This is why having a good coach can make all the difference. It does no good practicing the wrong techniques.
What's weird about dance is what looks natural and elegant to the observer is a rather contorted and sometimes painful position for the dancer.
As a generalisation (take with pinch of salt), the classic Japanese method does not have lots of explanation - teacher demonstrates, teacher works with student, can be quite hands on with corrections to body posture etc, but not typically lots of explanation. There are also exercises shown to develop body conditioning, and awareness. These include exercises such as standing, or slow deep walking, which initially are not obvious as to what is happening and why. The students who take these on trust and go off and do them in their own time are the ones who make progress. There is also quite a lot of focus on "mitori keiko" - training by watching, so training people to become more observant about what they are seeing and then be able to take that understanding or images and apply it to their own training.
Western students tend to require more explanation. They ask "why should I do this (apparently boring) exercise?". There can be a tendency to pursue acquisition of technique rather than fundamentals. They are less likely to take things on trust and work it out for themselves. Of course there are plenty of great Western practitioners and plenty of poor Japanese ones.
As a teacher I found my tendency was to try and explain too much. I find I get better results when working with people and making them feel things. I have seen my main teacher in Japan work on someone for 5-10 minutes and extract out them very signficiant improvement in that time - and he has done that to me. He can give people a taste for a new level and inspire them, but the challenge then is to go off and do the personal work to really own that new level or those insites. That is a goal for me to be able to do the same for my students.
My main teacher in UK was a contemporary dancer for his working life, and with his contacts etc has inspired quite a few dancers to come to the dojo. It has been interesting for me to work with them over the years, and understand how varied dance training can be. Some dance training seems to be more about the externals - make a move look a certain way, without worrying about the internal mechanics of the body. And yet of course other training is at a deeper level, training awareness. I realised over time the distinct difference between someone who is very flexible, and yet can feel relatively "hard" - just due to their background and the focus of their training to that point.
I found Josh Waitzkin's book on learning about his experiences as a chess prodigy and then learning and competing at Taiji Push Hands to highest levels. He writes about deepening his awareness, and also the sheer time spent in practising and analysing his techniques and failures etc.
MOOC's are a step in the right direction, but far, far from a Young Lady's Illustrated Primer idealized vision that I would like to see.
I recommend Shinichi Suzuki’s lovely little 1969 book about “talent education”, Nurtured by Love, https://amzn.com/0874875846
The fact is, at a certain level of playing, you stop asking "is this correct technique?" and you start asking, "does this make the music I am playing better? am i bringing attention to what i want to bring out of the piece? does it make it easier to play?" Preoccupation with correct technique as a separate existing thing from external authority becomes a hindrance. You want to learn about your art from those around you, and have them learn from you. If you don't feel ready or capable of being independent in this regard, that's fine. But not everyone is an amateur, and no one claims to ever stop learning, so what are they doing differently?
e: What most interests me about the article is that this comment section is filled entirely with people, like myself, who's opinion on the matter has not been changed one iota by the article