Final Exam for Dance Pedagogy

What is dance?

-an artistic form of nonverbal communication -move in a graceful and rhythmic way -a party of people assembled for dancing -taking a series of rhythmical steps or movements in time to music -patterned and rhythmic bodily movements, usually performed to music, that serve as a form of communication or expression

What happens in creative dance?

-requires participants to exercise their imagination, to think, and to problem-solve -taught conceptually through the elements of dance -requires action...learn to dance by doing -there is no right or wrong -reaching the part of the individual that is the creator rather than the performer

Dance Pedagogy

-strategies techniques, and approaches that teachers can use to facilitate learning -theory of dance -the science of teaching children but commonly accept to mean the study of teaching and learning in all contents

How can a teacher actively engage students in a positive learning environment?

1. Establish a sense of community within a large group in which everyone is valued at the first encounter. 2. Gain and retain respect for each other. 3. Establish ground rules about what is acceptable and what is not acceptable.

course content

1. Establish clear aims and objectives 2. Logical progression within the class and from class to class 3. Plan a well prepared class—good to prepare more material than needed 4. Don't over teach; allow time for the children to absorb and assimilate material 5. Material/activities should involve awareness of self, of the space, of the teacher, and of each other.

3 phases of imagery

1. Images that lead to movement— • the thing to be explored is the element • with children, imagery is very strong and it can limit their exploration • talk in dance language not image language 2. Images that arise from movement 3. Images as a basis for dance • Direct their development of ideas by teaching them to think in movement terms

Poor group dynamics can lead to lack of motivation due to

1. Individuals bringing negative attitudes 2. Conflicting factions within the class 3. Individuals who demand constant attention

6 key elements

1. Know your students Needs analysis 2. Aims and objectives 3. Course content 4. Teaching methods Mostly demonstration 5. Assessment How are your students doing? Are they achieving their short term goals? 6. Evaluation Overall course Is it overall beneficial

Bloom's taxonomy for dance:

1. Knowledge—recall specific information (know or describe something) 2. Comprehension—can they understand or explain it (can they explain it without relating it to something else) (fast slow) 3. Application—learned information in a new situation (demonstrate it) apply what one knows to what one does 4. Analysis—break it down into sections, steps, categorize it, distinguish 5. Synthesis—put the parts back together to make something new and whole (event, refine, edit) 6. Evaluation—complex thinking, judging what has been put before you, asses the quality of what has been presented, performance quality

Kinesthetic-Motor Stages of Progression

1. Pre-functional—lack motor coordination for dance 2. Functional—becoming adept mover, although yet no a dancer 3. Pre-performance—adapt at moving and beginning to develop isolated performance skills 4. Proficient performance—increased coordination and fine motor skills for dance and performance (better at performing in the classroom than on stage) 5. Advanced performance—sophisticated, high level performance of dance (technically and artistically)

Piaget's four stages of development

1. Sensorimotor 2. Preoperational 3. Concrete operational 4. Formal operational

Children tend not to be motivated when

1. Space is too large/too small 2. Too few/too many students 3. Floor is cold/dirty/splintered/un-sprung/slippery 4. Room is too hot/too cold

Problems that hinder growth in CD:

1. Students are confused or don't understand 2. Students are distracted and are not paying attention 3. Students are fearful or insecure 4. Students are defiant and will not follow the rules

How can a teacher motivate students to learn?

1. The work is meaningful, interesting, and varied. 2. They are given realistic challenges and goals. 3. They feel part of the process. 4. They have some measure of responsibility of decision-making. 5. They are given recognition and respect. 6. They have a sense of growth and personal development.

Erickson's stages

1. Trust vs. Mistrust: birth-18mos. 2. Autonomy vs shame and Doubt: 18mos.-3yrs 3. Initiative vs. Guilt: 3-5 yrs. 4. Industry vs. Inferiority: 6-12 yrs.

Elements of Dance

1. body 2. space 3. time 4. energy 5. relationships (BSTER)

Intellectual benefits of CD

1. children acquire a movement vocabulary both verbal and physical 2. children develop problem-solving skills 3. children strengthen the ability to listen and follow direction 4. children increase learning in other curricular areas such as reading, math, and science 5. children develop neural pathways through movement patterns that are essential to language acquisiton, reading, readiness, and mathematics ability

Emotional benefits of CD

1. children become more aware of self-awareness 2. children increase self-esteem 3. children feel the joy and satisfaction of expressing their own thoughts

Physical benefits of CD

1. children develop strong and healthy bodies and brains 2. children increase body awareness 3. children will release energy through positive physical activity

