Dance Content Research Articles

Analysis of the Impact of Creative Technique on the Motivation of Physical Education Students in Dance Content: Gender Differences

The aim of this study was to learn about the effectiveness of two dance teaching techniques, the creative examination technique and the direct instruction technique, on the satisfaction of basic psychological needs, the level of self‐determination, the perception of usefulness, enjoyment and effort of physical education students. Likewise, it purports to analyze the gender difference in the psychological variables addressed in agreement with the teaching technique used, to guide and personalize the treatment of these contents in physical education. A quasi‐experimental design was carried out with four natural groups from two school centers. The direct instruction technique was applied with two groups and the creative examination technique with the other two, in a total of 12 sessions. An initial and final measurement was taken in both groups, and the results revealed the complexity to motivate students after 12 sessions. However, the gender‐dependent analyses offer methodological guidelines, as the creative technique causes adaptative consequences on the male gender and disadaptative consequences on the female gender. By way of conclusion, we can highlight the need to devote more sessions to dance teaching and to apply different treatments depending on the gender.

Democratic Bodies: Exemplary Practice and Democratic Education in a K–5 Dance Residency

This research highlights a K–5 dance artist-in-residence as a form of democratic and exemplary dance education that ignited collaboration, promoted equity, fostered student autonomy, and demonstrated rigor in school curriculum. Through examining observation, interview, and performance-based data and calling upon critical, democratic education literature, the author found that the whole-school dance pedagogy and residency design nurtured and exemplified eight democratic signatures: access, participation, multiplicity, movement/change, space, process, conflict, and possibility. The author provides examples from the residency of how these signatures theoretically align with the data, demonstrating how these students engaged with curricular and dance content through embodied democratic practices. Ultimately, this model of best practices in dance education gives insight into how this whole-school dance residency model can help us to continue to bring dance to schools, exploring movement as a way of thinking, knowing, and communicating while creating artistic, democratic learning communities in schools.

“Here We Go ’Round the Mulberry Bush”: Problematizing “Progress” in Ontario's Elementary School Dance Curriculum: 1900 to 2000

Educational scholars agree that the relationship between curriculum development and practice is mitigated by complex political and cultural agendas (Goodson 1984; Vertinsky 2007). As a performing art form and physical activity, dance does not easily fit within the context of a typical school subject and is a site for ontological and epistemological debate. This investigation explores the evolution of elementary school dance curricula in the province of Ontario, Canada from 1900 to 2000. This article addresses three periods of curriculum reform: an emphasis on physical training for the purpose of physical skill, moral discipline, and fitness (1900s–1950s); an emphasis on “movement education” intended to promote individuality, creativity, and physical literacy (1950s–1980s); and a return to dance as exercise for the purpose of cardiovascular health and fitness (1980s–2000). As contemporary scholars, we must promote meaningful dance content in a context of cultural understanding and respect.

A Study on Korean Traditional Dance Contents on YouTube in Pursuit of the Sustainable Development of the New Korean Wave

A Study on Korean Traditional Dance Contents on YouTube in Pursuit of the Sustainable Development of the New Korean Wave

Analysis on performance satisfaction of the cast and audience and the economic effects of commodification of the dance content - based on Kang-Dong Spring Dance Festival -

Analysis on performance satisfaction of the cast and audience and the economic effects of commodification of the dance content - based on Kang-Dong Spring Dance Festival -

Data Mining: A Systems Approach to Formative Assessment

ABSTRACT This article describes how using raw data and information from reliable assessments can inform teachers' decisions leading to improved instruction. The primary aim is to use a systems approach to provide evidence of what students know and how they demonstrate mastery. Such evidence can empower teachers to reach all students. The pedagogic strategies for assessment highlighted in this article require that teachers use reflective practice to make effective decisions about dance content that leads to meaningful learning. The intentionality of best practices can be achieved only when information gleaned from assessment data is applied to real-time instruction and interventions, thereby enhancing teacher efficacy.

Dance Education in an Era of Racial Backlash: Moving Forward as We Step Backwards

ABSTRACT The field of dance education is not immune to conflicted discourses about race in the United States. This article investigates the subject of race, education, and dance, and problematizes current postracial discourses in postsecondary education. It examines the implications of race and ethnicity in a number of critical areas, such as faculty and student populations in dance, dance content and curriculum, access and equity, and the ways in which dominant ideas continue to situate dance practices, primarily in a Western theatrical paradigm.

공연예술 콘텐츠로서 무용에 나타나는 설화의 수용양상과 의미

본 연구는 문화산업의 영역 중에서 급속 성장으로 주목을 받고 있는 공연예술로서의 무용에서 설화가 어떻게 수용되어 새로운 작품으로 형상화되고 있는지 그 양상을 밝히는데 목적이 있다. 이에 우리나라 고대 설화인 바리데기, 춘향설화, 연오랑세오녀를 중심으로 최근에 스토리텔링을 기반으로 창작되었던 주요 공연 사례를 분석하였다. 설화 속 이야기를 무용에 수용했을 때 유구한 구전에 의한 창작의 생명력과 각 설화에 담긴 풍부한 내용, 해석의 다양성은 기존의 시각을 바탕으로 새로운 해석의 가능성을 보여준다. 그 수용 방식은 크게 주제의 서사기법의 다양화, 도덕적 가치문제의 제재화, 전통과 민족의식의 수용으로 나타났다. 우주와 인간에 대한 근원적 관심을 만족시키고 가장 세계적이면서도 한국적인 무용콘텐츠를 창조하기 위해 설화가 지니는 이미지들은 시간을 초월하여 새로운 차원으로 재해석되고 있다. The purpose of this study is to identify how tales are accepted and embodied as a new work in dance as performing arts, which are getting attention for its rapid growth in the area of cultural industries. Major performances of recently created and performed ancient tales including Baridaegi, Chun-Hyang story, Yeonohrangseohnye are analyzed here. With acceptance of tales into dance, vitality of creation by the eternal word of mouth, rich information contained in each tale and the variety of interpretation showed the possibility of a new interpretation based on the existing perspectives. There are three kinds of acceptances: diversification of narrative techniques of the subject, adoption of the issue of moral values as a topic, and acceptance of tradition and national consciousness. To satisfy the fundamental concern about the universe and human, and to create both worldwide and Korean dance contents, the images of tales are being reinterpreted into a new dimension beyond the boundary of time.

