Notation systems for the arts were developed to educate students in performing the art form. Soon notation systems were used in research and archiving performances and skills that could have been lost to the following generations. Virtual travel through the written notations brings experts to students rather than having students go to the…

This paper offers a way of rethinking Howard Gardner's theory of Multiple Intelligences. The bodily-kinesthetic intelligence is used as the point of critique. The author provides a detailed discussion of the act of dancing as counterpoint to Gardner's understanding of the intelligence. The author critiques Gardner's exemplar and evolutionary…

This article suggests how movement analysis from a socially contextualized perspective can inform understanding about the significance of sociopolitical contexts and aesthetic values in Western dance training. Perspectives of movement analysis provide groundwork for discussing perceivable ways to address discrepancies between democratic and…

The Italian philosopher Giorgio Agamben is known for his interest in the problem of "biopower," arguing that political political and philosophical questions of the moment concern the connections between life and power. He is diametrically opposed to Alain Badiou, a leading French intellectual, for whom the central question concerns not so much…

The neural processes of a person comprehending or creating music have intrigued neuroscientists and prompted them to examine the processing of information and emotion with some of the most recent and sophisticated techniques in the brain sciences (see, for example, Zatorre and his colleagues' work). These techniques and the excitement of studying…

In past years, teachers without professional training in the arts have often been able to avail themselves of summer institutes that introduced them to specific works of art and followed up with artists in the classroom, performance, or trips to an art museum. But what happens when such support is no longer available and teachers have to function…

This paper is concerned with two related purposes. The first is to explicate what dance as an art form should comprise if it to be taught as a distinctive aspect of education in the curriculum. The second is to argue that dance, if taught in accordance with what is outlined, is not only an efficacious means in the development, understanding and…

While much has been written about dance, its role in education has been elusive. One thing is clear, though. What distinguishes dance from other forms of movement, action, and activity is the context in which dance or "aesthetic movement" is performed and appreciated by others. This includes both the way dance is thought about and evaluated by…

Three popular models of dance education are discussed: romantic, reductionist, and reinforcement. What is needed is a unitary model, which provides an integrative approach to dance education by relating the emotional, skill-dependent, and intellectual aspects of dance to other subject matter. (RM)

Questions who decides what a culturally literate person needs to know and its social implications. Comments on the lack of dance references in E. D. Hirsch's book, "Cultural Literacy." Discusses what a person needs to know about dance. Analyzes dance as art in the context of cultural literacy's requirements. (KM)

Performing arts courses at research institutions such as Harvard University are often seen as extracurricular with only tangential or imperceptible effect on students' academic interests. Yet, when this author interviewed biology, math, or neuroscience concentrators who took Claire Mallardi's "Movement for Actors and Directors" course at Harvard…

It is argued that a behavioral objectives approach to dance education is dangerously limited because it is dominated by a particular view of theoretical psychology that attempts to understand skill learning in terms of conditioning and reinforcement. This approach is especially limited in the teaching of creative and expressive dance. (RM)

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…