Social benefits of CD

1. children learn to cooperate with others 2. children practice self-discipline 3. children discover the value of individual differences and appreciate diverse cultural experiences 4. children learn a universal nonverbal language

Additional benefits of CD

1. concentration-self control 2. behavior 3. respect 4. self-esteem-non competitive enviroment, is enhanced through participation in activities where their contributions are valued

Teaching styles (instructional strategies)

1. demonstration 2. problem-solving 3. individual practice 4. collaboration

What are different learning styles

1. kinesthetic 2. tactile 3. vistual 4. auditory

7 intelligences

1. linguistic-verbal-poets, writers, dance critiques 2. logical-mathematical-composers, dance notates, architects 3. musical-composer, muscicians, performers, appreciate pitch 4. spactial/visual-choreographers, set designers, painters 5. bodily-kinesthetic-dancers, use movements to solve problems 6. interpersonal-teacher, counselor, actor, understanding of others 7. intrapersonal-writers, journalists, understand oneself

Knowing your students

Begin w/ a needs analysis... • setting, #'s, age, gender, experience, special needs, and ethnic background What are their aspirations and expectations? • Don't give 3 and 4 year olds a lot of choice. This info can be invaluable—can help determine the concepts, knowledge and skills to be explored.

Lev Vygotsky's sociocultural theory

Believed that children learn through social and cultural experiences

Demonstration

Demonstration: students learn by observing, copying and applying the info Demonstration increases students': 1. Observational skills 2. Ability to translate observed mvt (movement) into their own bodies 3. Ability to copy accurately 4. Ability to become more skillful

Ecological Perspective

Emphasies the interactions between the individual, the environment, and the task

Multiple Intelligences Theory and the arts:

Howard Gardner advanced the theory of multiple intelligences in the 1980's. MI acknowledges that there are different ways of being intelligent. • Wanted to challenge what "smart" is. • It is beyond verbal and logical thinking. • These aptitudes can cross cultures. o People with high aptitudes do well in art cultures • There are different ways in which we are smart.

Use of imagery

Imagery, imitation, and themes can actually be detrimental in teaching CD. An exploration and a grasp of the element of movement must come before imagery is introduced.

Developmental theories provide

Insite into how children learn and grow

Psychological-social development

Nancy Eisenberg identified levels of social behavior that children move through • Stage 1: self-centered o Selfish and self-centered orientation o Little interest in helping others o Individual work ethic o Respond well to movement exploration in CD o They will dominate and take over the group • Stage 2: allowing o Superficial "needs of others" orientation o Work in groups o Unwillingly • Stage 3: other-oriented o Approval and stereotypic good boy or girl—more success after 2nd grade • Stage 4: empathetic o More success after 3rd grade o Feel more for the person that is left out • Stage 5: prosocial o Internalized values orientation o Don't always speak everything out o There is more of a strong desire to help those in need

The "cross-over" technique

Once you have introduced the element by asking "how", "what" and "where" questions, you can further the exploration by "crossing over" to another element and ask the children to perform two elements together.

Cognitive-Intellectual Development

Perceiving is the way we take in formation, and information processing or ordering includes how we think, recall, problem frame, problem solve, and adapt information • Thinking, perceiving, processing

The method

Present, suggest, and define until the children know what the element is. Challenge them to do the element in any and every possible way. Define it until they really understand what it means Have them do something that they have never done before. (how, what, where?) (What other body part can wiggle? Where in the space can you wiggle that body part?) Say what you want to see

Appreciation and evaluation

Reflection throughout the class about the material covered by... • Asking questions • Showing examples • Discussing solutions • Body speak—show what they learn, goodbye dance—each person do something across the floor

Perceptual-action Approach

States that the development of perception and the development of movement cannot be separated

Behavior Management

Structure is key and boundaries are essential and the maintenance of them is ongoing

Dynamic systems approach

Suggests that the human body's physical structure, in conjunction with the physical environment, constrains or restricts motor behavior. o Ex. Crawling

Tactile-Kinesthetic learner profile:

Tactile learner: hands-on • touch objects to learn about them and want to explore the environment • like to be hugged or touched • want concrete objects used as learning aids • Kinesthetic learners: movers • think better on their feet and while moving • relay on hand gestures and body language when conversing • are fascinated by movement • are usually well coordinated, not clumsy • talk fast, chatter, chew gum • always seem to be in a hurry and have high energy • are always ready to move, have good energy supply, and get out of their seats and walk around frequently

Bloom's taxonomy of thinking

Teacher's job is to see that learners acquire and know basic facts, comprehend information, apply what they learn, analyze aspects of dance, synthesize individual parts into a new whole, and evaluate performance—mandate is to engage students at the upper levels to teach them how to think through problems and make well-informed decisions—levels 4, 5, & 6 call on critical thinking to • To create dance • To make judgments about one's own creative expression as well as works of choreographers and peers • To analyze quality of movement and to refine if necessary

Zone of proximal development (zPD)

This concept presents learning as a scale. On one end of the scale includes the tasks that are within the child's current developmental level. On the other end of the scale includes tasks too difficult for children to accomplish, even with help. In the middle are the tasks children cannot accomplish alone. These are achieved with help from another knowledgeable peer or adult.