Following Their Lead: Supporting Children's Ideas for Creating Dances

When children create dances using their ideas, they are empowered to explore their thoughts, feelings, and perspectives. Through dance, they bring their inner self to the surface where they can express their dreams, fears, needs, and joys. Dance educators need to support children's ideas and trust the children's creative process, especially when the educator may not agree with the meaningfulness of the dance content or structure. Educators must be able to offer support without undue interference. The vision for the dance belongs to the children. The article illuminates a refective stance on teaching and observing children creating their own dances based on their ideas. Included are examples of dances that illustrate children's choices for dance topics, dance stories, and their creative processes in dance making.

Dance education: an examination of practitioners’ perceptions in secondary schools and the necessity for teachers skilled in the pedagogy and content of dance

There is a lack of research examining practitioners’ beliefs, understanding and attitudes towards the teaching of dance in England. In order to address this gap in the evidence, this paper reports on a recent survey of dance practitioners (n = 198) living and working in Yorkshire, the largest county in England, on what they consider to be the most important aspects of dance teaching in schools, as well as their own capabilities in teaching this subject. The survey data were analysed using SPSS to provide descriptive and inferential results. The qualitative survey data focusing on practitioners’ responses to the most important aspects of dance teaching were recorded and analysed using a coding frame to capture frequently occurring responses. Systematic analysis of the quantitative data from the Likert‐type practitioner responses provided correlatory evidence of variables which were reduced through Varimax Rotation to create new variables. The new variables underwent two‐way analysis of variance tests. The findings provide information on practitioners’ perceptions on what they consider to be the most important aspects of dance teaching in schools and suggestions on teachers’ pedagogical approaches for the teaching of the subject in schools.

Limites do ensino de dança na formação do professor de Educação Física

The dance is one of the cultural content of body movement. But it is known, by means of literature and researches, that the training of teachers of Physical Education has submitted this content limits, damaging their future education in schools. This article discusses these limits and their possible solutions, ruled itself for both in literature and analysis on data collected in search of the Masters PEREIRA (2007). In this analysis it was felt that the dance is little in this Fitness because of graduate students have little experience inside and outside the school environment, because many parents, teachers and students have to dance with prejudice, and because do not feel prepared to deal with this content in schools. It appears that this may be due to the hegemony of sports in physical education, and some misunderstandings when you think the goals and content of dance in physical education.

The Study of the Creative Dance Contents through OSMU's Method

The Study of the Creative Dance Contents through OSMU's Method

Beyond Steps: The Need for Pedagogical Knowledge in Dance

This essay explores factors influencing high-quality teaching in dance. The author argues that deficiencies in the skills needed to teach the content of dance (i.e., pedagogical knowledge) pose a bigger threat to effective instruction than familiarity with the subject being taught (i.e., content knowledge). The process of learning to teach not only elucidates the basics of sound pedagogy but also reveals key ideas and personal beliefs about dance that engenders better teaching and learning. The author concludes with suggestions for developing pedagogical knowledge in dance.

Choreography: a basic approach using improvisation

Whatever your dance background or choreographic interest, this book shows you how to solve common choreography problems, design and shape movements into a dance, organize a dance concert, and observe a finished dance. The book features 63 movement exploration exercises and takes you from dance making to preparing for a performance. More than 56 photographs highlight and clarify important concepts. This second edition also includes these helpful features that will guide you through the entire choreographic process: movement exploration and improvisation exercises; ideas for organizing rehearsal schedules; suggestions for blocking, costuming, and lighting; sources for music and equipment; tips for selecting accompaniment; additional information on choreography and dance production; and forms and checklists. Choreography: A Basic Approach Using Improvisation also addresses three of the seven National Dance Content Standards: understanding choreographic principles, creating and communicating meaning, and using critical and creative thinking skills. You'll develop your skills in these areas and learn how to put the standards into practice.

Ted Shawn's music visualizations

Although Ted Shawn and his wife and artistic colleague Ruth St. Denis established the principle of Music Visualization together, Shawn's pieces in the genre have received little documentation when compared with those of St. Denis or, for that matter, of their pupil Doris Humphrey. Music Visualizations were pieces that adopted musical titles (though some had alternative titles) and exploited the idea of dance content illustrating musical form. Hitherto, Denishawn had favored the static and pictorial; Music Visualization afforded greater scope for movement as well as encouraging both ensemble choreography and abstraction. Works in this genre came to form a section of many Denishawn programs and were often costumed so that the performers appeared suitably depersonalized and uniform, the men either bare-chested in trousers or bare-legged in leotards, the women in stylized Ancient Greek-style tunics or flesh-colored leotards. Although it is generally accepted that St. Denis conceived the idea and the term Music Visualization, Shawn discussed the concept at length with her and choreographed, as classroom exercises, his first Music Visualizations, Inventions and Fugues to Bach, in 1916 and 1917.1 Suzanne Shelton says that St. Denis began to experiment with the idea in 1918.2 In any case, the first concert performances of Music Visualizations were given during the