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…

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…

Young dancers, girls most particularly, are subject to subtle and not-so-subtle messages of exploitation based on sex. What are the implications for dance educators who are trying hard to advocate for dance and who are trying to encourage appropriate pedagogical practices? Due to the hegemonic pervasiveness of "objectifying" dancers for…

Three key publications from September 2000 point to rapid changes in the educational and arts environment in Hong Kong that will impact on the development of dance education. This paper provides some contextual details on the current state of dance education in Hong Kong and also examines the influence and possible ramifications implicit within…

"Capoeira," the Brazilian dance and martial art, is now taught in many countries outside Brazil. Reflections on a year's fieldwork on capoeira teaching in the UK are used to make educational ethnography anthropologically strange. Issues of locality, noise, uncertainty and bodily contact are explored in a reflexive way. (Contains 7 notes.)

In this essay, the author notes a danger concerning the general approach to teaching about the arts through improper use of the concepts "aesthetic" and "artistic." Observing that both concepts are often used interchangeably, with "aesthetic" being seen as the more generic term, the author argues that these concepts are separate and should be…

These arts standards represent a consensus concerning what every young student should know and be able to do in the arts. The Consortium of National Arts Education Associations believes that every student at every level, pre-kindergarten through grade 12, should have access to a balanced, comprehensive, and sequential program of instruction in the…

The concern of this text is the need that many individuals have for nonverbal, primarily physical forms of expression, and how this need has fueled the development of a new psychomotor discipline. The book treats the theory and practice of dance therapy, and examines the entire field from its inception through the present. Dance therapy, the use…

The materials in this dance curriculum framework are detailed and sequentially organized by age groups in order to provide a maximum amount of assistance for teachers in building dance lessons. There are four major components: Aesthetic Perception, Creative Process, Dance Heritage, and Aesthetic Valuing. The interrelatedness of the four components…