Integration Of Creative Movement And Dance Into The General Education Classroom

Music, dance, drama, painting and drawing teachers try to incorporate academic lessons into their art classes. Students can be learning both art and academic topics at the same time. This can benefit the students extremely because it will not only engage the students in helpful activities, but it will keep them interested in learning the different topics. For example, schools may play music in the halls to introduce the students to culture that may help them to be open to learning new things in all of their classes. The painting teacher may have her student’s paint a picture of a historical event they learned about in their history class and discuss it in front of the class. The music teacher may ask the students to pick a certain song that reminds them of a book they read in their English class and explain to the class why the song reminds them of that certain book. The dance teacher might assign a dance to the students that will get them thinking of a subject to write their paper on for writing class. The possibilities are endless as to how to mix academics into the arts. It is important to do so to keep the creative juices flowing in the young minds of the students in public schools. By participating in an arts course, students are fueling their cognitive developments and are

Dance began as a form of communication and storytelling. Thousands of years ago dancing served as a way for people to tell a story and helped distract themselves of the hardships they faced. Furthermore, dance was a form of storytelling through communication, which then turned into using storytelling through dance as entertainment. According to the History World, many dancers during the BC time danced in front of only a few people to get a story across. That later turned into hundreds of thousands of people as dance was used by many. Today, dance is also a form of entertainment and storytelling, but in a modern sense. However, today perfection and technique are stressed more than they were in the past. Yet, the passion for dance has not changed. Many dancers who share this passion also have many of the same qualities. Among a discourse community of trained dancers, one expects to find individuals who are healthy and active athletes, expect perfection from themselves through competition, and religiously attend dance performances.

‘For me, it is important that the work I make finds connection … but at the same time… calls into question our conversations of what dance is’ (Garry Stewart, 2010). Garry Stewart, the Artistic Director of Australian Dance Theatre (ADT) since 1999, began his dance training at the age of twenty, after leaving university studying social work. Through his explosive, energetic and electrifying style, his unique dance pushes drives boundaries empowering his works, which are technically demanding, frightful and exhausting, creating an intriguing performance. In his pieces ‘Birdbrain’ and ‘G’ a combination of classical ballet, contemporary dance and gymnastics is utilized throughout to create a fascinating performance. Stewart’s productions have toured

“What are you even doing here? I have never seen such flawed technique in all my years as a choreographer.” The words echoed throughout the medical college auditorium. Impelled by the admonishment in front of my peers, I persevered in my endeavor to improve upon my dancing prowess and by the final year of medical school was leading the college dance team. The above mentioned undertaking further spawned an interest for the discipline of Latin Ballroom which lead to participation at the national level. The unwavering focus and persistence even in the face of unfavorable odds is more broadly reflective of my approach towards learning, both academic and extracurricular. This has been instrumental in achieving stellar academic outcomes including being ranked nationally in the top 0.0004 percent in the premedical test and the top 0.6 percent in the common aptitude test for management training.

The 2017 Spring Works Dance Concert, presented by Purdue’s Contemporary Dance Company, displayed various dance pieces that had diverse choreographic structures and appeared to be created from compositional processes that were very similar to the processes we explored in class. All of the choreographers in this concert exhibited their own works through exclusive compositional tools. For example, in the work “Unlocking Energy”, choreographed by Mary Beth Van Dyke, the sustained arm movements initiated throughout her piece appeared to glide from one motion to the next with ease. The arm movements in this piece differed considerably when compared to the hand gestures in “12th Drowned”, choreographed by Kathleen Hickey. The hand gestures in “12th

A non-standardized curriculum allows students to focus on higher level thinking skills. Students are encouraged to learn from each other. Students are encouraged to challenge each other. Teacher’s use Bloom’s Taxonomy to have student think deeper into concepts. Instead of students learning ten concepts over the course of a year, students learn six that are more in depth. Students use a variety of alternative assessments to show their depth of knowledge. A student can choose how to display their knowledge. Students may give a presentation, create a 3-D model, design a PowerPoint, or write a story or a variety of other ways to present their ideas.

