Seminar paper from the year 2014 in the subject Theater Studies, Dance, grade: 1, University of Hawaii at M noa, course: Introduction to Teaching University, language: English, abstract: The main challenge is that many students come into the field of dance in higher education thinking it will further their professional careers, either as a performer, choreographer or dance teacher, however the reality is a university degree is not a standard that these areas tend to call for when hiring new applicants. So why do dancers still attend college programs? Why is there an upward trend of increasing dance programs in post-secondary studies and why are more teacher training track programs including dance and performance in their repertoires? The purpose of my survey in this field is two-fold (much like the degree track I am in requires levels of comprehension, being an educator who teachers future educators how to educate students in dance); first, we must look at the training programs which exist for dance educators and how they align with (or stray from) dance programs which are not on the education track. There is a divide between each of these ideals, and they are creating some interesting and obvious diversions in the field of dance that can I will address a little later on."

Issues of race, class, gender and religion permeate the study of contemporary dance, resulting in cultural clashes in classrooms and studios. The first of its kind, this book provides dance educators with tools to refocus teaching methods to celebrate the pluralism of the United States. The contributors discuss how to diversify ballet technique classes and dance history courses in higher education, choreographing dance about socially charged contemporary issues, and incorporating Native American dances into the curriculum, among other topics. The application of relevant pedagogy in the dance classroom enables instructors to teach methods that reflect students' culture and affirm their experiences.

Dance Teaching Methods and Curriculum Design, Second Edition, presents a comprehensive model that prepares students to teach dance in school and community settings. It offers 14 dance units and many tools to help students learn to design lesson plans and units and create their own dance portfolio

Brenda McCutchen provides an integrated approach to dance education, using four cornerstones: dancing and performing, creating and composing, historical and cultural inquiry and analysing and critiquing. She also illustrates the main developmental aspects of dance.

This new edition of Dance Teaching Methods and Curriculum Design is ideal for preparing undergraduate students to teach dance education. Students will learn a conceptual and comprehensive model of dance education that embraces dance as an art form and a lifelong physical activity. Students will gain the tools they need to teach various dance forms, create effective lesson and unit plans, and develop a curriculum that meets arts and education standards. The second edition of this foundational text uses a holistic approach to dance pedagogy for teaching children through adults in school and community environments. It also introduces theories from multiple disciplines and helps students apply those theories and processes when creating lesson and unit plans. New Material Dance Teaching Methods and Curriculum Design offers much new material: Four new sample dance units (up from 10 in the previous edition) Many useful instructor ancillaries, including an instructor guide, a presentation package, and a test package; students can submit their work electronically, and quizzes are automatically graded Resources delivered on HKPropel, including a variety of projects, printable forms, and video clips that demonstrate selected steps, movements, exercises, and combinations of different dance forms Beyond Technique assignments, which have been field tested in university courses, to help students see firsthand what a dance teacher does The sample dance units offer a comprehensive guide for teaching popular dance forms, and they now cover a greater diversity of styles, including hip-hop, Mexican folkloric, African, and line dance. In addition, the new ancillaries offer scope and sequence plans and block time plans for all 14 dance units, as well as all printable forms from the book. Dance Portfolio Another great feature of the book is the dance portfolio that students will create as they work through the text. This portfolio will help them demonstrate their ability to create lesson plans, a unit plan, and a complete dance curriculum. The students will develop these abilities as they complete chapters 1 through 13. Chapter 14 then walks students through assembling the sections of the portfolio. Projects the student can complete to include within their portfolio are available on HKPropel. Step-by-Step Approach Dance Teaching Methods and Curriculum Design offers students a step-by-step course of study for how to teach dance and create sustainable dance programs in schools. The authors synthesize a wide variety of research and resources to support dance pedagogy and curriculum development, provide the infrastructure to meet the changing needs of students to teach dance in the 21st century, and supply extensive references for students to use to increase their dance education knowledge. Book Organization The text is organized into three parts. Part I covers information specific to teaching dance and understanding learners from grades preK through 12. Part II focuses on applying the dance knowledge gained from part I to the teaching and learning process in the four categories of dance forms. In part III, students learn how to develop unit plans and choose a curriculum design for their dance programs. Filling a Void Dance Teaching Methods and Curriculum Design, Second Edition, addresses the knowledge, skills, processes, and content that students need as they prepare to teach dance in various settings. This text fills a void in dance education literature, studying all the steps as it provides students the foundational knowledge and practical know-how they need to confidently begin teaching dance in schools, recreation programs, or private dance studios. Note: A code for accessing HKPropel is not included with this ebook but may be purchased separately.

