The transition from teaching dance in higher education to the secondary school setting can be turbulent. Dance curriculum for secondary students must meet their developmental and psychological needs, while also fitting into an abbreviated class period. Individuals making this transition must be aware of the different goals that a middle or high…

A pilot research project was conducted to address issues related to the Human Immunodeficiency Virus and Acquired Immunodeficiency Syndrome (HIV/AIDS) in dance in higher education. The primary goals were to summarize the impact of HIV/AIDS on dance and dance education, to document the profession's response (research, curricula, programs,…

This study compared the creative thinking abilities of students taking dance class in high school to nondance students (n = 286). The Torrance Test of Creative Thinking (TTCT) was the basis of the comparison using a pre-test/post-test format. Dance subjects were enrolled in classes that included a variety of dance forms plus some creative work.…

Describes art education program at Fillmore Arts Center, Washington D.C.; center is part of the Six-School Complex. Over 900 students are bused to this arts center for a half day of art instruction each week. Students take four art courses a year for total of 68 hours of art instruction in dance, drama, music, visual arts, and creative writing.…

Because of its exciting use of rhythm and its variety, African music is an excellent musical culture for study. Seventh and eighth grade students, with no prior musical training, learned to play African instruments and dance the Adowa, a traditional dance of the Ashanti people of Ghana. (RM)

This Amy Morris Homans Lecture illustrates and interprets the philosophical meanings behind changing movement patterns in the field of physical education, examining the foreign gymnastic or formal era (1820s to the early 20th century), the natural movement era (1900 through the 1930s), and the present period of change, also called the discipline…

Examines contexts for arts education policy in African countries. Introduces the articles in the symposium on "Arts Education Policy in Africa" in this issue of Art Education Policy Review. Addresses policies for research and dissemination, the nature and roles of the arts, and art in the schools. (CMK)

Examines the importance of a national cultural policy for Namibia. Describes how the policy was developed and addresses the draft policy. Discusses the purpose of a cultural policy and the concerns and recommendations for the implementation of the policy. (CMK)

Reports on the results of a survey of member institutions of the National Association of Schools of Music and the National Guild of Community Schools of the Arts in relation to minority access to precollege music education. Includes resulting recommendations. (CMK)

Describes dancer Katherine Dunham's philosophical system and her application of the "Dunham technique" in the Children's Workshop of the Katherine Dunham Museum in East St. Louis (Illinois). Contends that Dunham incorporates rites of passage to transform the lives of participants through intense involvement in art as a way of life. (AF)

This article presents the rationale for including dance in the curriculum of Canadian schools. Provincial policy guidelines are examined, and an overview of teaching methods and class activities is given. Also discussed are multiculturalism and differences in teaching dance as an art form and as a physical education unit. (IAH)

This article identifies five elements which are incorporated into the developmental sequence that occurs when a job role progresses from occupation to profession. A self-assessment form is presented to enable each HPERD (health, physical education, recreation, dance) field to assess its progress toward becoming a profession. (IAH)

Describes the American public's growing interest in art after World War II. Discusses the problematic history of arts in the public school curricula, in which arts programs are seen as a last priority in school reform and are the first to be eliminated in school districts facing financial retrenchment. (SR)

There is often a resistance to verbal language in the nonverbal arts. Within educational establishments, language does not simply serve the art work or its making; it serves other extraneous goals of legitimation. The link between language and legitimation is striking. Dance education in Great Britain, for example, has recently moved from…

Simultaneously promoting a safe learning environment that encourages students to express their creative voices while exploring the rudiments of dance technique can be difficult. This article discusses how the author has learned to do it effectively by employing a few simple classroom strategies. To prevent injuries during class, the author offers…