In this article, the author discusses the responsibilities of private sector dance educators to their students, parents and the faculty in middle America. The author believes that dance educators' responsibility to their students requires that they are qualified, caring, and professional. Private sector dance educators have the challenge of…

The purpose of this article is to investigate the effect of an introductory traditional Greek dances programme on the motor proficiency development of pre-school-age children. The sample of this research consisted of 66 students (36 boys and 30 girls) attending public kindergarten in Argolida prefecture (Greece), aged 4-6 years (X = 59.79 plus or…

This paper presents ways art educators can participate in a more holistic approach to education. The document outlines the following premises: (1) students will be consumers of art and determine what art they choose to consume, which requires a systematic and thorough grounding in critical evaluation if they are to make good decisions; (2)…

A survey was conducted to determine a quantitative baseline on the status of music, visual art, dance and drama/theater education in U.S. public schools. A stratified random sampling technique was used and questionnaires were sent to 1,366 U.S. public schools seeking data about demographics, curricula, adequacy of instructional material, and…

To determine if dance/movement is an effective method for teaching word analysis skills and to encourage creativity, a study examined 69 students from four kindergarten classrooms and 63 students from three second-grade classrooms. Students in each class were randomly assigned to one of two treatment groups. Treatment 1 groups received a…

This curriculum framework for the arts defines expectations for student learning in the arts in New Hampshire. The framework standards do not comprise a curriculum with designated course offerings, teaching methods, or materials; instead, they provide a vision for the future, outlining expectations for student learning at the end of grades 4, 8,…

A White Australian professor of a class on Indigenous women's dance has her Aboriginal sister-in-law conduct workshops on Indigenous dance. The classroom dynamics resulting from the complex power relationships (teacher as White woman, Aboriginal family member, and students) disturbs Western paradigms. The responsibility of "safely…

Explores arts education policies focusing on achievements, such as the inclusion of music and visual arts in schools, development of the arts education standards; and the failures, such as the inability of the arts to overcome the perception of being a frill. (CMK)

Explores three lessons that can be learned about arts education during the twentieth century: (1) the decentralization of education in the United States; (2) developing student competence in performing and creating art; and (3) the importance of quality above quantity. (CMK)

Describes the Transforming Education through the Arts Challenge (TETAC) initiative. Discusses issues to be addressed if change in arts education is to be achieved, specifically teacher preparation, professional development, networking, and standards and accountability. (CMK)

Reflects on the balancing act among the methodological, practical, and political forces in the arts that affect evaluation, focusing on evaluations of systemic reform. Discusses the meaning of systemic reform and the special requirements added when the arts are the main force behind the education changes. Offers an illustration. (CMK)

Provides background information on arts education and policy in the African context focusing on four countries: (1) Ghana; (2) Kenya; (3) Tanzania; and (4) Namibia. Introduces the articles in the symposium on "Arts Education Policy in Africa" in this issue of Art Education Policy Review. (CMK)

Describes an alternative elementary school where teachers work together to offer dance as a complement to writing and the study of literature in a whole language approach. Encourages teachers to add new ideas to their curriculum, to use individual talents, and to collaborate with other teachers. (MS)

Reviews issues related to preservice teacher education in dance. Asserts that the development of national standards in arts education has led to a consensus on teacher education. Maintains that, for the first time in U.S. educational history, dance is included in the fine arts curriculum, rather than in physical education. (CFR)

The most familiar form of evaluation in Western theatrical dance is aesthetic judgement, which considers dance performances as objects of art. This is how dance critics usually approach dance. However, there is more to evaluation than this. It also plays an integral part in learning: it can help a student develop skills in choreography as well as…