Preface/Chapter 1

dance stereotypes

stereotypes support a learning process constructed through a hetero-normative, dominant cultural lens that marginalizes and harms students. --how to handle stereotypes in the classroom: -Asks students to explain the stereotypes, how they operate, and if they can think of any examples. -Challenge students to investigate how stereotypes can be harmful. -Asks students to consider what happens when stereotypes go unexamined.

an embodied, student-centered approach that focuses on process.

"learning is an active and social meaning-making process, rather than a transmission of activity."

Culture is ordinary (Williams)

1) it is false because everyone holds a culture. 2) it falsely agrees with those who adopt the idea that their culture is the default and primary culture of significance with all other cultures being different and "other." *I encourage educators to acknowledge and highlight the various cultures of all students.

attributes of culturally relevant teaching (Geneva Gay)

1. It acknowledges the legitimacy of the cultural heritages of different ethnic groups, both as legacies that affect students' dispositions, attitudes, and approaches to learning and as worthy content to be taught in the formal curriculum. 2. It builds bridges of meaningfulness between home and school experiences as well as between academic abstractions and lived sociocultural realities. 3. It uses a wide variety of instructional strategies that are connected to different learning styles. 4. It teaches students to know and praise their own and one another's cultural heritages. 5. It incorporates multicultural information, resources, and materials in all the subjects and skills routinely taught in schools

how to make curriculum culturally relevant and diverse #1

1. make curriculum culturally relevant and diverse is through required readings. --Students feel included not simply by the good intentions of the teacher, but through concrete examples and resources utilized to support learning objectives. --If we as a society do not want any single group of people to think themselves superior, then we must provide them with diverse resources and evidence of a wide spectrum of humanity in the world.

how to make curriculum culturally relevant and diverse #2

2. take an active role in adapting curriculum. --it is the teacher's responsibility to research students' culture and seek out resources to share with the class. --Ultimately, students already know about their own cultures; this information is for you to use as a bridge to student success, while simultaneously sending a message to the class that the students' culture is valued and worthy of your class time.

cultural diversity

A culturally diverse group is a group of people within which at least three or more different cultural backgrounds are represented (culture grouping extends to ethnicity, sexual orientation, religion, competition dance, and so forth). --It is most important to consider how each student would like to be seen and acknowledged.

Diversifying curriculum

Diversifying our dance curriculum is a particular strategy to respond to inequities in Dance Education By diversifying our curriculum, educators provide students with multiple perspectives of dance --Although diversifying content is very important, it does not address culturally informed learning modalities. *essential for students of all ages and demographics. *does not depend upon utilizing student culture when delivering content

the banking model

Traditional teaching methods, identified by Paulo Freire where the all-knowing teacher deposits information into the student, must be questioned. --Notions that students will "wear" the movement of their teacher encourage a disembodied and inauthentic learning experience.

The application of CRT

In instances where students are unable to see themselves in the curriculum content, they often feel as if they do not belong and disengage from their learning. -- There must be an awareness that what is ordinary for the instructor may be out of the ordinary for students. --- From that place of understanding, instructors can find ways to build bridges to their course objectives.

Transdisciplinary

Menah Pratt-Clarke defines transdisciplinary as "the use of multiple theories, methods, approaches, frameworks, and disciplines to understand, strategize, and implement transformative initiatives in society."

Esteem building

Teachers are encouraged to build esteem through teaching content that connects to and uplifts tribal culture and tradition as well as national culture. --Within this system, recreational, ritual, and social purposes of dance are valued on the same level as theatrical performances with all forms holding significance for local communities.

cultural deprivation

Without culturally relevant teaching and diversified curriculum, students experience cultural deprivation, which also can be an overwhelming obstacle for students feeling alienated each day of their schooling experience.

Not learning

____tends to take place when someone has to deal with unavoidable challenges to his or her personal family loyalties, integrity, and identity. --To agree to learn from a stranger who does not respect your integrity causes a major loss of self. The only alternative is to not-learn and reject the stranger's world The Complexity of Identity: Who am I

Culturally Relevant Teaching

a term coined by Gloria Ladson-Billings in the 1990s, is a method of teaching that relates to the cultural background of students while also going beyond using content to which students can relate. --embraces a teaching method that relates to students' communication style and tone, learning style, and cultural beliefs. --using cultural referents to impart knowledge, skills and attitude *designed for students whose cultural background is not aligned with the dominant culture. Thus this approach works best when serving students of color. *AKA culturally relevant pedagogy and culturally responsive teaching.

implicit lessons

are more powerful as these are often multifaceted and ever-present

critical dance pedagogy (CDP)

examines who gets to dance, in what spaces, with particular considerations of race, class, and gender. --Unlike culturally relevant teaching, which was designed for students of color, CDP is a pedagogical approach that works well with various demographic configurations --Students are challenged to investigate power systems, structures, and relationships as they impact dance, dancers, and dance forms. --it is important to highlight the opportunity those with privileges have to make significant change and highlight some of the changes that have been made historically due to those with power widening spaces for those without. *most effective with high school and college students, as they possess developed critical thinking skills. *does not depend upon utilizing student culture when delivering content.

culture

is a collection of social systems, customs, rituals, traditions, and ordinances that groups of people practice, share, protect, and develop. -- At the heart of all cultures are customs which people practice for the benefit of the community and historical preservation of the culture. --- Groups of dancers are no different as they also maintain cultures. --cultural practices evolve to meet the needs of group members. It is ever changing

Cultural capitol (Bourdieu)

theory of how inequity is reproduced --implicitly and explicitly learned skills that position people in a stratified society. 1) Implicit lessons take place in the home and directly impact how social class is replicated through each generation 2) explicit lessons take place at school or in a structured educational setting. --cultural capital is contextual; what is valued as capital in one community may be worthless in another. *Attaining a cultural currency while losing another

culturally relevant arts education (CRAE)

this model is a form of social justice, the act of inclusion that counters the marginalization of minorities and embraces cultural diversity. --If we do not shine a light on the people and communities outside the dominant culture we fail our students and perpetuate a lie EX) When activities are about the transformation of injustice and are arts based—such as films or plays generated by artists that address a community problem