Dance Curriculum Research Articles

PENSARFAZER DANÇA DESDE UMA PERSPECTIVA CONTEMPORÂNEA E DECOLONIAL

Este artigo tem como objetivo propor pensarfazer processos de ensinoaprendizagem em dança desde uma perspectiva contemporânea decolonial. Foi possível identificar pontos de convergência entre estas perspectivas, já que ambas as correntes de pensamento compartilham pressupostos da concepção libertadora de educação, tais como dialogicidade, defesa da democracia, indissociabilidade entre teoria e prática; corpo mente; razão emoção; incentivo à autonomia dos educandos no seu processo de ensinoaprendizagem e respeito a pluralidade de ideias. A perspectiva decolonial de educação complementa a perspectiva contemporânea de ensino da dança ao fazer refletir sobre o eurocentrismo presente nos currículos dos cursos de dança, sobre a distribuição desigual de valor dada às produções de dança oriundas da Europa e EUA e às produções latino-americanas, especialmente as danças de matrizes afro-brasileiras e indígenas e ao defender uma educação intercultural. Nesse sentido, o pensarfazer processos de ensinoaprendizagem em dança desde uma perspectiva contemporânea e decolonial perpassa pela criação de um currículo de dança intercultural nos espaços formais de ensino, pelo incentivo à pesquisa de pedagogias decoloniais de dança e ao intercâmbio cultural entre as redes de dança latino-americanas.
 Palavras-chave: dança; decolonial; ensinoaprendizagem; interculturalidade; pensarfazer

Comparing the efficacy (RCT) of learning a dance choreography and practicing creative dance on improving executive functions and motor competence in 6–7 years old children

ObjectivesThis study examined the effect of two different dance curriculums on executive functions and motor competence in 6–7 years old primary-school children across an 8-week period. One dance curriculum was underscored by creativity and the other was based on a choreographed dancing curriculum with high cognitive challenge. DesignRandomised-controlled trial. MethodsSixty-two primary-school children (6.6 ± 0.5 years old; 47% females) participated for a control period in the regular school PE lessons, after which they were randomly assigned to two experimental groups – choreography dance group or creative dance group. The two experimental groups practiced dance for 8 weeks, twice a week, learning either a choreographed dance sequence with high cognitive challenge or creating their own dance sequence in a creative dance curriculum. Executive functions (working memory capacity, inhibition, and flexibility) and motor competence were assessed at three time points – baseline, pre-intervention and post-intervention. ResultsThere was a time effect for inhibitory control (p < 0.01), with a high improvement during the intervention (d = 0.76) than baseline (d = 0.46); for working memory capacity (p < 0.01), with a higher improvement during intervention (d = 0.43) than baseline (d = 0.31) in the high challenging task; and for motor competence (p < 0.01), with a higher improvement during baseline (d = 1.7) than intervention (d = 0.75); no other significant effects. Group differences revealed weak evidence that the choreography group improved inhibitory control and working memory more than the creative dance group. However, a check for pedagogy fidelity revealed that the creative-dance curriculum was not adopted as planned (i.e., high volume of teacher's instruction and small use of music). ConclusionsAn 8-week dance intervention improved inhibitory control and potentially working memory capacity in grade one and two primary-school children. Contrary to prediction, the dance intervention did not improve motor competence beyond typical development. Discrepancy between the planned and adopted creative-dance curriculum suggests caution in interpreting results. This study provides new insights into the exercise-cognition relationship.

통일한국시대 대비 남·북한 무용교육과정 연구

통일한국시대 대비 남·북한 무용교육과정 연구

The Gift of Embracing Risk: Responsibility as Practice in Aerial Dance

ABSTRACT This article contributes to an emerging academic dialogue about teaching aerial dance. As aerial dance in higher education has become more widespread, institutions and instructors must evaluate both the risks and benefits of implementing these programs. Although the inherent risk of aerial dance may invite some skepticism, the authors propose that risk can be managed within a framework of best practices that are modeled and explicitly taught by a qualified instructor. In the well-managed aerial dance classroom, risk provides unique learning opportunities for students, namely the cultivation of responsibility. While this article is practical in nature, it is not a “how-to” for the implementation of an aerial arts program in a university setting. Rather, the authors seek to illuminate pedagogical benefits that they have witnessed through the inclusion of aerial dance curriculum in higher education dance programs and suggest that these concepts integrate into the larger context of students’ lives.