Modifying behavior

Time-out: sends an offender to a safe, easy-to-monitor, non-reinforcing area of the room Restitution: replaces an undesirable behavior with a desirable one (become your little helper, pass things out, press play on music) Positive practice: offender repeatedly practice a desired behavior—better than time-out because students learn what not to do as well as what to do instead (don't turn your back on your students)

Constructivism

a theory about how people learn based on Jean Piaget and Jerome Bruner children learn by ​"constructing their own understanding"

Inclusive style

allows the student to choose the degree of challenge to her abilities

Aims

are general statements of intent giving the overall purpose of the course—long term and may be difficult to evaluate • Work towards increased strength, flexibility, and coordination • To facilitate movement invention • To encourage students to be imaginative and inventive in their selections of mvt material

Objectives

are specific action statement setting out what the students should achieve as a result of the course. They can be evaluated. They can be evaluated. • Gain skills in the transference of weight • Show understanding of motif and development • Demonstrate the ability to analyze a dance work with particular reference to its historical context • Class room etiquette • Space, size

What awareness is gained through CD?

awareness of self-CD is a discipline for dealing with the self

Problem-solving

begins with teacher posing a question or setting a task Problem solving encourages: 1. Individuality 2. Students to work in unfamiliar ways 3. Decision-making 4. A process of learning from inquiry to solution

Learning styles

can be defined as the way human beings prefer to concentrate on, store and remember new and/or difficult information

What is discovered through CD?

children discover a great deal about their bodies, minds, language, thoughts, imagination, and ideas

What is learned in CD?

children learn how to speak through their bodies and become aware of body language and its relation to words

How children learn creative dance?

direct experience​​​. Once the child cognitively understands the concepts, a child cycles them back into movement choices to enhance perception and serve expression.

Tactile

experience the movement and feel it; concrete learning and teaching aids; think better with movement; hand gestures while talking; coordinated; chatter; are always in a hurry; high energy; can't sit still (tactile-kinesthetic)

Channel High-energy class

explore the largest, strongest movement punctuated with sharp stops—then work class into a more controlled modulated rhythm

Piaget's Cognitive development theory

has challenged teachers to focus on the ​ways​children come to know as opposed to ​what​they know. His theory focuses on predictable cognitive (thinking) stages and explains mental operations.

Exploration

has to do with problem solving—tasks that lead children from what they know to what is unfamiliar through improvising: • Find new solutions to mvt problems • Extend their mvt vocab • Consider new combinations

Howard Gardner's MI theory

how kids are smart, not how smart they are

Judith Hanna definition of dance

human behavior composed of purposeful, intentionally rhythmical, and culturally influenced sequences of nonverbal body movements mostly other than those performed in ordinary motor activities

Reflecting

improves concentration and decreases opportunities to misbehave

Reciprocal style

involves an observer and a performer

multiple intelligences

is a theoretical frame work for defining/understanding/assessing/developing people's different intelligence factors

Development

is concerned with extending mvt skills by making selections from the improvised material and making phrases of mvt which can be repeated, refined, and perfected

Creative Movement

is the product of improv and becomes the first step used to develop movements for a creative dance

Goal of creative dance

is to communicate through movement by leading children to creatively use the elements of dance

Why is Creative Dance unique?

it is the only activity in which physical movement is used non-functionally and as a personal expression

Visual

learn best by watching someone else demonstrate

Audtiory

listen for verbal description and focus on rhythms and sounds to learn movement patterns

Kinesthetic

need to physically experience to learn and remember it

Aesthetic-Artistic Stage 4: Insightful (the style and form stage)

o Aware; connection is cognitive and emotional o See differences in styles o Appreciate complexity, understand design of choreography, like the way the prop is used, and see how the music and the choreography relate to each other.

Aesthetic-Artistic Stage 1: preoperational (the favorite stage)

o Cognitive thinking and A-ffective emotional o Exploring reason with emotion. What is the reason behind the emotion? o Naïve, unsophisticated, unschooled o Respond to their attraction to the subject of a dance work.

