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Dance Education Around The World

Author: Charlotte Svendler Nielsen
Publisher: Routledge
ISBN: 1317801954
Size: 64.32 MB
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Dance has the power to change the lives of young people. It is a force in shaping identity, affirming culture and exploring heritage in an increasingly borderless world. Creative and empowering pedagogies are driving curriculum development worldwide where the movement of peoples and cultures generates new challenges and possibilities for dance education in multiple contexts. In Dance Education around the World: Perspectives on Dance, Young People and Change, writers across the globe come together to reflect, comment on and share their expertise and experiences. The settings are drawn from a spectrum of countries with contributions from Europe, the Americas, the Middle East, Asia, the Pacific and Africa giving insights and fresh perspectives into contrasting ideas, philosophies and approaches to dance education from Egypt to Ghana, Brazil to Finland, Jamaica to the Netherlands, the UK, USA, Australia, New Zealand and more. This volume offers chapters and narratives on: Curriculum developments worldwide Empowering communities through dance Embodiment and creativity in dance teaching Exploring and assessing learning in dance as artistic practice Imagined futures for dance education Reflection, evaluation, analysis and documentation are key to the evolving ecology of dance education and research involving individuals, communities and nations. Dance Education around the World: Perspectives on Dance, Young People and Change provides a great resource for dance educators, practitioners and researchers, and pushes for the furtherance of dance education around the world. Charlotte Svendler Nielsen is Assistant professor and head of educational studies at the Department of Nutrition, Exercise and Sports, research group Body, Learning and Identity, University of Copenhagen, Denmark. Stephanie Burridge lectures at Lasalle College of the Arts and Singapore Management University, and is the series editor for Routledge Celebrating Dance in Asia and the Pacific.

Dance Access And Inclusion

Author: Stephanie Burridge
Publisher: Routledge
ISBN: 1317201574
Size: 21.27 MB
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The arts have a crucial role in empowering young people with special needs through diverse dance initiatives. Inclusive pedagogy that integrates all students in rich, equitable and just dance programmes within education frameworks is occurring alongside enabling projects by community groups and in the professional dance world where many high-profile choreographers actively seek opportunities to work across diversity to inspire creativity. Access and inclusion is increasingly the essence of projects for disenfranchised and traumatised youth who find creative expression, freedom and hope through dance. This volume foregrounds dance for young people with special needs and presents best practice scenarios in schools, communities and the professional sphere. International perspectives come from Australia, Brazil, Cambodia, Canada, Denmark, Fiji, Finland, India, Indonesia, Jamaica, Japan, Malaysia, New Zealand, Norway, Papua New Guinea, Portugal, Singapore, South Africa, Spain, Taiwan, Timor Leste, the UK and the USA. Sections include: inclusive dance pedagogy equality, advocacy and policy changing practice for dance education community dance initiatives professional integrated collaborations

The Palgrave Handbook Of Global Arts Education

Author: Georgina Barton
Publisher: Springer
ISBN: 1137555858
Size: 71.64 MB
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This extensive Handbook addresses a range of contemporary issues related to arts education across the world. It is divided into six sections; Contextualising Arts Education, Globally and Locally; Arts Education, Curriculum, Policy and Schooling; Arts Education Across the Life Span; Arts Education for Social Justice: Indigenous and Community Practice; Health, Wellbeing and Arts Education and Arts-Based and Research-Informed Arts Education. The Handbook explores global debates within education in the areas of dance, drama, music, media and visual arts. Presenting wide-ranging research from pedagogies of adaptation developed in Uganda to ethnomusicology in Malaysia and community participatory arts to wellbeing in Canada the Handbook highlights the universal need for arts education and in particular the importance of indigenous (including both traditional and contemporary practice) arts education. With contributions from internationally renowned scholars and practitioners and building on the World Alliance for Arts Education Global Summit in 2014, the Handbook creates an essential resource for arts education practices in and out of school alongside institutional, traditional and contemporary contexts. Students, teachers and practitioners across the arts disciplines will find the text invaluable for developing further opportunities to promote and study arts education.