Do Dance Majors Need Entrepreneurial Skills?

Dance majors take courses in technique, history, theory, choreography and production, but do not often take entrepreneurship-based classes. It might be said that if dance majors wish to be dance entrepreneurs or business owners, they should supplement their education with specific courses/certificates/degrees that teach those skills. It could be argued, however, that all dancers need these skills to have a sustainable career. Looking at the dance industry from the vantage point of a 25-year career, I wonder: Are we cheating dance students and the dance industry by not consistently incorporating entrepreneurial skills into a formal dance curriculum? This opinion paper delves into this very question. I sent an online survey to dance studio and company owners to evaluate the hard and soft skills they are seeing from current and potential employees with dance degrees. I also provide a brief overview of degree plans in the nation’s top dance programs. The results of the survey suggested a gap in both hard and soft skills needed to be an entrepreneur. The results of the overview indicated that few departments have robust required offerings in career/marketing/entrepreneurship-based performing arts courses. These findings are a springboard for further research and conversation regarding whether there is a need for entrepreneurship-based courses in dance majors’ course of study.

공감 능력 향상을 위한 초등 무용 교육과정 설계

본 연구의 목적은 공감능력 향상을 위한 초등 무용교육의 방향을 제시하고자 초등 무용 교육과정을 설계하여 제안 하는데 있다. 이를 위해 초등 무용교육의 성격, 목표, 내용, 방법을 구체적으로 제시하였다. 본 연구를 진행하기 위 해 초등 무용교육과 공감에 대한 이론을 다루는 문헌을 고찰하는 한편, 무용 전문가를 대상으로 델파이 조사를 실 시하여 초등 무용교육의 방향을 구성하였다. 본 연구의 결과는 다음과 같다. 첫 성격은 정의와 효과, 둘째, 목표는 구체적 목표, 핵심역량, 성취기준, 셋째, 내용은 영역, 신체활동, 공감활동, 넷째, 방법은 활동방향, 활동내용, 교사 의 역할로 제시하였다. 이렇게 구성된 공감 능력 향상을 위한 초등 무용 교육과정은 구체적인 방향을 제시하여 수 업 계획에 도움이 될 것으로 기대한다. 본 연구의 결과는 차후 초등학교 체육교과에서 직접적으로 활용할 수 있는 초등 무용교육 수업의 구체적인 방향, 가치, 목적과 기초자료를 제공할 것으로 기대한다.

The Impact of an In-school Dance Program on At-risk Preschoolers’ Social-Emotional Development

ABSTRACT This study examined the impact of an in-school dance curriculum on the social-emotional development of at-risk preschoolers in a southern California public preschool program. The preschoolers (N = 69) participated in dance for thirty minutes, once a week, over an entire academic year. We compared the Desired Results Developmental Profile (DRDP) scores in the Social-Emotional domain from Fall 2018 to Spring 2019 and controlled for dance by analyzing scores from four sites who received dance and two sites who did not receive any dance. Our findings included an increase in preschoolers’ DRDP scores in the category of Integrating Social-Emotional Skills among those sites who received dance versus sites who did not receive dance. There were no significant changes among scores in the category of Building-Later. Through this study, dance was shown to support preschoolers’ ability to integrate and build social-emotional skills, strengthen their self-identity, and establish meaningful relationships with peers and adults.

The challenges of providing a quality certificated dance education within secondary schools – findings from a comparative study exploring the experiences of eight English and Scottish dance teachers.

