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Dale Schmid – Dance Education in Practice, 2024
The National Art Education Association (NAEA) launched the Connected Arts Networks (CAN) initiative in September 2022. CAN is a collaborative effort among the NAEA, the National Dance Education Organization (NDEO) and other esteemed partners, including the Educational Theater Association (EdTA), the National Association for Music Education…
Descriptors: Dance Education, Communities of Practice, Theater Arts, National Organizations
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Munjee, Tara – Journal of Dance Education, 2012
Contact improvisation can serve as a way to access new understandings of Bartenieff Fundamentals. Inherent elements of contact improvisation such as thinking and feeling bodily in the moment, sensitivity to activated weight along with weight sharing and bearing, flow, whole-body organization, and immediacy of embodied presence provide fertile…
Descriptors: Creative Activities, Investigations, Models, Movement Education
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Andrzejewski, Carey E. – Journal of Dance Education, 2009
A model for the holistic preparation of dance teachers is presented. The model includes four tenets: focus on the whole person, integrated curriculum, explicit identity development, and apprenticeships in relevant communities of practice. (Contains 1 figure.)
Descriptors: Holistic Approach, Models, Teacher Education, Dance Education
Afterschool Alliance, 2013
The Afterschool Alliance and MetLife Foundation are proud to celebrate a fifth round of the MetLife Foundation Afterschool Innovator Awards. For the past five years, we have collaborated to highlight the work of quality afterschool programs that support children, families and communities across the nation. This compendium is a compilation of four…
Descriptors: After School Programs, Middle School Students, Youth Opportunities, Youth Programs
Enghauser, Rebecca – Journal of Physical Education, Recreation & Dance (JOPERD), 2007
This article provides a practical framework for infusing a body-listening or somatic approach into the dance class. Although the concept of body listening is not revolutionary or ground breaking, it has been underemphasized in the dance technique class and needs revisiting. From reflection on current research, as well as from several years of…
Descriptors: Dance, Dance Education, Creative Activities, Models
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Haines, Susan E. – Journal of Dance Education, 2006
Choreographers working in an educational setting often use student dancers as the instruments of their art. The inherent power dynamic of this relationship generates ethical issues that can affect the choreography and the learning experience of the student. At what point do choreographic decisions infringe upon goals for a moral, student-centered…
Descriptors: Drama, Learning Experience, Ethics, Aesthetics
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West, C. S'thembile – Journal of Dance Education, 2005
To resist and transform gendered and hypersexualized assumptions and attitudes that cloud interpretations and devalue readings of black and brown bodies, dance educators cannot only facilitate agency for their students, but also help demonstrate an overarching concern for social justice and equality. Dance has the power to transform and redirect…
Descriptors: Social Justice, Dance, Models, Dance Education
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Hanna, Judith Lynne – Research in Dance Education, 2002
Dance education in the USA has a new window of opportunity to reach every child in academic schools. The National Education Goals now recognize dance as a core subject, such as, e.g. language. To take advantage of this development, the "Intelligent Moves--Partnering Dance & Education K-12" workshop for teachers was held as part of the Vail Valley…
Descriptors: Elementary Secondary Education, Dance Education, Workshops, Teaching Methods
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Warburton, Edward C. – Research in Dance Education, 2002
This paper describes new approaches to assessment in dance and dance education. The first part examines assumptions behind traditional models of evaluation in academic and performing arts contexts. I consider whether it is useful to understand human ability as unitary or if it is meaningful to evaluate people according to a single dimension of…
Descriptors: Dance Education, Evaluation, Talent Identification, Intelligence
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Sofras, Pamela Anderson; Emory-Maier, Ambre – Journal of Dance Education, 2005
In 2001, North Carolina Dance Theatre, The University of North Carolina at Charlotte, and the Charlotte-Mecklenburg School system joined forces to create a multidimensional, professional development program for dance professionals (teachers and artists) in the public schools called, The Dance Educator Enrichment Program (DEEP). DEEP was designed…
Descriptors: Creativity, Enrichment Activities, Dance Education, Artists
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Goodlad, John I. – Arts Education Policy Review, 2000
Describes two approaches to educational change: (1) the linear, input-output model that focuses on the output of academic achievement measured by standardized tests; and (2) the ecological model that focuses on the school as an ecosystem composed of classroom ecosystems. Discusses four reasons why the arts are necessary for the renewal of schools.…
Descriptors: Art Education, Dance Education, Educational Change, Educational Objectives
Moore, Michael – 1988
Arts Unlimited, housed at Bowling Green State University, Ohio, is a program of aesthetic education in the schools of northwestern and north central Ohio and is modeled after and works with Lincoln Center Institute, the educational division of Lincoln Center for the Performing Arts in New York City. The goal of Lincoln Center Institute and its…
Descriptors: Aesthetic Education, Aesthetic Values, Art Appreciation, College School Cooperation