Dance educators in higher education have a long history of enriching the lives of others through community-based teaching, choreography, research, and service. Yet their valuable contributions to community development may not be acknowledged as legitimate scholarship by the university or other educational organizations. If you are a dance educator or student seeking to engage in public scholarship in dance and want to ensure your work receives the attention it deserves, this resource is for you. Public Scholarship in Dance is a dance-specific guide that provides examples of what others have done and suggestions for ways dance educators can evaluate their own projects or work for scholarship. Complete with research, teaching, performance, assessments, and dissemination tools, it is a total package that supports dance educators in their professional development through public scholarship and community engagement. Author Lynnette Young Overby combines Kolb’s experiential education model with her three decades of experience as a dance educator to show how dance can be public scholarship as teaching, choreography, research, and service. Throughout the text, she shares examples of well-known dance educators who use the methodology to create community dance in a range of settings, including nursing homes, schools, community arts organizations, and underserved groups in the community. Through this text, future public scholars will learn how to do the following: •Identify the criteria for public scholarship in dance and connect it to academic requirements for dance educators. •Understand and apply to their projects the framework for public scholarship in dance. •Broaden their view of public scholarship to include research, testing, choreography, performance, and service. •Document their professional activities and development for university administrators. •Demonstrate the value of their contributions within the framework of promotions, merit, and tenure. •Lay the foundation for projects considered legitimate by the university and other academic settings Features include the following: •Real-world examples of successful community dance projects •Dance-specific models for future project design •Assessment tools for connecting projects to rigor in dance education •An appendix with ready-to-use templates to guide the development, implementation, and dissemination of public scholarship in dance projects •Suggested readings and additional resources for continued learning and professional development The goal of this text is to assist dance educators in creating scholarly, community-focused projects. To that end, the book mirrors the stated missions of higher education—teaching, research, service, and—for dance educators—choreography. Chapter 1 establishes the historical and theoretical basis for public scholarship while defining public scholarship in dance. Chapter 2 focuses on academic service learning—including the teaching of dance—and the importance of meeting the experiential learning needs of students. Chapter 3 explores choreography as community expression and offers guidelines on assessing and developing community-based choreography. In chapter 4, dance educators delve into research and the role it plays in shaping a career in public scholarship. Chapter 5 makes a case for service as scholarship while demonstrating specific assessment criteria that demonstrate impact. Chapter 6 explores various forms of assessment that can be used to document projects and prepare for tenure, promotion, and merit considerations. Chapter 7 concludes by proposing a vision for the future of dance education in which community is an integral part. Public Scholarship in Dance will inspire budding and experienced dance educators and arm them with the necessary tools to incorporate community engagement into their lives to positively affect students, their community, and their professional portfolios.

As the global vicissitudes of migration unfold so does ethnic difference in the classroom, and this book offers a timely examination of teaching about culturally different dances. At a time when the world of dance is, on the one hand, seemingly becoming more like fusion cookery there is another faction promoting isolation and preservation of tradition. How, if at all, may these two worlds co-exist in dance education? Understanding teaching about culturally different dances from postmodern, postcolonial, pluralist and critical perspectives creates an urgent demand to develop relevant pedagogy in dance education. What is required to support dance educators into the next phase of dance education, so as to avoid teaching from within a Eurocentric, creative dance model alone? An ethnographic investigation with teachers in New Zealand lays a foundation for the examination of issues, challenges and opportunities associated with teaching about culturally different dances. Concerns and issues surrounding notions of tradition, innovation, appropriation, interculturalism, social justice and critical pedagogy emerge. Engaging with both practice and theory is a priority in this book, and a nexus model, in which the theoretical fields of critical cultural theory, semiotics, ethnography and anthropology can be activated as teachers teach, is proposed as informing approaches to teaching about culturally different dances. Even though some practical suggestions for teaching are presented, the main concern is to motivate further thinking and research into teaching about dancing with cultural difference. Cover photo: Photo credit: lester de Vere photography ltd. Dancing with Difference (2009). Directed and co-choreographed for AUT University Bachelor of Dance by Linda Ashley with Jonelle Kawana, Yoon-jee Lee, Keneti Muaiava, Aya Nakamura, Siauala Nili, Valance Smith, Sakura Stirling and dancers. Won first prize in the 2009, Viva Eclectika, Aotearoa’s Intercultural Dance and Music Biennial Challenge run by NZ-Asia Association Inc NZ and the NZ Diversity Action Programme.