ABSTRACT Whilst the fight for the inclusion of dance in schools has been an ongoing struggle, current government directives and educational policies present an even greater threat to the future of quality dance education in schools and this needs to be addressed. This paper begins to explore the certificated dance education currently on offer in the United Kingdom (UK) through teachers’ experiences of delivering the newly adapted GCSE (England) and National 5 (Scotland) dance curricula. Eight semi-structured interviews with dance teachers in England (n-4) and Scotland (n-4) were undertaken alongside a documentary analysis in order to provide an initial understanding of the challenges and motivations for delivering these curricula. Smith-Autard’s Midway Model is often considered to be the exemplar of quality dance education and therefore the content, structure, and assessment approaches used in these teachers’ delivery of the curricula were compared with those advocated in this model. The findings suggest the challenges faced by teachers may differ between the two contexts and revolve around the level of prescription. Regarding structure specifically, this research recommends that policy-makers might consider increasing course length for certificated dance courses and establish a better dialogue with practitioners prior to introducing new course designs and during inception.

Interrogating Issues in Nigerian Dance Education

ABSTRACT Experientially, this article explores issues and problems vis-à-vis the teaching and learning of dance in Nigeria. The article finds that the relegation of dance education in Nigerian higher schools of learning is linked to many factors which include: lack of manpower, lack of infrastructure and knowledge of the numerous values of dance education to a developing country like Nigeria. The article concludes that there should be a Technical Core/Exchange Training for Nigerian universities and colleges for dance teachers with resourceful and integrated teaching and learning. In the same vein, course contents for Theater Arts Departments and other allied departments in universities and other tertiary institutions ought to facilitate a dance curriculum that will equip students with knowledge and skills of dance and choreography using a dance-centered methodology.

Teaching the Dance Subject in Australian High Schools

ABSTRACT This article discusses qualitative research investigating experiences of school teachers delivering the dance curriculum in high schools in the state of Victoria, Australia. We questioned teachers on their day-to-day professional experience and its rewards and challenges. Interpretation of the data suggests that the participants in our study can gain substantial satisfaction from their work as they observe their students’ development through dance, sometimes building long-term mentoring relationships and relations of trust with their students in the dance studio environment. Nevertheless, the wider school environment, discourses, resources, and facilities can present difficulties or can even be lacking; rigorous forums for debating the aims, meaning, and practicalities of dance in high school education are few; and teachers often feel on their own in confronting challenges.

A Comparative Study on School Dance Curricula in South and North Korean Dance Education

A Comparative Study on School Dance Curricula in South and North Korean Dance Education

Japanese Secondary Physical Educators’ Professional Development Experiences of Teaching Japanese Traditional Dance

ABSTRACT The purpose of this study was to investigate Japanese secondary physical educators’ professional development experiences teaching Japanese traditional dance education at a private secondary school. This study used a descriptive–qualitative research method, using in-depth interviewing within andragogy theory. Four physical education teachers (three males and one female) had Japanese traditional folk dance and drum teaching experiences in physical education. The data sources included face-to-face interviews, video analysis, and e-mail correspondence. The data were analyzed using a constant comparative method. Three significant themes were present: (a) mindful instruction in dance, (b) mutual support and encouragement between physical education teachers and students, and (c) professional development and dance training. Based on the physical education teachers’ interpretations of their experiences learning to teach Japanese traditional dances, Japanese physical education teachers should be trained to include dance education in a secondary physical education dance curriculum.

역량기반 전문무용교육과정 재구조화 연구1)

The purpose of this study is to explore the educational significance of competency-based specialized dance curriculum by restructuring artistic high school specialized dance curriculum based on specialized dance competence(SDC). To accomplish this goal, three researches were set up as follows: firstly, confirmation of conformity between SDC and 2015 revised specialized dance curriculum, secondly, exploring the needs to improve the specialized dance education reflecting the meaning of SDC, thirdly, restructuring specialized dance curriculum based on SDC. This study conducted literature review, written survey, interview, F.G.D, and expert meeting based on Walker’s curriculum development model. This study restructured the subjects and contents area of the specialized dance curriculum to enhance SDC. Through this study, the subject and content area of specialized dance curriculum to enhance SDC has been restructured. As a result of the study, the restructured specialized dance curriculum led to the dynamics of the curriculum through the totally linked structure, and this structure reflects the characteristics of competency. In addition, the essential meaning and direction of the specialized dance curriculum were emphasized, and the content and application method to be supplemented from the viewpoint of curriculum improvement were derived. In order to realize competency-based curriculum at the arts high school