Two branches of ecological perspective

o Dynamic systems approach (systems theory)—physical structures o Perception-action approach

Aesthetic-Artistic Stage 3: connectional (the expressive stage)

o Growing awareness, connection on an emotional level o Quality of the dance that is produced, more intense the better the experience, the better the dance. o The stronger the connection to the work the better. o Lighting change, tender, violent, relate to it

Aesthetic-Artistic Stage 2: Operational (the beautiful stage)

o Naïve, unsophisticated, unschooled o Response is based on how an idea is represented o The costumes were pretty under the lights, the story was good because I could follow it all the way through. o A deeper understanding.

Aesthetic-Artistic Stage 5: Advanced (the independent artistic stage)

o Sophisticated, advanced; sees symbols; connects on mental, emotional level o Thinking about how society plays a role into the dance. o Understand that social interactions and the history of society changes throughout time. o Each person has their own judgment or what they like, more sophisticated

Guided discovery style

student-centered teaching style—teacher poses questions or provides statements that elicit a specific response from the student, also known as Guided Exploration a. We will use this a lot. Say what you want to see b. They need to know what their options are.

Creative Dance

students manipulate movements using elements of dance through the process of improvisation

Self-check style

teacher develops a checklist of criteria for execution of an exercise—student self-evaluates his performance using established criteria check-list or the teacher's cues

Collaboration

teacher facilitates Collaboration gives students the experience of: 1. Working closely with other in a joint venture 2. Learning both from and with others 3. Extending negotiating and appreciation skills

Command style

teacher makes all the decisions about subject matter, etiquette, discipline, and motivation

Individual practice

teacher sets the task and supervises the students who learn by individual practice Individual practice gives opportunity for students to: 1. Understand and analyze a task accurately 2. Extend their movement memory 3. Work in a disciplined manner 4. Be aware of their own strengths and weaknesses

Cueing

tells the dancers the what, when, and where of a movement—prompt student's movement through a difficult part—cues include action words, directional words, counting, singing, voice augmentation, clapping, nonsense syllables, parts of phrases, and signals

Lev Vygotsky introduces the term

​private speech/self-talk​...refers to when children "think out loud" This will guide in their thinking

Misbehaving students

• "What time is it?"... if ignoring the questions does not work, set up a private conference after class • Children who act out often suffer anxiety from seeing too much violence and chaos. Dance's advantage is that it gives non-achievers a venue to shine

Gardner's definition of intellignce serves the arts

• "an ability to solve problems or to fashion a product, to make something that is valued in at least one culture." • The ability to make something, write a poem, run an organization, teach class • He calls intelligence the ability to make something—create a work of art, write a poem, compose a symphony, run an organization, or teach a class—he calls aptitudes neither inherently artistic nor non-artistic but "intelligences" singularly or in combination that can be put to artistic uses

Aesthetic-Artistic Stages of Progression

• All ages can describe, analyze and interpret what they see. • These stages come with experience and exposure. • Educate the person in order to understand. • They have to have a background. Vocabulary. History.

Erikson's Psychosocial Theory

• Believed development occurs throughout the lifespan. • Emphasizes the social and emotional aspects of growth. • He believed "Children's personalities develop in response to the social environment." • We need to find solutions that are both personally and socially. • Each one had to be resolved before you moved to the next. o Maturing, social force

Visual learner profile: lookers

• Enjoys pictures, charts, and visuals along with lectures, examples, and movement demonstrations • May draw pictures of doodle while listening to instructions • Makes lists, takes notes • Communication with gesturing, nodding of the head, making facial expressions • Notices small changes in environment; especially recalls costumes, sets, and movement sequences viewed in dance works • Looks to see what others do when given only verbal directions • Watches lips and facial expression of speaker and body language • Is noticeably picturing things while listening

Purpose of warm-up

• Establish body and mind concentration 1. Establish awareness of self, teacher, and others 2. Include whole body exercises and isolation (get them moving) (jumping jacks, marching in place) 3. Awareness of space (define their boundaries) 4. Attention to good alignment and placement Could start around 8 5. Adequately prepares body for the demands of whatever is to follow

Theories are....