Dance In A World Of Change

Author: Sherry B. Shapiro
Publisher: Human Kinetics
ISBN: 9780736069434
Size: 49.58 MB
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Dance in a World of Change: Reflections on Globalization and Cultural Differencewill help you -understand how dance instruction is affected by globalization; -discover the ways in which the discourse and curriculum of dance connect it to the critical, political, moral, and aesthetic dimensions of contemporary society; and -learn from the rich and generative set of experiences of international dance educators, choreographers, critics, and scholars. Dance in a World of Change: Reflections on Globalization and Cultural Differencepresents a range of international perspectives on dance pedagogy, the body, performance, and dance and culture. The text expands the discourse of dance that connects it to the critical, political, moral, and aesthetic dimensions of contemporary society, and it explores how globalization is influencing and shaping the future of dance. The contributing writers hail from around the world: South Africa, Brazil, Croatia, Ireland, Canada, Taiwan, New Zealand, the United Kingdom, Holland, Jamaica, and the United States. They bring their distinguished records as dance educators, choreographers, critics, and scholars to this book as they address -a form of human empowerment or cultural resistance; -a means of recognizing diverse cultural experience and communicating common humanity; -an expression of social conflict, injustice, violence, and marginalization; and -an educational process that transcends the particular and encompasses commonality. As growing connections between diverse communities transform our sensibilities, people's assumptions about what is good and bad, beautiful and ugly, or rational and irrational are often challenged. The changes that result can produce new and sometimes startling forms of art, create new identities formed from disparate histories and experiences, and help people rethink how they came to value one dance form over another. As new forms of dance expression are created, dance educators are using these changes to illustrate to their students what they might mean. For example, cultural borrowing in dance and pedagogy has evoked questions concerning the meaning of the tradition itself: What is African dance? Is it African dance if it is taught by a non-African? Does it remain a cultural dance if it is performed simply as a dance and no longer as a story of the people? This text helps dance educators celebrate cultural traditions while recognizing the forces and forms that bridge our common experience. In part I of this book, contributors explore how traditional dance forms are being shaped by the global dance environment and how this environment is influencing new forms of popular dance. Part II takes a look at sexual orientation, racism, and prejudice and challenges the assumptions of what is normative. Multicultural issues as they relate to dance pedagogy are examined in part III, andpart IVhelps readers to transcend the differences between cultures and embrace the commonalities shared through dance. Each chapter includes an introduction and ending reflections that provide insight and create a place for dialogue. References, which are grouped by chapter at the end of the book, provide additional information for follow-up. Dance in a World of Changeis a catalyst for new thinking about dance among teachers, choreographers, and scholars in the field. Readers will experience the passion and excitement of the contributing writers, who delineate the connections that help form a global community.

Discovering Dance

Author: Kassing, Gayle
Publisher: Human Kinetics
ISBN: 1450485081
Size: 50.55 MB
Format: PDF, Kindle
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Discovering Dance opens up a world of opportunities for high school students who have little or no dance experience. The text, available in print and electronic forms, helps students understand the fundamentals of creating, performing, analyzing, understanding, responding to, connecting with, and evaluating dance in its various genres. It meets national and state dance education standards and addresses 21st-century learning goals. As such, it offers a complete introductory dance curriculum with the flexibility of being used for one or more years of instruction.

Teaching Dance As Art In Education

Author: Brenda Pugh McCutchen
Publisher: Human Kinetics
ISBN: 9780736051880
Size: 38.75 MB
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Teaching Dance as Art in Educationis a comprehensive introductory textbook that helps dance education majors and dance specialists understand and incorporate the aesthetic foundations of educational dance in grades K-12. Unlike other models of teaching dance, this book delineates what a standards-oriented, aesthetically driven program should encompass for both the dance specialist and his or her K-12 students. Teaching Dance as Art in Educationfosters an understanding of dance as arts education and defines the dance specialist's roles and responsibilities, including how the national arts initiatives and student-centered inquiry affect the teaching of dance. It explains how to advance student growth in the areas most critical to teaching dance: the physical, mental, artistic, and social. Content is delineated through four cornerstones of dance as art in education: -Dancing and performing -Creating and composing -Knowing history, culture, and context -Analyzing and critiquing These cornerstones are subsequently integrated into the K-12 Dance Cornerstone Curriculum Framework, which enables dance specialists to develop substantive and sequential dance experiences for students as they progress from kindergarten through grade 12. The framework distills all the skills and concepts that dance specialists need, including developmental expectations for different ages. Teaching Dance as Art in Educationalso presents a new instructional approach, the Eight-Step Plan, that facilities integration of all four dance education cornerstones into each unit to make the lessons more coherent. Further, the many features in the textbook help dance specialists become aware of not only their unique roles and responsibilities when teaching educational dance but also how to develop an arts-oriented, professional teaching portfolio. The following user-friendly features are interwoven throughout the book: -Reflect and Respond: Case studies, or scenarios, invite the reader to consider an issue or situation and develop a response. -Questions to Ponder: Thought-provoking questions at the end of each chapter help readers extend and apply chapter concepts. -Rich Resources: Suggested resources, such as books, videos, and Web sites, supplement the topics covered in the chapter. -Notebook or Portfolio: Practical exercises to complete, record, and compile into an arts-oriented teaching portfolio are useful for future job interviews. -Inspirational Quotes: Selected quotes from famous dancers, choreographers, and teachers support the topics covered. Teaching Dance as Art in Educationreveals how to meet the National Standards in Dance Education without being driven by them, and it goes one step further—it marries dance with arts education in a way that makes teaching educational dance clear and distinct.

I Was A Dancer

Author: Jacques D'Amboise
Publisher: Knopf
ISBN: 0307595234
Size: 47.71 MB
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“Who am I? I’m a man; an American, a father, a teacher, but most of all, I am a person who knows how the arts can change lives, because they transformed mine. I was a dancer.” In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies. He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden. As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations. He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”). We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine and by other teachers of great legend: Anatole Oboukhoff, premier danseur of the Maryinsky; and Pierre Vladimiroff, Pavlova’s partner. D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets. D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”). D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance. A riveting, magical book, as transformative as dancing itself.

Safe Dance Practice

Author: Quin, Edel
Publisher: Human Kinetics
ISBN: 1450496458
Size: 39.39 MB
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Safe Dance Practice bridges the gap between research and application for dancers and dance educators at all levels. The book presents integrated guidelines and principles that will maximize physical and mental well-being without compromising creativity and expression.