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ARTS 213 - DANCE - Coggle Diagram

- - - - is assured
        
        . Focusing on a different dance
        
        concept each week will provide the variety. Following the same lesson plan format each week will
        
        provide the repetition. Building on familiar movements and patterns will provide the sequencing.
        
        A multi-sensory environment in which a student
        
        is offered the opportunity to “see, hear, say, and
        
        do” the curriculum results in a 90% to 95% retention rate.3
        
        Dance explorations that involve copying peers’ movements, such as shadowing and mirroring, cannot be underestimated. By
        copying many people’s movements students enlarge their movement vocabulary and gain practice in using their spatial intelligence.
        
        Encouraging students to copy others or to “try on” other
        
        movement signatures during explorations helps
        
        the most inhibited students move with ease.
        
        The spatial intelligence can be further strengthened through art activities such as drawing movement maps, creating different designs, collages and
        sculptures as choreographic motivators
        
        SPATIAL INTELLIGENCE
        
        LINGUISTIC
        
        It is important to make sure
        
        the dancers say the vocabulary as they embody it.
        
        When you “say and do” vocabulary simultaneously
        
        the brain remembers it better.
        
        Besides
        
        speaking and reading dance vocabulary, teachers can
        
        make an effort to share the learning principles of
        
        brain research and MI theory with students. Let
        
        them know how important movement is to the brain.
        
        Explain how your classes allow them to experience
        
        all the intelligences.
        
        LOGICAL-MATHEMATICAL
        
        Chance to share maths concepts such as geomtry, symmetry, assymetry, counting, physics (force, gravity, units of energy). Chance to insert novelty into repetition to encourage myeliin strengthening in brain - strong neural pathways that grow your brain.
        
        INTERPERSONAL
        
        Teachers can include social interaction in the
        
        dance class by alternating structured skill activities
        
        with improvisation and exploration and by doing a
        
        lot of partner and small group work
        
        INTRAPERSONAL
        
        If dance class is fun and
        
        joyful, students secrete serotonin, a “feel good” and
        
        self-esteem producing chemical
        
        A little stress also increases
        emotional involvement so challenging and complex, but appropriate, activities are recommended.
        
        3 more items...
- - - - styles and forms of dance have traditionally required dispositions of order and control, gracefulness and gesture (Stinson, 2008) that work in conflict to traditional presentations of masculinity.
        
        Productive and embodied pedagogies
        
        Productive pedagogies are understood to be educationally demanding, socially supportive, connected to students’ life-worlds and recognising of difference (Gore et al., 2004; Keddie, 2005; Lingard et al., 2003).
        
        Scholes and Nagel (2012) believe that engagement in the creative arts has much to offer boys in terms of physical, social and cognitive development as well as opportunities to deconstruct binary dichotomies around gender.
        
        By incorporating popular culture and centralising the student experience these embodied forms can work to recover the ‘knowledges, voices and histories’ of those who have traditionally been excluded (Scherpf, 2006: 87).
- - - - In dance education students engage in ways that integrate thinking, moving and feeling. They explore and use dance elements, vocabularies, processes, and technologies
      - to express personal, group and cultural identities, to convey and interpret artistic ideas,
      - and to strengthen social interaction. (20)
      - key areas of learning: understanding in context; developing practical knowledge; developing ideas; and communicating and interpreting
        
        Most of the primary teachers I worked with
        
        had no specialist training in dance and were apprehensive about their ability to
        
        teach it (p. 121)
        
        As dance education takes place
        
        within social and cultural contexts, it also provides a theoretical framework for this
        
        paper, Link to NZC or social constructivism
        
        the best learning takes place in a secure
        
        yet challenging environment, with assistance from a teacher (or more expert ‘other’)
        
        in the form of scaffolding; applies to any situation in which individuals are in the
        
        process of developing mastery of a practice or understanding of a topic while
        
        participating in an activity (Kozulin et al. 2003).
        
        Macfarlane’s (2004) work does this through exploring the role that culture plays in
        
        education. Within the social constructivist paradigm his ‘educultural wheel’ explains
        
        how a culturally responsive pedagogy is realised through five cultural concepts
        
        encompassing a Māori world view
        
        framework for NZ engagement from Macfarlane (2004)
        
        7 more items...
- - - - • DI in dance explores and uses a range of starting points
      - and choreographic processes and structures in the making of dances to express experiences, ideas, beliefs, and
      - feelings
    - - CI in dance covers performing, viewing, interpreting, and
      - evaluating dance, working toward making increasingly
      - informed judgments about dance works in a variety of
      - formal and informal settings.
    - - UC in dance covers forms and functions, appreciating
      - traditions and changes and investigating and celebrating
      - the unique form of traditional Maori dance and New ¯
      - Zealand’s society multicultural heritage.
    - - It is important to adapt and find ways
        
        for quality dance education to be fostered and championed
        
        by these pre-service teachers even if it must partly service
        
        these giant totems. I aim to bolt dance onto these required
        
        areas through cross-curricula links by urging students to use
        
        dance concepts in maths and literacy.
        
        :Many report feeling fearful before they start these classes,
        and others simply did not know what to expect" p. 14
        
        For me it is important to empower others to communicate in
        dance, take risks, journey beyond what they know, and tolerate messiness or ambiguity
        
        The encouragement of
        
        ownership via opportunities to input into the process by
        
        contributing their own ideas, having them heard and valued
        
        by the group or their pair, is crucial to this process.
        
        "scafolded creative process" p. 17 - in terms of steps or chunks to the learning
        
        Inspire students to step outside the box by taking safe risks.
        
        I want to raise expectations and give them the courage
        
        to live dangerously, be curious, and court the unfamiliar.
        
        I even suggest that mistakes are part of the process and
        
        could produce the most interesting results.
      - Claxton (2012)
        
        asserted, “Real-World intelligence emerges when embodied
        
        beings with feelings and concerns find themselves in complicated situations in which it is not immediately obvious
        
        how to proceed” (79).