초등무용교사 전문성 제고를 위한 심화무용교육과정 현황 분석

초등무용교사 전문성 제고를 위한 심화무용교육과정 현황 분석

Competency-based curriculum for the expansion of university students’ career spectrums in the dance department

ABSTRACT The purpose of this study was to explore the competency-based curriculum to expand Korean university students’ career spectrums in dance departments. A literature review and a two-time Delphi analysis with seven experts was carried out at the beginning of the study to discover necessary competencies. Thereafter, an Analytical Hierarchy Process (AHP) with another 23 experts was performed to explore the hierarchy of these competencies. Another group of three experts reviewed the dance curricula of six different universities and classified each course in a competency table to understand which competencies were more pursued than others in dance departments. The literature review and Delphi analysis resulted in 10 competencies with 43 subcomponents, with a Content Validity Ratio (CVR) of .99. Among the competencies, ‘Dance performance’ was ranked highest with a weight of .187, while ‘Multiculturalism’ was ranked lowest at .030 in the AHP (.1> consistency index and consistency ratio). In the last phase of the study involving three experts, the competencies pursued in each course were examined, and it was revealed that the number of courses pursuing the competency of ‘Liberal Arts & General Studies’ were overwhelming in the dance curriculum.

The Diagnosis of the Dance Curriculum to Improve Secondary Physical Education Teacher's Profession in Korea

The Diagnosis of the Dance Curriculum to Improve Secondary Physical Education Teacher's Profession in Korea

A Critical Examination of the Dance Curriculum - The 7th Curriculum and the Revised 2015 Curriculum

A Critical Examination of the Dance Curriculum - The 7th Curriculum and the Revised 2015 Curriculum

Risk and ReORIENTations: An Asianist Approach to Teaching Afro-Haitian Dance

ABSTRACT I present an action research study that enacts an Asianist somatic movement education approach to teaching Afro-Haitian dance at Arizona State University as a response to my Chinese American body’s experience of hegemony in postsecondary dance curriculum. My pedagogical framework uses an intercultural teaching approach that applies a somatic teaching method integrating Chinese, Asian Indian, and Japanese somatic traditions. I offer instructions for teaching two Afro-Haitian dances and I push students beyond a tourist conception of Afro-Haitian dance. I apply a combined learning method that interlocks content learning of Afro-Haitian culture with their movement learning. I engage students’ cultural and research perspectives as evidenced by qualitative findings in the form of student work samples. I triangulate these data with my teacher observations and my review of video documentation. I conclude with a recapitulation and the implications of this action research study.

Promoting Entrepreneurship for Dance Majors in Higher Education

Dance graduates are more likely to become self-employed or undertake freelance work in the field of dance. To succeed and build a career, they need to understand the arts market and develop management and organization skills for planning, fundraising, application writing, promoting, and touring. In Korea, the low employability of dance graduates and lack of their entrepreneurial skills have been age-long problems because dance courses and module contents have given weight on dance technique modules. Dance departments have failed to develop graduateness and to provide the students satisfactory career guidance. It would be the best if, during university, students are given support not just in fulfilling their creative potential but also helping them gain confidence and adequate skills required to equip them for self-employment and freelance working. I thus suggest that to embed entrepreneurship across the dance curriculum can be an effective approach to address the reality of employment in dance and develop innovative career strategies. This article identified entrepreneurial competencies required for a successful career in the dance sector and suggested pedagogical approaches to enhance entrepreneurship for dance majors in higher education.

문화예술교육사 제도도입에 따른 대학 무용학과 교과현황 조사 연구

문화예술교육사 제도도입에 따른 대학 무용학과 교과현황 조사 연구