21st of May, California State University of Long Beach held the CSULB Dance In Concert at Martha B. Knoebel Dance Theater with the collaboration and choreography by the CSULB dance faculty such as Colleen Dunagan, Rebecca Lemme, Sophie Monat, Andrew Vaca, and featuring guest Laurel Jenkins and Doug Varone. From the show, the dances represented through various genre such as contemporary, contemporary ballet, and modern dance. The element of contemporary defines as a collaborative style that includes modern, jazz, ballet, and hip hop. All these styles of dances were shown by connections after each intermission. In particular, I will concentrate mostly about contemporary dance out of all the dances in the concert and talk about the effects on three out of six performances. The performances reflects mostly on how we describe life and nature and partially define life to every aspect of the emotion were being introduced by the dancers.

Dance is one of the most beautiful, expressive forms of art known to mankind. It expresses joy, love, sorrow, anger, and the list truly goes on for all the possible emotions that it can convey. Dance not only can express how one feels, but it can tell a story or even be used to praise a higher power. Dance has intricately played an important role to every culture over the course of time. Two forms of dance that have not only stood against the test of time but have influenced the development of other various styles of dance is none other than Classical Ballet and Modern Dance.

In comparing Workshop #2 (Ballet) to Workshop #1 (Creative Dance) I learned that ballet is a more structured type of dance requiring precise and graceful movements and a lot of flexibility, unlike creative dance, a more unstructured type of dance requiring less precision and grace; however, a lot of flexibility. As a result, I learned that the structured nature of ballet requires complete silence and the undivided attention of the dancer to effectively follow the directions of the choreographer to perfect the techniques of the movements. In

Dance was not a new element in the theatre realm. It had been used for years as a way of interpretation of feelings of a character that the writer or director wanted the audience to feel visually. Through movement, expression of those feelings was portrayed and helped the audience to somewhat

This paper explores my main question, “how does movement through dance affect the mental and emotional dimensions of wellness?” I will explore the many unknown benefits that come from dance as well as share expressions of my personal thoughts on the subject. I will also share my personal experiences as well as others’ experiences with dance. In the research portion of my paper, I will cite studies supporting both the mental and emotional benefits of dance. This paper will also explore the perspective of a professor of dance, as well as the lived experiences of actual dance students. My interview will support my paper as it reinforces the findings in literature. I will discuss my future plans on the subject of mental and emotional dance; stressing the need for individuals to dance as the benefits can be

Teaching with the brain in mind, 2nd Edition. Retrieved from http://www.ascd.org/publications/books/104013/chapters/Movement-and-Learning.aspx. Montessori, M., & Carter, B. B. (1936). The secret of childhood. London: Longmans, Green and Co. Skoning, S. (2008) Movement and dance in the inclusive classroom.

Dance is an ever evolving form of art; in much the same way that one can categorize and differentiate between eras and styles of architecture one can also do so with dance. These eras at times have sharp delineations separating them from their antecedents, other times the distinction is far more subtle. Traditional forms of dance were challenged by choreographers attempting to expand the breadth and increase the depth of performance; preeminent among such visionaries was Seattle born dancer and choreographer Mark Morris. Mark Morris' began as one of the millions of hopeful individuals attempting to simply make a career in dance; he not only succeeded but managed to have a lasting effect on the entire landscape of dance.

The objective in lesson 1, we can see does not only broaden their understanding by introducing a new word and its meaning, but also demonstrates how this can become a stimulus for dance creation. As with lesson 2 they learn to use every day movements as a starting point for movement design and this is continued in lesson 3

The first reason why teachers should integrate dance into education is that dance increases students’ attention and reaches students of different learning types. One study was done to determine whether lessons that incorporate movement were effective at generating student’s situational interest. They compared the outcomes of movement and non movement lessons in second and third grade reading and math classes. The teachers provided one week of lessons that included movement and one week of lessons that did not. Students were asked to use their bodies to illustrate specific concepts they were taught. At the end of the study, the teachers rated students’ interest levels, and they found that students were more excited by and engaged in the lessons that integrated movement than those that did not. Surprisingly, they also found that the dancing did not hinder the amount of content learned during the lesson (Lindt and Miller). Dance could be a