• Helpful for understanding and guiding developmental processes. • A useful decision-making tool • Helpful in forming personal values and beliefs about learning (understanding what other people have done in the past) • Helpful in understanding strategies for promoting children's development. (in a healthy environment)

Tips on teaching

• Introduce yourself and meet the students—learn their names • Establish clear ground rules—classroom etiquette • Establish a non-competitive and non-threatening environment • Establish and enforce a quiet sitting position • Tape the floor (establish boundaries); assign each student a seat on the floor—identifies one's place in the room, so during guided spatial exploration you can ask everyone to dance back to his/her placed tape o If class gets out of hand, return the students to the placed tape to refocus the exploration problem, and start again • In exploration time—have students dance back to place from more instruction—stop and start again until all can body shape and move in control • Don't be put off by interruptions—address them quietly before or after class—do not ignore them! • Distribute your attention

Self-Governance

• Keep students safe and on task toward the lesson's objectives • Students need to control themselves before you can work on arts expression, so try to achieve this in minimum time • Monitor whether they can listen, think, and respond simultaneously (red light and green light) • Learning to move with control requires lots of practice • Starts with the body first—mastering the body in time comes before being expressive and creatively unique—children who are not developmentally able to handle the body are over challenged when asked to take the body through space with others moving • When children are ready to move through space find a limited methods that only moves several at a time

Developmental Stages Ages 2-4

• Learn through imitation-copying teacher or parent • Concerned mainly with self • Easily distracted • Short attention span • Sometimes unfamiliar with school/class setting • Needs practice following directions • Needs structure and repetition • Enjoys lively music and enjoys stories • Enjoys exploration more than skill development • Emotional, move quickly from happy to sad to angry to happy • Might have trouble separating from parent • Loves to move​ • Responds to praise, positive reinforcement

Developmental Stages Age 8-12

• Learns through exploration-exploring the elements of dance • Wide range of individual differences and physical maturity • Ages 10-12 starting preadolescent growth spurts—may appear tired, clumsy, inhibited, insecure • Enthusiastic learner if well motivated • Enjoys variety of learning experiences • Able to be good listener, observer and contributor • Interests become better defined • Enjoys experimentation and creating dances • Enjoys performing if part of a group • Motor coordination and endurance increase • Enjoys developing and practicing skills • Needs action, excitement and opportunities to participate fully • Emotional needs must be met or will drop out • Needs individual praise and positive reinforcement • Enjoys variety of music and dancing with props • Responds well to respect, fair treatment and understanding • Enjoys taking responsibility and feeling grown-up

Developmental Stages Age 5-7

• Learns through imitation-copying teacher and peers • Able to concentrate a little longer • Loves to move; enjoys self-expression • Enjoys practicing skills for short periods of time • Often likes to have his/her own way • Sometimes "tests" the teacher • Needs structure • Feelings easily hurt by peers and teachers • Responds well to positive reinforcement, praise and smiles • Enjoys a variety of music • Able to manipulate props • Enjoys some repetition, but also enjoys new challenges • Vocabulary and understanding of concepts increase • Enjoys choreographing and performing for peers

Auditory learner profile: listeners

• Loves to talk to self or others • Loves to listen to others talk • Loves to read aloud, move lips, or subvocalize • Comprehends oral reading better that silent reading • Needs word cues and timing cues for learning movement phrases • Remembers what people say as well as the sound of their voice, music scores, and rhythmic patterns • Prefers word explanation to visual cues and drawings • Learns dance by focusing on timing cues, rhythmic phrases, musical cues, or word phrases

Teaching strategies for auditory learners

• Present all significant data and instruction so that they can be processed through the ear • Present concepts and information verbally; count out phrases, give pulses, use word cues for movement sequences • Give guided viewing questions before observation video clips of dance works—follow up viewing activities with discussion • Use songs, rhymes, and chants to increase memory • Include some small group discussion to give more chances to verbally interact about dance • Use verbal classroom critique, discussion, reflection, and journal writing • Repeat written instructions • Assess them more on their verbal explanations than how they move and what they write

Teaching strategies for tactile-kinesthetic learners

• Present all significant data so that it is perceived and processed through the body • Have students move not only to learn to dance but also to learn about movement and the body • Use manipulative, movable, three-dimensional teaching aids and resources • Give hands-on, tactile feedback, keep students in motion as often as possible • Give instructions in dance while students are moving and teach as they move • Give kinesthetic learners additional movement tasks to do inside and outside the classroom • Help them with personal organization skills, which are often lacking • Access students on what they can do and show in movement

Teaching strategies for visual learners

• Present all significant data so that they can be processed through the eyes • Teach so student can watch your mouth • Give concepts and learning material visually • Uses gestures as visual cues, especially when guiding movement exploration and giving oral instructions • Write instructions on the board or charts and use a bright, light-filled learning environment • Encourage more taking and list making when appropriate to convert auditory assignments into visual form • Allow students to draw pictures during listening assignments • When describing movement, ask them to picture something in their minds • Assess what they draw or write

Objectives should be SMART

• Specific • Measureable • Achievable • Realistic • Time bound