14–17. Using a Practice-as-Research (PaR) methodology, the research investigates how TikTok supports engagement, creativity, and community-building in dance learning. Workshops were conducted blending in-person instruction with TikTok-based tasks, and data were collected through video diaries, interviews, and platform analytics. The study situates TikTok within a continuum of dance pedagogy from traditional studio instruction to digital platforms and critically examines its benefits and limitations. While TikTok offers accessibility and cultural relevance, concerns around systematic pressure and institutional resistance remain. Chapter 1: Introduces the study by highlighting the gap between traditional dance education and learner’s everyday use of TikTok, arguing for its potential as an innovative teaching tool. Chapter 2: Reviews literature on TikTok’s role in education, comparing traditional and modern teaching methods, and linking applied drama/theatre practices to dance pedagogy. Chapter 3: Establishes the theoretical framework by applying Freire’s critical pedagogy, Heathcote’s dramatic inquiry, and the Technology Acceptance Model to support a flipped classroom model for dance learning. Chapter 4: Outlines the Practice as Research (PaR) methodology, detailing sampling, data collection, analysis, and ethical considerations to ensure rigour and validity. Chapter 5: Presents TikTok as a digital “rehearsal room,” using a samba workshop to explore how learners use videos for practice, creativity, and reflection while facing challenges such as lack of feedback. Chapter 6: Examines in-person dance classes (“Latin dance floor”) as structured, feedback-rich environments that foster discipline and community but also present challenges like pace pressure. Chapter 7: Analyses blended learning in a flipped classroom, showing how combining TikTok tutorials with in-person classes enhances flexibility, accessibility, and learner engagement. Chapter 8: Concludes by synthesising findings, affirming TikTok’s potential as a supplementary dance education tool, and recommending hybrid models that integrate technology with traditional instruction. The findings suggest that TikTok can enhance dance education when used intentionally and ethically, with support from educators and institutions. Recommendations include teacher training, policy development, and further research into stakeholder perspectives. This work contributes to digital pedagogy and arts education, offering insights for curriculum design and youth engagement.