As children see the first snowflake fall from the sky, they are filled with anticipation of playing in the snow. The snowy environment presents a wonderful opportunity for presenting interdisciplinary activities that connect snow play, snow formation, and snow stories with manipulative activities, gymnastic balances, and dance sequences. In this…

Based in bodily awareness, somatic education has many points of relationship with dance education. Body-Mind Centering[R] (BMC), with some of its roots in Laban Movement Analysis/Bartenieff Fundamentals (LMA/BF), has a particularly easy link to dance. When studying Body-Mind Centering, the theoretical components are often taught through dance…

Support from school partners is absolutely necessary. Every teaching artist knows this, and every arts education organization strives to cultivate this support. In this article, the authors create some powerful strategies for achieving this support, such as agreeing at the outset about the focus of the residency. Lessons that develop meaningful…

This article explores the contrasting arguments for the place of the arts in education made by the two distinguished arts educators--the American Elliot Eisner and British dance and physical education theorist Graham McFee. Both scholars begin with the premise that the arts should be central to a liberal education and then diverge. McFee argues,…

Dance education experiences of boys and male youth are investigated in terms of dominant constructions of contemporary Western masculinity and the potential limitations these hegemonic discourses may place on male participation. Recent research on boys and male youth in dance, although limited, suggests prevailing social stigma, heteronormative…

Play is important in child development and learning. The intent of this study was to assess the effects of play, using physical movement and pretend imagery, on learning dance. Four preschool dance classes, encompassing 32 children ages 3-6, were randomly divided into pretend imagery groups and traditional teaching groups. The classes were…

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…

This article illustrates the author's discovery that the key to any successful dance unit is finding ways for students to make connections and want to dance. While reflecting on the purpose of dance in the curriculum, the author identified important skills and concepts he wanted his students to master, such as rhythm, balance, and…

In this article, the author introduces the Beijing Contemporary Music Institute where more than 3,000 undergraduates study music and dance. In a country where most music departments and conservatories are dedicated to teaching classical Chinese and Western music, the institute is breaking new ground. The college, which opened in 1993 with just 100…

This paper reports on the complex construct of student teacher confidence and the usefulness of practicum and the ITE course in preparing students to teach dance in their pre-probationary years. A longitudinal study tracked 85 students (f = 46, m = 39) for four years during their undergraduate degree programme in physical education (PE). Students…

Highlights of the historical development of structured and creative/free dance experiences for children within the curriculum of early childhood education in the 20th century are sketched. Although some educators dissented with the practice, in the 1920s most dance activities for young children were structured. The following decade was…

The Biomechanical Principles and Movement Concepts Curriculum for third- through fifth-grade students is described. Basic movements and the amount of time each is to be taught are listed. Activities for application of dance to fitness based on biomechancial principles are given. (MT)

This approach to teaching creative dance to children attempts to narrow the gap between theory and practice. It is based on teaching processes definitions and creative functioning levels which encourage creative movement. The teacher's role is to facilitate student participation and ability at five levels of processing. (MT)

"Assessing Dance in Elementary Physical Education" is a special edition of the NASPE Assessment Series for K-12 Physical Education. Elementary school physical educators finally have a book that can help them plan assessments for dance, an important part of a comprehensive physical education curriculum. Through dance, students develop their motor…

This 50-minute VHS videotape is the second in a 2-volume series that presents 500 years of social dance, music, and fashion. It features dance and music of the 20th century, including; 1910s: animal dances, castle walk, apache, and tango; 1920s: black bottom and charleston; 1930s: marathon, movie musicals, big apple, and jitterbug; 1940s: rumba;…