Winner of the 2021 Ruth Lovell Murray Book Award Dance Education redefines the nature of dance pedagogy today, setting it within a holistic and encompassing framework, and argues for an approach to dance education from a soci-cultural and philosophical perspective. In the past, dance education has focused on the learning of dance, limited to Western-based societies, with little attention to how dance is learned and applied globally. This book seeks to re-frame the way dance education is defined, approached and taught by looking beyond the privileged Western dance forms to compare education from different cultures. Structured into three parts, this book examines the following essential questions: - What is dance? What defines dance as an art form? - How and where is dance performed and for what purpose? - How do social contexts shape the making and interpretation of dance? The first part covers the history of dance education and its definition. The second part discusses current contexts and applications, including global contexts and the ability to apply and comprehend dance education in a variety of contexts. This book opens up definitions, rather than categorising, so that dance is not presented in a hierarchical form. The third part continues to define dance education in ways that have not been discussed in the past: informal contexts. The book then returns to the original definition of dance education as a way of knowing oneself and the world around us, ending on the philosophical application of this self-knowledge as a way to be in the world and to engage with others, regardless of background. This textbook is a refreshing and much-needed contribution to the field of dance studies by one of the most eminent voices in the field.

Dance has the power to change the lives of young people. It is a force in shaping identity, affirming culture and exploring heritage in an increasingly borderless world. Creative and empowering pedagogies are driving curriculum development worldwide where the movement of peoples and cultures generates new challenges and possibilities for dance education in multiple contexts. In Dance Education around the World: Perspectives on Dance, Young People and Change, writers across the globe come together to reflect, comment on and share their expertise and experiences. The settings are drawn from a spectrum of countries with contributions from Europe, the Americas, the Middle East, Asia, the Pacific and Africa giving insights and fresh perspectives into contrasting ideas, philosophies and approaches to dance education from Egypt to Ghana, Brazil to Finland, Jamaica to the Netherlands, the UK, USA, Australia, New Zealand and more. This volume offers chapters and narratives on: Curriculum developments worldwide Empowering communities through dance Embodiment and creativity in dance teaching Exploring and assessing learning in dance as artistic practice Imagined futures for dance education Reflection, evaluation, analysis and documentation are key to the evolving ecology of dance education and research involving individuals, communities and nations. Dance Education around the World: Perspectives on Dance, Young People and Change provides a great resource for dance educators, practitioners and researchers, and pushes for the furtherance of dance education around the world. Charlotte Svendler Nielsen is Assistant professor and head of educational studies at the Department of Nutrition, Exercise and Sports, research group Body, Learning and Identity, University of Copenhagen, Denmark. Stephanie Burridge lectures at Lasalle College of the Arts and Singapore Management University, and is the series editor for Routledge Celebrating Dance in Asia and the Pacific.

Implementing the National Dance Education Standards presents a wealth of tools that help you apply the standards in a way that makes dance education come alive for your students. The standards-updated from the original seven standards created by the National Dance Association in 1994-are more action oriented and outcomes based than the original set, and they present new benchmarks for four grade-level groups and expert guidance in implementing the standards. Implementing the National Dance Education Standards Will Help you develop a curriculum that engages students in developmentally appropriate learning experiences and makes dance fun and exciting for every student.